Sennheiser’s K-Array Anakonda Loudspeaker Brings Extraordinary Sound and Flexibility to Musical Instrument Museum (MIM) Music Theater

Anakonda is the Perfect Front-Fill Solution for 300-Seat Music Theater That Features Diverse Artistic Performances and Exquisite Acoustics

Phoenix, AZ, February 26, 2014: Phoenix’ Musical Instrument Museum (MIM) is home to nearly 15,000 instruments and objects from all over the world, providing a unique museum experience for guests of all ages. The museum features an exquisite, 300-seat music theater that features performances from a diverse range of artists — including well known, nationally touring musical acts as well as traditional and eclectic acts from every corner of the globe. Designed and constructed as an intimate, world-class concert hall offering comfortable seating and state of the art acoustics, the theater hosted 193 concerts last year and recently was the first venue in Arizona to install the new K-array Anakonda speaker solution from Sennheiser.

The K-array Anakonda speaker system was installed directly across the edge of the stage as a front fill solution, providing greater definition and sonic clarity to the first several rows. The new installation helps the theater deliver an unparalleled listening experience for all its patrons no matter where they are seated, ensuring even sound dispersion and intelligibility.

“Our former front fills were point source, mounted just below the stage,” comments Ted Greenbaum, music theater manager. “There wasn’t even coverage and these were in the more expensive seats. So when Jerry Delgado of Sennheiser brought the Anakonda in for us to test, it was phenomenal.” “Our main PA system is built into the shell and each side is pretty far away from the center of the audience and in the first couple of rows intelligibility and imaging is an issue,” explains Jim Zick, technical manager for the Theater. “When Sennheiser brought in the Anakonda, which sounded great and was aesthetically attractive, I thought it would be a perfect solution to set this up right across the front of the stage.”

Six Anakonda loudspeakers were daisy chained at the edge of the stage and powered by a single K-array KA40 amplifier complete with DSP control. The system made its debut one evening as renowned country singer/songwriter Suzy Bogguss sang for 300 enthralled fans. “It was phenomenal,” Greenbaum recalls. “After that night, we got several emails from audience members saying it was the best sound they ever heard. Before, the front fill was lacking and the Anakonda really came through as a great solution — it was the final piece to the puzzle.”

Anakonda: Astounding intelligibility, flexibility:

In addition to theaters, the Anakonda is a perfect solution for a range of indoor or outdoors installations. Since each speaker element is bendable, the Anakonda can be wrapped around poles, columns, or mounted to curved or otherwise uneven surfaces. Speakers are available in 6′ lengths, and up to 16 combined elements can be linked and powered from a KA40 amplifier using the Anakonda’s integrated NL4 connectors. The speaker’s dedicated presets support a variety of configurations, including both standalone and combination use with K-array KMT Series subwoofers.

The Anakonda, which is priced at $859.95, is available exclusively in the U.S. through authorized Sennheiser dealers.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.

Photo captions:

1) The K-array Anakonda solution was installed at the Musical Instrument Museum theater as a solution to provide increased intelligibility.

2) Six K-array Anakondas were daisy chained at the front edge of the stage, providing a great sounding and aesthetically attractive solution.

3) From the rear of the theater, the Anakonda is barely visible on the front part of the stage.

EASTWEST offers an extra 10% off the already 60% discounted Complete Composers Collection 2

Up to 70% off – until February 28, 2014!

Hollywood, CA (February 26, 2013) – EASTWEST is offering an additional 10% discount on their award-winning Complete Composers Collection 2. This promotion ends on February 28, 2014.

The Complete Composers Collection 2 is perfect for music, film, TV, and game composers: a choice of 20 award-winning virtual instruments that cover virtually every musical genre, including seven new additions:

- The Hollywood Gold series with Strings, Brass and Woodwinds
- The Dark Side
- Ministry of Rock 2
- Spaces
- Quantum Leap Solo Violin

Each of these virtual instruments is a veritable masterpiece with truly authentic sounds. With Complete Composers Collection 2, any musician has access to the instruments and articulations used by some of the most successful composers in the world. The massive library comes on a 1TB pocket-size “Plug n’ Play” external hard drive. All samples are installed for quick and easy access. Every instrument included is powered by EASTWEST’s PLAY 4 software, and is now fully compatible with ProTools 11 supporting AAX, plus most other popular hosts (see compatibility chart).

For details, rules and conditions, please visit http://www.soundsonline.com/CCC2-PRO (or to http://www.soundsonline-europe.com/CCC2-PR for European customers).

Lady Antebellum embark on TAKE ME DOWNTOWN TOUR with Sennheiser Digital 9000 wireless microphones

Old Lyme, Connecticut, February 25, 2014: Lady Antebellum continue to build on their success with seven GRAMMY Awards, platinum-certified sales and their TAKE ME DOWNTOWN TOUR, which stops at nearly 80 cities across North America. The Nashville-based trio insists on the best possible audio in all its live performances and has been an officially endorsed Sennheiser artist since 2008. Most recently, Lady Antebellum have integrated Sennheiser’s Digital 9000 wireless system into their live touring rig, enabling the band to deliver pristine wireless sound to audiences at every performance.

Now almost one month into the tour, Lady Antebellum’s front-of-house engineer Brett “Scoop” Blanden reports that the Digital 9000 system has been performing flawlessly, delivering the pinnacle of audio quality and reliability night after night: “Things are going really well,” he says. “Sonically, since there is no companding in the microphone, it sounds far more like a wired mic than any other RF microphones.”

Currently, Lady Antebellum’s production team is using eight channels of Digital 9000 – the only microphone system that is able to transmit uncompressed audio in the UHF range, allowing for full HD sound.

According to monitor engineer Peter Bowman, channels 1 and 2 are allocated to Hillary Scott (lead vocals) and Charles Kelley (lead vocals). Dave Haywood (backing vocals) has three wireless microphones throughout the stage to accommodate his playing an assortment of instruments, which includes electric and acoustic guitar, mandolin, banjo, bouzouki, and piano. Each vocalist uses the SKM 9000 handheld transmitter coupled with an MD 9235 capsule. Channel 6 is currently being used for production/spare, and channels 7 and 8 are allocated for Lady Antebellum’s guest artists, who are also singing through SKM 9000 handhelds with MD 9235 capsules.

Since using the Sennheiser Digital 9000 system, companding and limited bandwidth are no longer an issue for Lady Antebellum’s production team, and latency has never been an issue. “The analog to digital conversion takes place at the transmitter itself, and then the signal is decoded at the receiver,” explains Blanden, who says that switching over from their analog SKM 5200/MD 5235 mics to SKM 9000/MD 9235s has resulted in sonic advantages: “This has really opened up the top and provided still more audible uniformity among the microphone capsules we are using. Overall, I really like the clarity and it has brought about more warmth in the capsule.”

Bowman has been very pleased with the reliability and RF performance of the Digital 9000 system: “The range is very good. I have walked the hallways in the back of the arenas and since it’s digital RF there is no loss of signal quality – even when you are hundreds of feet away. We start each show in the back at front of house, so having this range is very important to us.”

Digital 9000: opening channels of communication:

Lady Antebellum are using a special version of the SKM 9000 transmitter with a built-in command function. On the SKM 9000 COM, users can disengage the microphone channel and engage a talkback channel that may be assigned to an engineer, for example. “This has worked great for several of our artists,” says Blanden. “Being able to push a button and communicate directly with a monitor engineer no matter where they are is huge. We also have both channels patched to my squawk box at front of house, so if there is an issue happening on stage I can help facilitate that request rather than making a pit stop at monitors,“ Blanden explains.

Beauty in simplicity:

For both Blanden and Bowman, the ultimate goal is to achieve a true sonic representation of the source in the most efficient way possible. With Digital 9000, they are able to achieve this, both at front of house and at monitors: “The less you have to do, the better off you are,” says Blanden. “If I put up a microphone, I want it to sound like the source. This system helps us achieve a true representation of the source material out of the box.“

Bowman agrees: “Our artists are very comfortable with the sound of the MD 9235 capsule with very little EQing. These capsules and the Digital 9000 system itself gives me a true reference to what they are hearing in their in-ear monitors because the microphones sound so good just as they are. This is definitely noticeable to the artists, the production staff and of course the audience.”

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Photo captions:
1: Lady Antebellum are on their TAKE ME DOWNTOWN TOUR with Sennheiser Digital 9000 wireless microphones (photo credit: Adam Boatman)

2: Brett “Scoop” Blanden, FOH, and Peter Bowman, monitors (l/r)

3: The eight-channel Digital 9000 receiver in Lady Antebellum‘s touring rack

Sound Devices Takes Home Cinema Audio Society’s Technical Achievement Award

REEDSBURG, WI, FEBRUARY 25, 2014 – Sound Devices, specialists in portable audio and video products for field production, is pleased to announce that its 633 Production Mixer has earned the prestigious Cinema Audio Society (CAS) Technical Achievement Award in the production category.

The CAS Technical Achievement Awards recognize innovations in recording technologies, including hardware and software products that are used by sound mixing professionals. Sound Devices has now been a recipient of the CAS Technical Achievement Award four times. The 744T and 788T Production Recorders, and the 664 Field Production Mixer are past winners.

“To be consistently recognized for our new products with CAS Technical Achievement Awards is an outstanding accomplishment,” says Matt Anderson, President of Sound Devices. “At Sound Devices, we continue to push the boundaries by presenting high-quality, innovative tools that really make a difference in the workflow of our customers. Having the Cinema Audio Society behind us reaffirms the positive impact that our product development goals have within the industry.”

Sound Devices 633 mixer/recorder features six inputs, with three high-bandwidth mic/line XLR inputs complete with phantom power, high-pass filter, input limiter and variable pan. Three additional line-level inputs appear on TA3 (mini-XLR) connectors. All inputs are assignable to any output bus. AES digital I/O, including support for AES42 digital microphones, is available.

The 633 offers 10-track 24-bit, 48 kHz uncompressed polyphonic or monophonic broadcast WAV file recording (96 kHz for eight tracks, 192 kHz for six tracks) or timecode stamped MP3 recording to CompactFlash and/or SD cards. All six inputs plus Left/Right and Aux 1/2, can be recorded to individual tracks. Similar to Sound Devices’ 12-input 664 Production Mixer, the 633 offers dual card slots that record to either one or both cards simultaneously, with the added ability to assign different tracks to each memory card.

Unique to the industry, the 633 is equipped with a four-way power supply and Sound Devices’ proprietary PowerSafe technology. This four-way powering allows for multiple, simultaneous power sources including external DC on a Hirose 4-pin locking (12-18 V), two removable and independent L-type Lithium-ion batteries and internal AA battery powering (six-AA). The unit detects when power sources are removed and seamlessly transitions to an available power source. With its PowerSafe circuitry, when all power is removed the unit remains on for 10 seconds to close all file operations and properly shut down. With PowerSafe, a complete power loss has no effect on the recording. PowerSafe also provides two-second ‘power-on-to-recording’ so the mixer is ready for operation at a moment’s notice.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

RTW LQL Software Now Shipping Worldwide

RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce that it is now shipping worldwide the new LQL – Loudness Quality Logger software.

Developed for logging, true-peak data analysis and reporting, the LQL is compatible with the TM7, TMR7 and TM9 TouchMonitor line of products running with Logging Data Server license (SW20014). The LQL is a natural extension of RTW’s range of innovative software options for the 7- and 9-inch line of TouchMonitor audio meters.

Once activated, LQL enables measured Loudness and TruePeak data to be derived directly via an IP-connection from a capable TouchMonitor audio meter, as well as from external storage media such as a USB stick. The software also includes dual limit weighting, status information, marker and various other reporting features. The new PC software is free of charge to users; however the SW20014 Logging Data Server license is required to enable a TM7, TMR7 or TM9 series meter to be compatible with data export and additional display functions.

The TM7 and TM9 series TouchMonitors, which include the innovative Magic LRA instrument, feature a 7- and 9-inch touch-sensitive display, respectively, and provide unparalleled flexibility and modularity, combined with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48 and the TMR7, specifically designed for radio broadcasting, visualizes up to four.

Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3G-SDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB.

About RTW
RTW, based in Cologne (Germany), has more than 45 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on professional audio signal metering tools that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio highlights the TouchMonitor range, a new series of tools for visual signal analysis and comprehensive loudness metering. The TouchMonitor combines the highest of flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. The high-end SurroundControl series of products with fully fledged loudness measuring combines the convenient metering options of the RTW surround display devices and the control functions of an eight-channel monitoring controller.


For more information, visit
www.rtw.de
www.rtw.com
www.facebook.com/rtw.de
or call +49 (0) 221 709130.

Mixerman’s Pairing of Antelope Audio Orion32 and Isochrone 10M Clock Enhances Clarity and Deepens Soundstage While Reducing Mix Times

Renaissance Man of the Recording Arts and Accomplished Mix Engineer Discusses The Next Big Step in Digital Audio and the Fictitious ‘Daily Adventures of Mixerman’

Santa Monica, CA, February 20, 2014: Eric Sarafin, aka Mixerman, has an accomplished CV, having published three audio related music titles and having mixed recordings by top artists, including Ben Harper, Barenaked Ladies, Amy Grant and most recently, Foreigner— which enlisted Mixerman’s signature talents on its newest Foreigner Live album. With all his diverse projects and interests, Sarafin is something of a renaissance man in the recording arts. Indeed, he is constantly pursuing the best possible audio quality in his own mixes, and has recently discovered the ultimate pairing of digital audio technology with Antelope Audio’s Orion32 multi-channel converter and its Isochrone 10M clock. Antelope caught up with Mixerman at the recent 2014 NAMM Show, where he discussed how this conversion and clocking combination has moved the dial ahead on digital audio.

Tell us about your recent and upcoming projects.

Mixerman: Well, I’ve got a total of three books out right now: The Daily Adventures of Mixerman, which was my first, Zen and The Art of Mixing and Zen and The Art of Producing. I am currently working on my next one, Zen and the Art of Recording, which will be approached from a ‘source-centric” position and talk about all the things you can do to improve the source before you even think about how to capture it.

Did you use the Antelope Orion32 and 10M combo on the new Foreigner album?

Mixerman: Yes and it made a huge difference. I had done some mixes for Foreigner previously on their ‘Unplugged’ album — this was similar because there was no drums and this makes working on a live project much easier. I was mixing some of the greatest songs ever written and had nothing in my way. It was one of the most enjoyable records to mix ever, and with the Orion32 and 10M I was no longer fighting the technology.

When did you first begin using the Orion32 — and subsequently the 10M?

Mixerman: When my assistant told me about the Orion32, which offered 32 channels for 3000 bucks, my first reaction was, “That’s great. No way it’s any good.” Then I talked to Howie Weinberg who raved about the Antelope products, and this was certainly enough for me to try it. I felt that the Orion32 sounded certainly as good, if not better than my existing converter. But once I plugged the 10M clock into the Orion32, it was a whole different ballgame. The soundstage was deeper, wider, richer— it was super-obvious. The whole soundscape opened up and I could interpret the mix sans the usual digital impediments.

How has the Orion32 / 10M improved your workflow?

Mixerman: I have always been slightly frustrated with digital because it always seemed like I had to work harder on my mixes than I did in the analog domain. But the Orion32 and 10M has significantly helped my digital set up, to the point I feel like there’s nothing in the way of me and the music. This is the biggest step forward I’ve experienced in my rig, or in any digital environment, in quite some time. It’s easily shaved an hour off of every mix I do, if not more. It’s crazy how good this combination [Orion32 and 10M] sounds — everybody needs to get both of these products in their rigs.

What else does your current set up consist of?

Mixerman: In addition to having everything clocked with the Orion32/10M and I am running Logic X on a Mac Mini. Logic X goes out to the Orion32 via USB, which is awesome because now I don’t need to use a PCIe chassis. I have heard other people say USB is sketchy, but I’ve haven’t seen or heard any evidence of this. In fact, it’s rock solid. The Orion32 outputs go into two Dangerous summing boxes, which then go out to my SSL G384 analog compressor. I’ve got a couple of Pulse Techniques EQP1a3s in line after that, then I go right back into the Orion32 / 10M combo. I have a variety of monitors, but these days I’m using the SE Munro Egg speakers in combination with my Tannoy 800As — all of this is plugged into my Dangerous monitor section, that is until my Raven MTX arrives.

Finally, was The Daily Adventures of Mixerman fact or fiction?

Mixerman: A lot of people believe that it was based on fact, and it’s a reasonable theory. But that story was completely from my imagination. I’ve hesitated telling people that because I feel like the story unfolds better if you believe it is real, but it was completely fictitious. Basically. I’d get up everyday and start writing, and people started going crazy on the Internet. Then I would read what they said and start constructing the next chapter. I would think about things that happened to me over the years and grabbed the personalities and experiences I had among those I’d worked with. It was classic satire that got more and more outrageous as it went along. That didn’t seem to shake off a great many readers. Ah, you gotta love the internet.

About Antelope Audio:

Antelope Audio is a leading manufacturer of master clocks, A/D & D/A converters 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 circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 32-channel AD/DA USB audio interface and extremely precise master clock in only 1U. Orion32 is a breakthrough technology, offering both studio and live-recording 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.

Sabaton storms ahead with Sennheiser

Old Lyme, CT, February 19, 2014: Swedish heavy metal act Sabaton are currently preparing to head stateside in April to join two other bands – American metallers Iced Earth and the Dutch metal band Revamp – for the Worldwide Plagues tour which takes them to all four corners of the US and Canada. Sabaton will be using the tour to support their latest DVD, Swedish Empire Live. Filmed in front of 600,000+ enthusiastic fans at their headlining festival appearance at Poland’s Woodstock festival, Swedish Empire Live captures the band’s high-energy live stage show celebrating the triumph of the human spirit. Sabaton, who perform with a full complement of Sennheiser microphones and wireless systems, will be returning to European soil at the end of May where they will be headlining at some of Europe’s biggest heavy metal festivals.

Formed in 1999, in Falun, Sweden, the band’s massive popularity has remained unscathed even though many of the original members have chosen different directions. Band spokesman and bassist Pär Sundström and lead singer Joakim Brodén, whose distinctive vocals have characterised the Sabaton sound from the very beginning, remain at the core of the new line-up announced in April 2012.

When it comes to choice of equipment, microphones are a subject close to the band’s heart (not to mention vocal chords…). Sabaton uses Sennheiser microphones throughout, and for good reason according to monitor engineer Otto Kroymann. “Joakim Brodén, our lead singer, has such a wide dynamic range that we have had real problems finding a suitable microphone,” he explained. “However, when we had the chance to test the Sennheiser SKM 2000 wireless system combined with the MMD 945 capsule, we knew that our search was over. The microphone is really well suited to Joakim’s dynamic range and the sonic quality is exactly what both engineers – me on monitors and Elvis [Elfstrom] at FoH – were looking for.”

Brodén himself is very happy with the results. “I liked the feel of it from the start,” he said. “It has just the right balance for my style.” He uses a total of three handheld SKM 2000 / MMD 945 systems during the show as they have to be changed regularly to keep them dry.

As a result of this positive experience, it was decided to switch the rest of the band over to Sennheiser vocal microphones as well. “The audio quality and tone were just perfect for the whole show,” reported Kroymann. “In fact, we are also using the SK 2000 beltpack transmitters for our guitars and bass in combination with the SKM 2000/MMD 945 microphones – this was a solid choice for us from an audio point of view and also meant that we could benefit from the integrated antenna combiner of the EM 2050 and reduce the problems we had previously with RF interference.”

From here it was a logical step to move the drummer over to Sennheiser as well. “Personally, I always liked the evolution 900 Series for drums, so it was an easy choice to switch to Sennheiser for our drum kit. Once again it has been proven throughout countless shows that the high-quality sound and robust build of these mics make them a great choice for us. All in all, the entire Sennheiser package that we are using for Sabaton is working really well for our shows.”

However, Kroymann was quick to note that the sonic side of the deal is only part of the story. “In the touring industry, a lot can depend on the personal relationship with a company such as Sennheiser,” he noted. “It’s important to have the security and the peace of mind that comes from knowing that help is never far away should you need it. Sennheiser has given this peace of mind every step of the way. It’s a very good feeling to work with a company that is both willing and able to go the extra mile for us.”

Sabaton built their reputation by singing almost exclusively about historical wars and battles, a decision that was triggered after seeing the 1999 Academy Award-winning film, ‘Saving Private Ryan’. “For us it means a lot more to write about actual historical events than to make up stories,” says Pär Sundström. Topics are thoroughly researched to ensure the songs paint accurate and objective portraits of the historical event in question. Sabaton host their own three-day festival, Sabaton Open Air, in their home town of Falun during the summer, and have recently returned from their fourth annual Sabaton Cruise on the Baltic Sea, an event which sold out this year in less than a week!

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Photo credit:
Anna Dave Bertram

Moogfest teams up with Audiotool for a “Moogfest Audiotool Competition”

Audiotool launches a Moogfest Competition for producers,
Winner gets to play at Moogfest and runners up get released on a compilation

Los Angeles, CA, February 19, 2014: Starting today, Moogfest is inviting anyone to produce a track ­ using the free cloud­based audio workstation Audiotool ­ and submit it to the Moogfest Competition. The winner gets to play a set at Moogfest in Asheville, North Carolina, taking place from the 23rd to the 27th of April 2014. The winner will also, along with 7 runners up, have their tracks included on a limited edition release which will go out to the artists, VIPs and press who will be attending Moogfest.

Participants will have until the 25th of March to submit a track to the competition. A select panel including some of the Moogfest artists will then judge the tracks, with the the winner being announced on 1 April 2014.

Moogfest is the annual festival that celebrates the innovative spirit of founder Dr. Robert Moog, an American pioneer of electronic music and inventor of the Moog synthesizer. Emmy Parker, Brand Director at Moog Music Inc commented: “Moogfest represents the synthesis of technology, music and art. Audiotool’s innovative platform empowers emerging artists to create on their own terms. We are excited to offer Audiotool’s rich community of musicmakers an opportunity to be a part of Moogfest 2014.”

Since the 50s Moog Music has pioneered and developed devices that offer artists endless possibilities when it comes to creating sound. Audiotool, which started in 2008, brings together a range of retro and new school synthesizer emulations running in the browser, allowing collaboration and free access for anyone. The browser­based audio workstation is all about democratising the process of music creation and collaboration in the cloud. This partnership offers a unique opportunity to combine forces and to capitalize on the natural strengths and alignment of the two brands.

Audiotool inventor André Michelle said: “this partnership is huge for us and our users will be super excited about the chance of winning a set at Moogfest, for one just because of the incredible line­up. It’s also a unique opportunity for Audiotool users to have their music critiqued by some of the Moogfest artists.”

Submission phase: 19 February ­ 25 March
Winners announced: 1 April 2014

Grand Prize: Playing live set at Moogfest (flight, hotel and artist pass included)
1st-8th Place: Tracks will be on Moogfest 2014 compilation

More information on the contest and rules for entry can be found at: http://www.audiotool.com/contest/moogfest

About Audiotool:

Audiotool is a cloud­based audio workstation that is all about the process of music creation in an open, inspiring and collaborative way. Audiotool launched in 2010 and has since gained over 500k users. It started as a TR­909 emulation created by Andre Michelle in 2008, earning him the kudos for being one of the most innovative and capable Flash developers in the world. Andre Michelle was subsequently stalked by the idea that everyone should be able to make music through their browser. After 3 years of research and development this vision was fulfilled in the form of Audiotool. It has been awarded internationally for its design and rigorous development and has been praised by electronic music producers and the press: “You can really do everything that you would normally do in a real­world studio.” ­ Richie Hawtin

About Moogfest:

Since 2004, Moogfest has been a gathering for musicians that worked closely with Bob Moog and his instruments. In 2014, Moogfest is amplifying its vision and becoming a 5­Day event dedicated to the synthesis of technology, art and music. Moogfest honors the inventiveness of Bob Moog and the legacy of the analog synth with an experimental line up of daytime conference programming and landmark nightly performances. Moogfest takes place April 23­27th, 2014 in downtown Asheville, NC.

Some of this year’s line­up: Kraftwerk 3D: 3 Concerts, Pet Shop Boys, M.I.A, Flying Lotus, Dillon Francis, CHIC Feat. Nile Rodgers, Daedalus, YACHT.

About Moog Music:

Moog Music is the world’s leading producer of analog synthesizers. The company and its customers carry on the legacy of its founder, electronic musical instrument pioneer, Dr. Bob Moog. The company hosts Moogfest, a five­day festival celebrating the intersection of music and technology in honor of Moog’s innovative spirit. All of Moog’s instruments are hand built in its factory on the edge of downtown Asheville, NC.

NY’S QUAD STUDIOS BOW WSDG UPGRADE

NEW YORK: Ricky Hosn and Alessio Casalini, co-owners of Quad, one of NYC’s most popular and prolific recording studios, have completed a significant redesign of their Q1 Control Room. Working with Walters-Storyk Design Group architect/ acoustician John Storyk, Hosn and Casalini maximized the interior space of their primary studio, and significantly pumped up the volume of their Augspurger system.

“When the room was originally built in 2010, it centered around the producer’s production needs,” Hosn says. “We had a huge rack in the middle of the room that we used as a production desk. Today’s clients are less reliant on actual instruments and equipment; they’ve embraced software-based production. We decided to free up the back of the room and shift the racks to the side. We saw this build out as an opportunity to enhance the overall sound, look and vibe of the room. The WSDG team came up with a great redesign concept that performs exactly the way we hoped it would.”

Though Hosn has known Storyk since 2005 this marks his first time working with WSDG. “Our primary goal was to create more legroom for our 320 sq. ft. control room, and update its aesthetics to make our clients more comfortable,” he says. “We also decided to upgraded our Augspurger sound system with custom digital amps and an integrated DSP processor that provides 5000w of total power. We replaced our tweeters with new Beryllium Diaphragms, and added two 18″ subwoofers. One of the challenges of the renovation was to improve the sound quality of the room while adding a more powerful sound system. Thanks to the combined efforts of WSDG and Dave Malikpour of Pro Audio Design we achieved a sound that surpassed our expectations. Q1′s always been one of NYC’s loudest rooms,” Hosn says, “but now it’s super-powered loud!”

“This was an interesting project,” John Storyk remarked. “Quad has always had a first tier client base and a superb reputation. WSDG was pleased to be invited to re-imagine this well loved room, and that the program we devised hit the mark. As with any busy room a primary concern was keeping downtime to a minimum. From beginning to end the project took about 2 months, and we held actual downtime to under a week. We achieved that abbreviated schedule with precise planning, and by having the major components of the new design pre-fabricated off site,” Storyk says.

Hosn reports initial client reaction has been overwhelmingly positive. “The first artists in the completed room were Natalie Imbruglia, Hilary Duff and Ne-Yo, they loved what WSDG did with the room. Trey Songs and 50 Cents came through for a look and immediately booked sessions. With the renovations and our Augspurger system upgrade, Studio Q1 is undoubtedly one of the clearest and loudest sounding rooms in the city.”

A Mecca for stars ranging from Tupak Shakur to Ashanti, Nelly, and Tony Braxton, Quad Studios has called 723 Seventh Ave.its Times Square home since the early 80′s. Hosn acquired the company from original owner Lou Gonzales in 2005.

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Photos: Four views of Quad Studios Q1 Control Room redesigned by WSDG
Photo #4 features Quad Studios House Engineer “DG”
Photos by Rick Hosn

Walters-Storyk Design Group has designed over 3000 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 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, Mumbai and St. Petersburg.

Hal Leonard Releases Two New Books on Ableton Live 9

Montclair, NJ (February 18, 2014) - Sound Design, Mixing, and Mastering with Ableton Live 9 deepens, enlivens, inspires, and improves your tracking, audio production, and performance skills with Ableton Live 9. From in-depth discussions of mixing and mastering that you would expect to learn in an audio production school to inspiring recipes for audio magic and mayhem, this book is designed to help you find your way int a much larger musical world. Filled with audio-making and audio-mangling recipes, tips, and mixing and mastering techniques, it takes you far beyond the basics.

Author, mastering engineer, Ableton certified trainer and power user Jake Perrine inspires you to use Live 9 in a new ways and shows you how to improve the way you already use it. Striking a delicate balance of artistry and theory, he expands your creative repertoire for both the studio and the stage and demonstrates creative production techniques that help you get the most out of Ableton Live 9 for improvising with other musicians; sound design for music, film, theater, and games; composition; live looping; DJing; and, of course, mixing and mastering music. Along with audio samples, demo software, and insightful video tutorials, the accompanying DVD-ROM provides actual Ableton Live sessions that you can use to practice the powerful techniques presented int the text.

Sound Design, Mixing & Mastering with Ableton Live 9
$19.99 (US)
Inventory #HL 00122311
ISBN: 9781480355118
Width: 8.5″
Length: 11.0″
176 pages, DVD-ROM included

Also shipping now: Producing Music with Ableton Live 9

The unique, groundbreaking, and incredibly flexible features in Ableton Live 9 set it far apart from all other audio applications. Whether you’re making beats, remixing, live recording, DJing, live looping, producing songs, or creating sound design, electronic music, or hip-hop, Producing Music with Ableton Live 9 provides extremely important tips and techniques designed to help you succeed. Unlike other books about Ableton Live that read like a second manual, this books walks you through the features that you must understand in order to create an actual track from start to finish.

Whether you want to DJ, make mashups and remixes, play with a band, or build epic dance anthems from scratch, Ableton certified trainer Jake Perrine provides the hands-on, expert guidance you’ll need in order to produce powerful music with Ableton Live 9. A substantial appendix section offers discussions of important non-Ableton specific topics, including digital audio basics, components of a producer’s studio, considerations when buying a DAW computer, and more.

About the author
Jake Perrine, an Ableton certified trainer and WarpAcademy.com curriculum director , has been making electronic music for over 25 years. In addition, he has over a decade of experience teaching audio production at the college level. So, not only does he know what he’s talking about, he knows how to make sure you know what he’s talking about.

Producing Music with Ableton Live 9
$19.99 (US)
Inventory #HL 00122310
ISBN: 9781480355101
Width: 8.5″
Length: 11.0″
208 pages, DVD-ROM included

Both books are Hal Leonard Quick Pro Guides. Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group – please visit www.halleonardbooks.com and www.onstageandbackstage.wordpress.com

About

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