Sound Devices Brings Complete Range of Rack-Mounted Video and Audio Recorders into Focus at CCW 2014

Video Devices PIX 270i and PIX 250i and Sound Devices 970 Address the Multiple-Source Audio/Video Needs of Today’s Large-Scale Productions

New York – Sound Devices, along with its new video-products brand Video Devices, will showcase its full complement of rack-mounted production decks, including the Video Devices PIX 270i and PIX 250i video recorders and Sound Devices 970 audio recorder, at CCW 2014 (Booth 1240).

Seamlessly replacing tape- and disc-based video decks, the PIX line of IP-connected video decks with FileSafeTM and PowerSafeTM are a complete offering addressing a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live events and mobile truck production. In addition, at CCW, Sound Devices will feature its first-ever dedicated, audio-only rack-mounted solution, the 970, which boasts an impressive 64 channels of Dante and MADI. The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording.

Video Devices’ PIX 270i and PIX 250i recorders offer significant advantages and time-savings for production workflows, providing tapeless, file-based recording and playback with the ability to access and transfer high-quality files over gigabit Ethernet. The units record edit-ready Apple ProRes (up to ProRes4444) or Avid DNxHD files, and allow simultaneous multiple-drive recording, giving production staff the peace of mind of rock-solid redundancy and backup capabilities (four drives for PIX 270i and two drives for 250i). Their extensive audio capabilities, including 64 channels of both MADI audio and Dante audio-over-Ethernet for PIX 270i, and PIX 250i’s 16 tracks of audio, make each unit a comprehensive, cost-effective replacement for complex video servers, and an effective tool for high-performance video production.

Both PIX products feature extensive network connectivity, and can be connected over Ethernet for simultaneous, frame-accurate grouped recording and playback, delivering a cost-effective, scalable solution addressing the multiple-camera recording and multiple screen playback needs of today’s productions. Any number of units can be grouped, controlled and configured as a single system from either the hardware or the built-in Web browser-based control panel, PIXNet.

Video Devices’ PIX 270i and PIX 250i and Sound Devices’ 970 all feature the company’s proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. In addition, these newest rack-mounted products feature FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. If a drive is inadvertently removed during recording, the user can simply reinsert it to repair the files automatically.

The PIX 270i and PIX 250i include high-performance hardware scalers and frame-rate converters allowing recording of up-, down- or cross-converted 3G-SDI or HDMI signal at the same or a different frame rate. Hardware-based 3:2 pull-down removal is also available. With its built-in Ambient Clockit time-code generator/reader with genlock output, the PIX line is designed for multiple-camera and double-system sound applications. In addition to generating ultra-stable time-code, time-code can be read from the SDI stream, the HDMI stream or external sources. Its convenient 1/2-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through a four-pin XLR connector. The PIX 270i offers a secondary DC input for power supply redundancy.

A powerful tool for professionals requiring a significant number of audio channels, Sound Devices’ 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. These inputs include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying and allows for continuous long-form, high-track-count recordings.

With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is ideal for operation as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports word-clock synchronization from external word clock, video sync, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

The Sound Devices 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names, and reel folders can be done during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also allows for format conversion between analog, AES digital, MADI and Dante.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

Sound Devices 970 Audio Recorder Earns NAMM TEC Award Nomination

Company’s First Dedicated Rack-Mounted Audio Recorder Features 64 Tracks of Dante and MADI

REEDSBURG, WI, NOVEMBER 4, 2014 – Sound Devices, specialists in professional audio and video products, is pleased to announce that its 970, the company’s first dedicated rack-mounted audio recorder, which boasts an impressive 64 channels of Dante and MADI with FileSafe™ technology, has been nominated for the 30th Annual NAMM TEC Awards in the category of Outstanding Technical Achievement, Recording Devices.Sound Devices 970 - front panel

Founded in 1985, and presented by the TEC Foundation for Excellence in Audio, the TEC Awards are the longest-running awards show specifically recognizing outstanding achievement in product innovation and sound production. The awards ceremony will take place on Saturday, January 24, during the 2015 NAMM Show, one of the world’s largest global music industry trade shows, held annually in Anaheim, CA.

“We are honored that the 970 has been nominated for the prestigious TEC Award,” says Paul Isaacs, VP Marketing and Product Design, Sound Devices. “It’s great to receive such recognition from the professional audio industry for our first dedicated rack-mounted audio recorder. For audio professionals requiring a significant number of audio channels, the 970 is an incredibly powerful and flexible tool, backed by Sound Devices’ reputation for high-quality audio and reliability.”

A half-rack, 2U audio recording device, the Sound Devices 970 simplifies any application requiring high-quality, high-track-count audio recording, including live musical productions, concert recordings, and drama- or reality-based productions. Incorporated into the 970, FileSafe recovers audio files if, during recording, drives are unintentionally removed or power is lost.

Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. These inputs include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying, and allows for continuous long-form, high-track count recordings.

With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is well-suited to operate as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports word-clock synchronization from an external word clock, video sync, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

The Sound Devices 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names and reel folders can be performed during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also operates as a bridging interface between analog, AES digital, MADI and Dante connectivity.

Additionally, the Sound Devices 970 features the company’s proprietary PowerSafe™ technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. In addition, 970 features FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. Should this occur when a drive is inadvertently removed during recording, the user can simply reinsert the drive and FileSafe will automatically repair the files.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Berlin-Adlershof, Germany. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

Pro Sound Effects Releases Enhanced Hybrid Library + Expansion Program

100 Units Available for Freelance Sound Designers through Dec. 31

NEW YORK, NY – Pro Sound Effects®, the next level sound library company, has released its enhanced Hybrid Library™ and new Expansion Program for freelance sound designers and independent media creators worldwide.

Since 2012, Pro Sound Effects has supported freelancers by providing access to a big feature, big studio library ($10,000 value) at an affordable price ($1,500).

Now through December 31st, Pro Sound Effects is making 100 more Hybrid Library units available to qualified sound designers who apply and qualify for freelancer pricing. In addition, all Hybrid Library owners gain access to the Expansion Program, which ensures the Hybrid Library is continually updated.

“We really stepped up our features this year,” says Douglas Price, Founder & President of Pro Sound Effects. “Our goal is to continually improve our Hybrid Program so it lives up to its reputation as both the ‘Robin Hood of Sound Libraries’ and ‘the Sound Designers Secret Weapon.’”

Hybrid-Library-Sound-Effects-Hard-Drive-2014

Hybrid Library Key Features:
- 56,477 Sound Effects on Hard Drive: 338 GB of professional sound delivered on flashy Hybrid-branded USB 3.0 hard drive
- Spans the Sonic Spectrum A to Z: Categories include Ambiences, Animals, History, Nature, Science Fiction, Technology, Warfare and beyond
- World-Class Recordists : we curate sound effects content from the top recordists and sound designers including Blastwave FX, BBC, BOOM, Foundation, Sound Control SE, and beyond
- Online Access to 215,000+ sounds from any computer through the Pro Sound Effects Online Library
- Masterful Metadata for lightning fast, pinpoint searches
- Free Annual Updates: 2014 Update includes 400 new sounds (6.4 GB) from Blastwave FX plus enhanced metadata
- 100% Royalty-Free Lifetime License

View full Hybrid Library features, videos, audio demos & reviews here.

Hybrid-Library-Sound-Effects-Expansion-Flash-Drive-2014

Expansion Program Key Features:
The Expansion Program provides freelancers with a simple, cost-effective way to ensure that their sound effects selection and software toolset is continually refreshed. Developed with feedback from Hybrid Library owners and curated by the PSE Library Team, Expansions 1 and 2 are robust sound effects compilations available only to Hybrid Library owners.

- Expansion 1: New Room Tones, Ambiences, Footsteps, and Foley; 10,856 sounds (54 GB) on 64 GB USB Flash Drive.
- Expansion 2: 1,000 hand-picked BBC Ambiences, Outdoor Impulse Responses, and Production Elements; 2,721 sounds (62 GB) on 64 GB USB 3.0 Flash Drive.
- Soundminer Add-On: Search, Audition, Drag-n-Drop to application

View Expansion Program features & demos here.

Pricing & Availability:
Through December 31, 2014, 100 Hybrid Library units are available for $1,500 ($10,000 value). Expansions 1 and 2 are available $500 each ($2500 value each).

Existing Hybrid Library owners will be emailed the 2014 Free Update and this will also be posted in the Hybrid Library Owner Forum.

See http://www.prosoundeffects.com/pse-hybrid-library for more information.

About Pro Sound Effects:
Pro Sound Effects curates and delivers the Next Level sound effects library for media producers worldwide. The Pro Sound Effects Library is 220,000+ royalty-free sounds effects available both online and on hard drive. The Library spans the entire sonic spectrum and is continually updated. Founded in 2004, Pro Sound Effects is relied upon by top freelancers and big media production companies worldwide.

Audio-Technica Offers Dante™ Network Microphone Desk Stand

ATND8677

— Audio-Technica’s ATND8677 Microphone Desk Stand with Dante network output transmits audio and control data together over the Dante™ network protocol —

STOW, OH, October 30, 2014 — Audio-Technica, a leading innovator in transducer technology for over 50 years, offers its new ATND8677 Microphone Desk Stand with Dante™ Network Output. The ATND8677 Microphone Desk Stand fits gooseneck microphones with standard XLRM-type outputs, offering installers previously unavailable simplicity in adding gooseneck microphones to Dante audio networks. The new ATND8677 joins the ATND971 Network Boundary Microphone, launched earlier in the year – the world’s first two such products to offer Dante network functionality in this manner.

Removing the need for a separate standalone Dante audio interface, while adding a useful integrated switch with indicator functionality, the ATND8677 connects directly to the audio network via standard RJ-45 connector and structured cabling, allowing for flexibility in installation and quick re-locations.

Audio-Technica has been working closely with industry leading DSP manufacturers such as Biamp® and Symetrix™ to ensure complete GPIO-Over Dante Enabled Control software integration for simple, flexible operation without the need for analog audio and control cabling.

The sturdy metal base features a 3-pin XLRF-type in and Dante network output, a capacitive switch with a green/red LED light switch surround, switchable gain (+30dB/+40dB/+50dB), phantom power and selectable toggle/momentary switch operation. Features UniGuard® RFI-shielding technology and UniSteep® low-cut filter.

Now with two groundbreaking network microphone products launched during 2014, Audio-Technica is demonstrating its commitment to both the network audio segment in general and the Dante communications protocol.

The ATND8677 will be available November 2014 with a U.S. MSRP of $598.00.

For more information, please visit www.audio-technica.com.

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

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

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

Highlights included:

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

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

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

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

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

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

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

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

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

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

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

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

56th Annual GRAMMY Awards - Press Room

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

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

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

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

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

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

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

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

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

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

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

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

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

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Photo Sonnox BOGOF Promo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GatesAir Transitions WRLY-LP to Intelligent IP Networking Solution

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

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

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

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

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

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

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

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

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

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Groove3 Unveils $99 All Access Annual Web Pass

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

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

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

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

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

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

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

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

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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