Introducing the Pure2 by Antelope Audio: A Two Channel Mastering Converter from the Authority in Clocking

Pure2 Features Best in Class Conversion Quality, Dual DAC Architecture and Acoustically Focused Clocking (AFC) Technology from Antelope’s Flagship Trinity Master Clock

Los Angeles, October 7, 2014: As part of a multi-dimensional product unveiling at the 137th International AES Convention, leading professional audio gear manufacturer Antelope Audio introduces Pure2, a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock. Pure2 builds on Antelope Audio’s mastering legacy of the very successful high-end converter Eclipse 384.

Pure2FrontThe Pure2 enables users to realize unsurpassed digital clarity and analog realism, while offering a flexible set of connectivity options and extremely efficient and ergonomic software remote control. Pure2 employs an all-new design that leverages best-in-class Burr-Brown converters and the same Acoustically Focused Clocking (AFC) technology present in Antelope’s ultra high-end Trinity master clock.

More than just a mastering converter, Pure2 comprises five distinct high performance components:

• An A/D converter with optimized overloads handling
• A D/A converter with dual DAC architecture
• A high-end headphone amplifier with a dedicated D/A
• A relay-based analog volume control for supremely accurate monitoring
• A master clock with 4th generation of Antelope’s AFC jitter management

Pure2With Pure2, clear and realistic audio quality is within reach. In addition to its first-rate conversion and AFC technology, the unit also features Antelope Audio’s pristine analog circuitry, which is driven by a proprietary, multi-stage linear power supply. When monitoring through speakers, Pure2′s relay-based stepped attenuator ensures exceptional transparency and perfect L/R balance, even at low listening levels. Additionally, Pure2′s dual-DAC technology — with separate DAC chips for left and right channels —guarantees superior stereo separation and imaging.

“As digital devices and software-based tools become more and more ubiquitous in recording and playback environments, advanced clocking and conversion technology is now a prerequisite towards getting great sound,” commented Igor Levin, founder and CEO of Antelope Audio. “Pure2 puts world class mastering functionality within the reach of just about anyone, at a fraction of what it would have cost just three years ago.”

Pure2: The New Heartbeat of Your Studio
Pure2RearWith Pure2, attaining immaculate audio quality does not have to be complicated. The device includes a highly intuitive software control panel (compatible with both Mac and PC) enabling users to manage all facets of its operation from a computer. Meanwhile, the front panel of the unit also includes user-definable presets for added routing convenience and efficiency.

Among the most exciting features of Pure2 are its unparalleled connectivity options. With several Word Clock outputs, Pure2 can function as the master clock for an entire studio and can also be locked to Antelope’s legendary 10M Atomic Clock for even greater clocking stability. Further, Pure2 can be connected via S/PDIF, TOSLINK, AES and USB, making it suitable for nearly any studio environment.

Pure2, which is a perfect standalone mastering-grade converter for any studio and live application, is scheduled to ship in late Q4 of 2014 and will be priced at $2,195.

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

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

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

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

Photo captions:
1) The Antelope Audio Pure2 is a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock.
2) Teaser video for the new Antelope Audio Pure2 mastering converter.
3) Rear panel of the Antelope Audio Pure2.

Moog Announces Worldwide Release of Werkstatt-01 Analog Synth & Online Modification Portal

Werkstatt_01ASHEVILLE, NC, October 7, 2014: Today, Moog Music announced the official worldwide release of the Werkstatt-01 Analog Synthesizer Moogfest 2014 Kit — a patchable analog synthesizer designed to inspire the exploration and modification of classic Moog circuits while delivering a myriad of vintage and new raw, mangled, and monstrous Moog tones. This highly-portable instrument is secured in a solid-steel chas-sis and features a harmonically rich Moog VCO, classic 4-pole Moog Ladder filter, wide-range LFO with audio-rate modulation capabilities, ADS envelope generator, and an analog patchable header for expansive sonic experimentation, manipulation, and decimation.

Today also marks the launch of WerkstattWorkshop.com (beta) — an interactive creative learning portal containing project ideas, mod tutorials, parts lists, educational lesson plans, 3D printer files, Arduino integration and control and many other dynamic resources for Werkstatt owners. This microsite also includes Moog’s new and ongoing research surrounding the use of subtractive synthesizers in STEM and STEAM high school classrooms. Lessons in these studies are focused on project based learning opportunities, and encouraging a creative deployment of practical skills in STEM fields. All lessons and associated materials are open source and available online free to educators across multiple disciplines.

“Analog synthesizers have long had their own maker culture born of curious engineers, physicists and hobbyists alike,” said Moog Music CEO, Mike Adams. “Bob Moog got his start at the age of 15 by studying and modifying Leon Theremin’s designs. We’d like to share our love for learning, music, and electronics to empower a new generation of makers to expand on our work and take it to levels we can’t yet imagine,” Adams said.

Werkstatt _02In April 2014, the Werkstatt-01 Analog Synthesizer Kit was made available to Engineering VIP ticket holders at Moogfest 2014, Moog’s multi-day celebration of technology, art and music. The success of the workshop at the festival prompted Moog to release a limited number of Werkstatt’s to select US dealers. Starting today the Werkstatt-01 Analog Synthesizer Kit is available and in stock at all Moog Music dealers worldwide. MSRP of $329 US

Video Links:
http://youtu.be/32wzAhNy5aY

Audio Links:
https://soundcloud.com/moogmusicinc/sets/werkstatt-o1-moogfest-2014-kit

Product Page:
http://www.moogmusic.com/products/werkstatt/werkstatt-ø1-moogfest-2014-kit

Community:
www.werkstattworkshop.com

About Moog Music:
Moog Music synthesizers and other electronic musical instruments are designed and lovingly handcrafted in the Moog factory in downtown Asheville, N.C. Moog Music and its customers carry on the legacy of Dr. Robert Moog, inventor of the Moog synthesizer and Founder of Moog Music Inc.

Sound Devices 970 Takes Audio to the Rack at AES 2014

64-Track Dante™ and MADI-Equipped Audio Recorder Features New FileSafe™ Technology to Guard Against Unintentional Drive Removal and Power Loss

LOS ANGELES, OCTOBER 7, 2014 – Sound Devices 970, the company’s first-ever dedicated audio-only rack-mounted recorder/player, makes its AES debut during this year’s convention (Location Sound Booth 1340). The 970 boasts an impressive 64 channels of Dante™ and MADI, and incorporates Sound Devices’ latest FileSafe™ technology, which recovers audio files if drives are unintentionally removed or power is lost during recording. The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording such as capture of multi-channel sound for large-scale live performance and acquisition of dialogue for TV reality shows, drama and film. Sound Devices 970 - front panel

The Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit Broadcast WAV files from any of its 144 available inputs. Inputs available include 64 channels of Audio-over-IP using Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. It is a supremely powerful tool for professionals who require a significant number of audio channels. Any input can be assigned to any of the 64 tracks and any of these tracks can be routed to any output. In addition, 32-track recording at 96 kHz is supported.

The 970 records to up to four attached drives, which include two front-panel drive caddies 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.

Sound Devices FileSafeFileSafe, which automatically detects and repairs corrupted file headers when drives are mounted, is incorporated directly into the 970. During recording, data is written to a proprietary Sound Devices file format optimized for high-data rate, real-time audio recording using an ‘.sda’ file extension. When a recording ends, files are automatically “finalized” by converting the ‘.sda’ files to standard ‘.wav’ files. In the event that files cannot be finalized, whether due to power loss or inadvertent drive disconnection, they still remain intact on the drive. Users can recover these files by simply inserting the drive back into the 970. In the absence of the 970, the FileSafe Mac or PC utility, available as a free download (http://www.sounddevices.com/products/filesafe/), can be used to recover files that have not been finalized.

In addition to RS-422 and GPIO control, the Sound Devices 970 features an embedded Web-based control panel for remote transport and setup control from any browser-enabled device as well as the ability to remotely instigate file transfer over Gigabit Ethernet with SMB. In mission-critical audio-over-IP AV installations, where hundreds of audio channels are distributed between zones, the ability to setup a redundant Dante network to protect against loss of audio due to network failure provides peace of mind. The ability to have one drive transferring files over Ethernet, while another continues recording, offers significant production time savings.

Users can perform fast file metadata editing of scene name, take number, notes, track names, circle status and reel folders during, before and after recording across all drives. Metadata is stored in industry standard Broadcast Wave iXML and bEXT containers.

With its vast array of input and output types, the 970 allows for live conversion between analog, AES digital, MADI and Dante, acting as a bridge and routing matrix between these types of audio I/O. The built-in, rock-steady Ambient Recording Lockit time-code technology makes the 970 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 external synchronization from word clock, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

Sound Devices 970 is designed with a large five-inch screen for large, easy-to-read, full scale metering of up to 64 tracks and for fast and intuitive menu control. It also features the Sound Devices 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.

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.

Middle Atlantic Names Colindres As Western Regional Sales Manager

Fairfield, NJ––Middle Atlantic Products has appointed Marco Colindres as Regional Sales Manager for the Western Region. Colindres’ territory includes the Pacific Northwest, Northern California, Northern Nevada, and the Rocky Mountains (Wyoming, Montana, Colorado, Utah and New Mexico) for all market segments.

With extensive sales and marketing experience in the CE, Custom Install and Commercial markets and special expertise in the Power category, Colindres held several key positions at CORE Bands including Ecommerce Sales Manager, National Sales Training Manager and Special Products Marketing Manager prior to joining Middle Atlantic.

Colindres also served as National Sales Manager and Product Area Manager-Cable for Monster Products and headed up his own sales rep firm, Pride of Hawaii Sales Group in Honolulu. His educational background includes an MBA in Business Administration from San Francisco State and a BS in Business Administration Marketing from the University of San Francisco.

Commenting on Colindres’ appointment, Middle Atlantic Sales Director Whitt Adams said, “In addition to his extensive sales and marketing background and technical expertise in key market segments, Marco’s energy, passion and commitment to our customers is what really sets him apart. The fact that he’s become such a valuable asset for Middle Atlantic and our team in a such a short time comes as no surprise.”

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

Middle Atlantic Products has been part of the Legrand group since its acquisition in 2011.

Legrand is the global specialist in electrical and digital building infrastructures. Its comprehensive offering of solutions for use in commercial, industrial and residential markets makes it a benchmark for customers worldwide. Innovation for a steady flow of new products with high added value and acquisitions are prime vectors for growth. Legrand reported sales of close to $5.8 billion in 2012. Legrand has a strong presence in the North American market, with a portfolio of well-known product lines that include Cablofil, Electrorack, Middle Atlantic, NuVo, On-Q, Ortronics, Pass & Seymour, Vantage, Watt Stopper and Wiremold. The company is listed on NYSE Euronext and is a component stock of indexes including the CAC40, FTSE4Good, MSCI World, ASPI and DJSI (ISIN code FR0010307819). www.legrand.us

Barix to Stream Festival of Lights Broadcast in Germany

Audio over IP streaming solution to deliver historical recordings and other special content in remembrance of the Peaceful Revolution

ZURICH, SWITZERLAND, October 7, 2014 – Audio over IP technology from Barix will help the Festival of Lights in Leipzig, Germany celebrate the Festival of Lights on October 9, 2014 with citizens and prominent political representatives, in recognition of the 25-year anniversary of the Peaceful Revolution. Barix is working with online radio broadcaster detektor.fm to revive the former Leipzig City Radio, developing an Audio over IP streaming architecture to broadcast sound collages, musical treasures, features and other original recordings about the Peaceful Revolution and generation of ’89. The Barix streaming solution will be deployed within the “City Radio Media Room” studio, delivering broadcast content from 10 Exstreamer IP audio decoders to various playout points across the festival.

Exstreamer100_FrontAngle_press

As an emotional highpoint of the many historical remembrance events organized by Leipzig Tourismus und Marketing GmbH, the Festival of Lights is extending across the entire inner city ring road for the first time. It documents the historical route of the Leipzig demonstrations, and establishes links between the events in 1989 and 2014 along the route through a broad diversity of projects, performances and projections.

In addition to broadcasting original recordings as part of the special listening experience, contemporary witnesses, historians and ambassadors from other countries will be speaking about the events then and now. Inspired by the spirit of the Peaceful Revolution, visitors to the Festival of Lights are invited to become part of the broadcast, along with Festival of Lights artists introducing their projects throughout the event. The audio streams presented by detektor.fm will then be broadcast between 6am and 7pm at all of Leipzig‘s LVB public transportation stops within the inner ring road of Leipzig.

NATURTON audiodienste GmbH is assuming responsibility for technical implementation of the radio system at stops and stations. Involvement in the Festival of Lights is a personal desire for the company’s CEO Adrian Neumann, who is pleased to deploy the Barix IP streaming solution during the Leipzig Festival of Lights.

“Knowledge gained from my data teleprocessing days is has provided me with experience about how to relay an audio signal through an IT network, which is what we are ultimately doing at the Festival of Lights,” said Neumann. “This is where LTE transmission and IT streaming, and legacy amplifier and loudspeaker technologies are being united – like my education in the East and my career in the West. This is why the project is very exciting for me.”

Barix offers the ideal solution for the streaming architecture due to its support of numerous protocols, encoding methods and application-specific firmware. The Barix Exstreamer continues to be a leading choice for radio (terrestrial and online), VoIP and other related applications worldwide, with tens of thousands of deployments worldwide.

“The Barix IP streaming solution is ideal for the deployment planned at the Leipzig Festival of Lights,” says Frank Frederiksen, COO of the Zurich-based company. “We are extremely glad to be able to support the festivities surrounding the memorable events in the autumn of 1989. The Peaceful Revolution and the accompanying end to the Cold War also associate us in Switzerland with a transition to a new global era. In this respect, being part of this wonderful event is a matter close to our heart.”

Please visit www.lichtfest.leipziger-freiheit.de for more information on the Leipzig Festival of Lights, the program and additional material. The radio station is inviting all interested parties to join in on the broadcast, and is calling for people to get involved in the program via social networking and the interactive detektor.fm app by contributing their personal experiences.

Barix: We Move Audio (www.barix.com)
Barix provides system integrators and end customers across the globe with simple and reliable solutions and components. We relay high quality audio over IP networks, and so have been enabling our customers for longer than 10 years now to benefit from the hundreds of thousands of devices installed the world over. The range of applications for Barix solutions is diverse, ranging from the distribution of background music with dynamically inserted advertising for the retail industry, bars and hotels, and PA systems for schools and public areas, to intercom and entry systems for building surveillance, protection and security. Barix is also providing support in OEM projects for more than 500 companies across the globe.

# # #

Barix AG, Seefeldstrasse 303, 8008 Zurich, Switzerland
Tel: +41 (0)43 43322 11, Fax: +41 44 2742849
Barix Technology Inc, St. Paul, MN, US – +1 (0)866 815-0866

http://www.barix.com

http://www.ip-audio.info

RTW Mastering Tools PlugIn Makes US Debut at AES 2014

Additional Loudness Solutions on Display at Avid Connectivity Partner Pavilion

LOS ANGELES, OCTOBER 6, 2014 – RTW, the market leader in visual audio meters and monitoring devices, will showcase its RTW Mastering Tools, the second plugin in its Masterclass PlugIns line of software-based metering solutions, at the 137th AES Convention (Avid Connectivity Partner Pavilion Booth 1101). Ideal for post production, TV, film and music recording, the new addition brings extensive analysis and display functions for mastering, metering and loudness measurement for single- and up to eight-channel applications as a standard-format plugin for Windows and Mac OS platforms, including AAX Native 64-bit plugin for Avid ProTools 11. RTW_Mastering_Tools

Designed for simple, intuitive operation by a broader user base, RTW Mastering Tools offers a wide range of PPM scales, displays and TruePPM measurements. As with all of RTW’s software plugins and TouchMonitor line of meters, RTW Mastering Tools provide support for many of the leading global loudness standards including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act. Other key features include numerical or bar graph-type readout, plus MagicLRA and correlator display, audio vectorscope, RTA (Real Time Analyzer), SSA (Surround Sound Analyzer) and multicorrelator. For added convenience, users can choose from up to six selectable window frame sizes and multiple instances.

“We are thrilled to introduce our new RTW Mastering Tools software to our friends in the U.S., especially as part of Avid’s Connectivity Partner Pavilion at AES,” says Andreas Tweitmann, CEO, RTW. “Our plugins put a very powerful tool for mastering, metering and loudness measurement into a convenient, easy-to-operate software package, adding further efficiency to the overall workflow. Having them available for use right within Avid ProTools is an exciting step for us and we are happy to join our new partner during this year’s show.”

RTW_Mastering_Tools_Box
Also on display will be RTW’s Masterclass PlugIns Loudness Tools software (also available as an AAX Native 64-bit plugin for Avid). RTW Loudness Tools was designed to serve the needs of users in the DAW sector. Finally, RTW will also demo its TM3-Primus, the latest entry to its smart product category, a compact, fully-loaded specialized meter at an entry-level price point, perfectly suited for individuals working in smaller production environments such as OB vans.

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.

Westlake Pro Posts Tony Shepperd Mixing Master Class Videos

First installments of video series now available on YouTube

Los Angeles, CA (October 7, 2014) – Westlake Pro, a leading retailer of professional audio, recording, live sound equipment, and technical services has posted the first two videos in a new Mixing Master Class series with veteran mixing engineer Tony Shepperd.

TonyShepperd

Shepperd, a prolific engineer who has recorded and mixed such music heavyweights as Take 6, Whitney Houston, Quincy Jones, Diana Ross, Madonna, Kenny Loggins, Boyz II Men and more, deconstructs his mix of Sheléa’s hit single I’ll Never Let You Go as he talks about his workflow and his vocal production technique, which have become his specialty over the past two decades.

“It was an honor for us to host Tony Shepperd,” said Peter Malick, Director of Online Content for Westlake Pro. “The depth of knowledge that he shares with our customers and viewers is a testament to his willingness to further the craft of recording, mixing, and producing.”

Co-sponsored by A-Designs Audio, the master class was filmed at Westlake Pro in Los Angeles in front of an overflow crowd of more than 100 local musicians, producers, and engineers and is divided into 14 videos of easily digestible content and cover a wide variety of mixing topics. Shepperd’s relaxed presentation style demystifies complex mixing concepts and he takes questions from the audience throughout the series as well as during a Q&A at its conclusion.

The Tony Shepperd Mixing Master Class video series can be found on Westlake Pro’s YouTube channel at: https://www.youtube.com/playlist?list=PLWvgCiRlNKN9Ef94nM302FlrBS3Rv-o73

About Westlake Pro
Based in Los Angeles, Westlake Pro specializes in business-to-business and retail sales of professional audio and video equipment, broadcast equipment, video editing software, recording software, computers, musical instruments and live sound application products. The company also provides technical services from complete studio design to live sound system design. Westlake Pro serves the Post Production, Broadcast, Music Production, Educational, House of Worship and Government markets.

For more information, visit http://www.westlakepro.com.

The Black Keys Turn Blue with Sennheiser

Old Lyme, CT, October 6, 2014: Overnight success was slow in arriving for Ohio garage rock duo, The Black Keys (TBK). The band was active for over a decade in small clubs on the Midwest indie circuit before the big time finally caught up with them in 2010 with the release of their sixth album, Brothers, and its quirky hit single “Tighten Up”. “We accidentally took off,” remarked TBK’s drummer, Patrick Carney. “We weren’t expecting that.” Nevertheless, they’ve had to get used to it as record sales and popularity have climbed steadily ever since, to the point where their eighth album, Turn Blue, released in May 2014, debuted at number one in the U.S., Canada and Australia, the band’s first record to top the album charts anywhere. The band is currently in the midst of their Turn Blue worldwide tour complete with a full range of Sennheiser microphones specified by their long-time FoH engineer, Jason M. Tarulli, and fully endorsed by monitor engineer Rob Elliot.

The Black Keys - Patrick Carney-photo credit Chris IsaacTarulli has been with the band since their early days, starting out in small Ohio clubs and living out of the back of a van. He clearly did a good job as Carney and the other half of the duo, guitarist and vocalist Dan Auerbach, have remained loyal to him throughout. Tarulli experienced the meteoric rise to fame right alongside the band, learning as they learned how to transition from small and medium-sized clubs to sold-out 10,000-seater arenas. Naturally, that has had a certain impact on the kind of gear available to the band: “It’s great to be able to choose what we want after so many years of having to make do with anything and everything!” said Tarulli. “As far as Sennheiser is concerned, this is the first tour where we’ve had Sennheiser gear throughout, and so far it’s been great.”

The Black Keys’ production manager Anthony Pitcher is a long time Sennheiser friend and was instrumental in cementing the relationship with Jason Tarulli and Rob Elliot. “I’ve used the Sennheiser line exclusively for years,” said Pitcher. “It wasn’t a tough sell with my audio team – they’re brilliant engineers who already had a thorough knowledge of the product line. It was just up to me to bring it to the table for this band.”

The Black Keys - Dan Auerbach-photo credit Chris Isaac“Overall, I’m really into the classic sound and feel of Sennheiser mics like the MD 441, 421 and the e 906,” said Tarulli. “I went for a combo of e 906 and MD 421 for Auerbach’s main guitar rig, with the 906 placed near the centre of the cone to get all the mid/hi-mid details plus the crunch and fuzz that comes from the Marshall amp and Fender guitar, and the 421 placed midway or nearer to the outer edge of the cone to get the low-mid warmth. Blended together, that makes for a nice, full, big-sounding guitar. I’ve got a 906 on the rhythm guitar because it’s a great mic for guitars, (actually, I think the 906 is an all-round great mic, period. You could use it for almost anything loud and it would sound fantastic) and a 421, the classic bass guitar mic, on bass. You can’t really go wrong with this choice, the 421 has excellent low/low-mid response.”

For the drums, Tarulli explained that as Neumann microphones had been used for making the records, the idea was to carry some of them over for the live drum sound in conjunction with Sennheiser equipment. He opted for an e 901 and e 902 for the kick drum, stating them to be respectively, “a good, solid inside kick mic to get the sound of the attack and the drum shell tone and the outside mic to get more of the drum head sound.” He went for an MD 441 on the snare (“a solid mic with good rejection”) and a Neumann KM 184 on the hi-hat which he described as “a small condenser mic that gets the sizzle of the hi-hats without sounding thin.” He also went for KM 184s as overhead mics. “The KM 184 is an excellent small-diaphragm condenser with good detail – the cymbals are full sounding, not thin or washy and it also complements the microphones on the rest of the kit for a more natural feel,” he explained.

TBK Dan Auerbach-photo credit Chris IsaacFor the rest of the kit, Tarulli decided on an MD 441 for the cow bell: “Overkill? Maybe!” he laughed, “but it really makes the cowbell feel full and even. Also, I can push the fader up when things get quiet to add a little extra ambience to the snare.” His final choice regarding the drum kit was an e 904 for the tom-toms, which is perhaps the choice he is the most pleased with. “The biggest problem I had for a while was with the tom mics,” he recalled. “I love mics like the 421 for toms, but mics that size can be difficult to focus and the stands can be clumsy and take up too much real estate on the drum riser. Most drummers can’t help but hit them…. sometimes fatally! The 904 solved all my problems – it’s compact, clips easily onto the drum, won’t come loose or fall off, even after the occasional wild hit from a drumstick, and sounds great.”

Engineers-photo credit Chris IsaacLast but not least, Tarulli decided on e 945s for both the tambourine and main vocals. “The 945 is a good all-round mic with excellent rejection and proximity effects,” he remarked. “The tambourine comes through really well, even in the midst of a loud stage, and it does the same job for the vocals, resulting in nice clear vocals and a crisp-sounding tambourine.”

Rob Elliot, an experienced UK monitor engineer (The Cure, Gomez) has been working with The Black Keys since July 2013. He cheerfully admits that Tarulli was responsible for specifying all the mics. “Jason has been with them forever, so it’s perfectly natural that he should specify the gear. That said, I think he made an excellent choice, so I’m more than happy.”

The final word went to Sennheiser Canada’s Chris Isaac who handles artist relations and has been looking after the band: “It’s great to have The Black Keys on board,” he said. “They are a fantastic rock duo with great stage presence who never fail to bring the house down with their live performances wherever they go. They also happen to be really cool guys, along with their team, who are a pleasure to work with.”

The Black Keys are currently working their way round the US before breaking for Christmas and a month off. In February they will embark on a second European leg and finish in Australasia.

The Sennheiser Group, with its head office in Wedemark (Hanover Region) is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2013 the family company, which was founded in 1945, realised a turnover of around 590 million euros. Sennheiser has more than 2,500 employees worldwide and operates its own factories in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Lichtenstein, 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. The company Georg Neumann GmbH, Berlin (studio microphones and monitor speakers) and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres) are also part of the Sennheiser Group. You can find further up-to-date information about Sennheiser online at www.sennheiser.com.

Photo captions:
1: Patrick Carney of The Black Keys relies on Sennheiser and Neumann microphones for his drumkit

2: TBK’s guitarist and vocalist Dan Auerbach with his e 945

3: TBK’s FoH engineer Jason M. Tarulli (l.) and monitor engineer Rob Elliot

(Photo credit for all images: Chris Isaac)

Antelope Audio Introduces MP32: 32 Channels of Transparent, World Class Microphone Preamplifiers in a Compact 2U Rack Design

MP32 is the Ultimate Front-End Recording Device for both Live and Studio Applications and the Perfect Companion to Antelope’s Orion32 Interface

Los Angeles, October 6, 2014: As part of its product unveiling at the upcoming 137th International AES Convention, leading professional audio gear manufacturer Antelope Audio announces the MP32, a 32-channel, console-grade microphone preamplifier with integrated software control. Housed in a 2U rack space, MP32 is specifically designed to complement Orion32′s precise conversion and ensure even greater transparency while recording.

mp32plusorion32The combination of the Orion32 and MP32 — totaling just 3U in rack space — make it a perfectly suited solution for studios and live recording where rack space can be a precious commodity. The new MP32 expands on the analog preamplifier circuit design of the recently launched Zen Studio, which includes 12 studio quality mic preamps.

“With the MP32, the key idea was to incorporate an holistic approach,” says Antelope’s founder and CEO, Igor Levin. “Instead of considering a mic pre to be a disparate element, it should be viewed within the framework of the overall structure which comprises the A/D converter, its drivers and the pre itself. The result is that the entire system works in harmony, ensuring sonic integrity throughout the entire recording chain: from recording, to conversion, and playback.”

Quality and Versatility On the Road, in the Home or in the Studio
mp32videoEach of the class-A preamps on the MP32 feature phantom power and four of them can operate as Hi-Z instrument inputs. By using the MP32′s control panel (compatible with both Mac and PC), users can manipulate each of the unit’s input types and mic gain levels remotely. Even more, audio engineers are able to save and easily recall their own presets for various situations, making workflow more efficient. The individual V/U style metering provides instant signal confirmation at the glance of a computer monitor.

mp32rearEach preamplifier on the MP32 was designed to be open and transparent, introducing an increased level of sonic realism in recorded material. The unit offers excellent headroom and up to 65 dB of gain in 1 dB steps: more than enough power for even the most demanding ribbon mics. Since the MP32 is so compact — yet uncompromising in its quality and feature set — it offers an economical solution for modern engineers and producers to increase both quality and channel count at the input stage, whether they are operating a DAW-based project studio, a state of the art commercial studio, a laptop-based live rig or a multi-channel remote recording truck.

The MP32 is scheduled to ship later in the forth quarter of 2014 and will be priced at $2995, with a special discount available for Orion32 owners.

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

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

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

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

Photo Captions:
1) The Antelope Audio MP32 is specifically designed to complement Orion32′s precise conversion and ensure even greater transparency while recording.
2) Rear panel of the new Antelope Audio MP32.
3) Teaser video for the new Antelope Audio MP32.

Deadline for AES137 Pre-Registration Extended to Midnight, Monday, October 6 – Last Chance for FREE Exhibits-Plus Badges and Discounted Premium All Access Badge

New York, NY, October 3, 2014 — If It’s About Audio, It’s At AES!, and pre-registration for FREE Exhibits-Plus badge and discounted All Access badges is wrapping up on Monday, October 6, at midnight. Now is the time to register to be a part of the world’s largest gathering of audio professionals for three days of exhibits and four days of workshops, technical papers, program content, and the latest audio gear. The AES137 Convention is taking place October 9-12, 2014, at the Los Angeles Convention Center – come be a part of our largest West Coast convention in 10 years! Click Here to get your FREE Exhibits-Plus Badge or discounted All Access Badge today.

The AES invites you to join us for opening ceremonies on the first day of the show, Thursday, October 9, featuring a keynote by acclaimed engineer, musician and record producer Alan Parsons and a presentation of awards to industry leaders. Friday’s keynote speech will be given by Neil Portnow, President/CEO The Recording Academy®, The GRAMMY Foundation® and MusiCares. Additionally, top audio professionals including Bob Ludwig, Andrew Scheps, Ed Cherney, Chris Lord-Alge, Lisa Loeb, Jack Joseph Puig, George Massenburg and others are slated as featured speakers at the convention’s many special events, sharing their unique perspective with show attendees.

Other highlights of the AES137 Convention are set to include:

- Product Studio Expo: a popular series of practical training events taking place on the exhibition floor targeted to the burgeoning market of project and home studio facilities around the world.

- Live Sound Expo: offering expert advice for the broad spectrum of live sound engineers with an emphasis on the practical, bringing professionals with decades of experience to the stage to inspire and educate attendees.

- Hi-Res Audio Sessions: A six-hour program presented in association with the Digital Entertainment Group (DEG), featuring panels and sessions addressing the current and future direction of hi-res audio with the top players in the music and consumer electronics business.

- The Latin Panel: “Great Producers from Latin America” (in Spanish), top producers share their perspective on the hot music scene in Latin America.

- DTV Audio Group Forum: The Implications of Streamed Content Delivery on the Evolution of Television Audio Services, leaders in the Broadcast Industry share insights on the future of television sound.

- Platinum Engineers Panel: with special guests Dave Pensado and Herb Trawick (co-hosts of popular weekly internet series Pensado’s Place), discussing studio technique and engineering as well as the pressures of creating online television.

- Platinum Mastering Panel: moderated by legendary mastering engineer Bob Ludwig, discussing hi-res audio from the perspective of those making the music.

- Richard C. Heyser Memorial Lecture: presented by legendary game audio director and composer Marty O’Donnell shares his experience working on the Halo series and the challenges of nonlinear media.

- Chicks in the Mix: moderated by acclaimed producer and mixer Chris Lord-Alge, featuring a panel of well-known female industry professionals, including Lisa Loeb, Emily Lazar (September Mourning lead vocalist) and others discussing the unique challenges faced by women in this industry.

- GRAMMY® SoundTables: “Songs That Move The Needle: Producers on Producing,” moderated by Ed Cherney, featuring Alex da Kid, Don Was, Niko Bolas, No I.D., and Michael Brauer.

- Sound Is the Conduit to the Artist Heart: presented by acclaimed producer/engineer/technologist Jack Joseph Puig, a panel discussing the intersection of pro audio and mobile and what is the future of audio considering this paradigm shift.

Registration
Two badge packages are available: the Exhibits-Plus Badge (free) and the All Access Badge.

Exhibits-Plus badges are your free ticket to attending the AES Exhibition. Additionally, your Exhibits-Plus badge will give you access to Project Studio Expo, Live Sound Expo, Special Events and more. Best of all, Exhibits-Plus badges are completely free! (advance registration required.)

All Access badges are available to anyone looking to take their knowledge and professional career to the next level. AES will once again be the meeting place for the top names in audio engineering to deliver a diverse program of workshops, tutorials, papers and more on the latest developments in professional audio. All Access badge-holders may attend all on-site AES events. (Tickets for tech tours cost extra and can be purchased on-site.)

For further information about the FREE Exhibits-Plus badges, premium All Access badges, Technical Program, complete list of events and more, visit http://www.aes.org/events/137/.

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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