WHEATSTONE AND AUDIOARTS ENGINEERING LOOK TO EQUATOR AUDIO FOR SONIC ACCURACY

*** Jeff Keith in Wheatstone’s audio processing lab ***

New Bern, NC – March 2014… As one of the world’s premiere designers and manufacturers of professional broadcast audio equipment under the Wheatstone and Audioarts Engineering brand names, Wheatstone Corporation’s product development labs exercise the most stringent quality control procedures at every step of the development cycle. For this reason, the ability to know precisely how something will sound is a mission critical consideration throughout the development process. To ensure the sonic accuracy of each and every product the company releases, extensive testing and evaluation takes place—and central to this process are D5 and D8 studio reference monitors from San Diego, CA-based Equator Audio.

Jeff Keith, CPBE, NCE, is the Senior Product Development Engineer at Wheatstone Corporation and is the engineer primarily responsible for the development of the company’s audio processing products. Much of his work involves analysis and research of, and ongoing improvement to, the science and algorithms used in the company’s state-of-the-art processing products. Both at his home and work, Keith looks to his Equator monitors to ensure consistency throughout every step of the product development process. He discussed his preference for Equator Audio monitors. more…

Registration Now Open for 136th Audio Engineering Society International Convention in Berlin

— FREE “Exhibits-Plus” Badge and premium “All Access” Badge registration is now online for AES136 Convention —

New York, NY, March 6, 2014 — The Audio Engineering Society has opened registration for the 136th AES International Convention, to be held in Berlin, Germany, on April 26 – 29, 2014, at the Estrel Hotel and Convention Center. Headed by the AES 136th Convention co-chairs Sascha Spors and Umberto Zanghieri, the convention is set to be the premier European gathering of audio industry professionals. Over 100 Tutorials, Workshops, Engineering Briefs and Paper Sessions have been announced that will cover a wide range of topics relevant to the professional audio industry, with further detailed session and event information coming soon. Attendees are encouraged to visit the AES136 Registration Page to pre-register for their FREE “Exhibits-Plus” Badge, or opt for the premium “All Access” Badge, as well as to find further details on hotels and special events.

Following the success of the Project Studio Expo (PSE) at recent previous conventions, the PSE will be making its European debut at AES136, and a special Technology Showcase will also provide participating companies with a chance to interface directly with interested end users and customers at this year’s exhibition. Additionally, the Technical Program for the 136th Berlin Convention is shaping up to be one of the most diverse to be presented by the Audio Engineering Society. Paper Sessions will include subjects such as acoustics, networked audio, multi-channel systems, mobile audio, and in-depth studies into aspects of microphone and loudspeaker design. Other popular Workshop and Tutorial Sessions will bring panels of experts together to discuss a range of practical application topics, such as Audio Forensics, Film Soundtrack Loudness, microphone technique and 3-D audio in automotive applications. The convention will also host a series of student-related events and opportunities, as well as a meeting of the AES Standards Committee, Awards, Special Events, and offsite Technical Tours to audio facilities of interest in the area.

Additional information on the 136th AES International Convention in Berlin is now available on the AES136 home page at http://www.aes.org/events/136/.
For further details on the AES136 Technical Program: http://www.aes.org/events/136/program/
Online Registration: http://www.aes.org/events/136/registration/
Hotel and Venue Information: http://www.aes.org/events/136/attendees/hotel/

Audio-Technica Microphones Used for SXSWfm, the Online Radio Portal for the South By Southwest Festival

— Online radio station covering Austin-based South By Southwest (SXSW), one of the world’s leading music and media events, looks to Audio-Technica products to capture in-the-field interviews and live in-studio performances —

STOW, OH, March 4, 2014 — Audio-Technica, a leading innovator in transducer technology for over 50 years, is proud to have its microphones and headphones used by SXSWfm, the dedicated online radio portal of the South By Southwest (SXSW) festival, which takes place each year in Austin, Texas. This year’s festival, which will be held March 7-16, will encompass film, media, technology, and of course music, with over 1700 showcasing artists playing live. The channel is now live at www.sxswfm.com and currently features artists that have showcased during the SXSW’s 27-year history and all other aspects of the festival.

“The goal of the channel is to reflect the wide spectrum of sounds you can hear when you attend the SXSW Music Festival,” stated Kevin Connor, SXSWfm Programming Manager. “It’s all kinds of music from all over the world. As the SXSW 2014 season progresses, we will be introducing you to the artists who will be joining us in Austin in March for five nights of showcases on more than 100 stages.”

Currently, the station’s DJ’s and content creators have been using the AT2020USB+ Cardioid Condenser USB Microphones, ATH-M50 Professional Studio Monitor Headphones and AT8035 Shotgun Microphones. “We’ve had a great experience with the Audio Technica gear we’ve been using here at SXSWfm,” notes Connor. “The ATH-M50 headphones are dependable, accurate and comfortable over the course of a long day of listening to SXSW artists and producing our station elements. The AT8035 is not only a great shotgun mic in the field for interviews, but it has also become our go-to mic in our confined voiceover space.”

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

Dallas’ First United Methodist Church Looks to K-array Loudspeakers for System Redesign, Citing Impressive ‘Performance to Size Ratio’

K-array Speaker Installation at Historic Dallas Church Increases Intelligibility Without Detracting From Classic Interior of Landmark Architectural Design

Dallas, TX, March 3, 2014: Audio specialist Sennheiser announced that First United Methodist Church (FirstChurch), a landmark of downtown Dallas for over 165 years, recently replaced its sound reinforcement system with K-array Installation series components. The new system, which consists of (10) custom color KP102 line array elements, (2) KK52 line array elements, (2) KMT18P passive subwoofers, (4) KA40 amplifiers and (12) custom color K-array KT22 Tornado 2-inch point source compact speakers, was designed by Dallas-based Wrightson, Johnson, Haddon & Williams, Inc. (WJHW) and installed by Electro Acoustics, Inc. of Fort Worth.

With a rich music program, congregational activities and two worship services each Sunday for roughly 1,000 congregants, FirstChurch sought to replace its existing sound system with a more current, innovative solution that could deliver greater intelligibility for both music and the spoken word. The K-array’s small footprint and no-compromise audio quality made it perfectly suited for the system redesign.

Jim Burdette of WJHW handled the overall project design, which had to be sensitive to both the architectural and acoustic requirements of the interior structure: “This was a large, high ceiling space with challenging acoustics,” he says. “The existing cluster was quite a ways up and was not able to deliver the pattern control or throw that we can now achieve with modern technology. So we looked at options and eventually decided on K-array.”

Since FirstChurch is a historic and an architecturally ornate structure, getting the aesthetics just right was of paramount importance as was the overall sound quality. “Part of the criteria and design directive was to move towards a low-profile column array like the K-array,” Burdette says. “We also wanted to have greater control over the sound dispersion while reducing any gain before feedback issues.” Burdette arranged to have the K-array KP102 line arrays brought in for a scaled demo at the church. “In use, we just loved the concept — the performance to size ratio was very impressive,” recalls Chris Jordan, president of Electro Acoustics.”

The installation itself involved a split array of the KP102s: an upper module consisting of three units, and a lower module of one unit. They were mounted at the proscenium line on the front face of the wall, with the lower array positioned approximately 6′ off the main floor directed at the main floor, and the upper array positioned approximately 21′ off the main floor and pointed towards the church’s balcony. “The precision of the KP102s afforded us the ability to throw deep into the room while staying close to structure and unobtrusive,” Burdette explains. “As well, we were able to position the speakers so they could disappear among the moldings.

In addition to the primary line array speakers for the main seating areas, Burdette also specified (12) KT22 point source compact speakers to reinforce audio directly beneath the balcony. “There were some old conventional style speakers there that they were going to reuse, but I recommended switching to the K-arrays because it was much less visually intrusive,” Burdette says. “From an audio perspective, this increases intelligibility for congregants seated under the balcony.”

In the choir loft, a pair of K-array KK52 line array speakers was mounted. “The choir wanted a little more presence and even coverage,” explains Chris Jordan. “That made it perfect, and now the choir members could not be more delighted.” The overall system was rounded out with a pair of K-array KMT18P ultra-light subwoofers, which were mounted into existing soffits within the structure: “The client didn’t want us to cut into any of the existing structure, so we found old speaker cutouts in the proscenium walls,” says Burdette. “We opened these back up, put grille cloth in front of them and mounted them. This turned out really well for the architecture.”

Since completing the installation, feedback has been resoundingly favorable among the congregation. “The church likes how the new loudspeaker system is performing,” reports Burdette. “Both speech intelligibility and music clarity have increased, and the K-array solution played an integral role in achieving this.”

Wrightson, Johnson, Haddon & Williams:

Wrightson, Johnson, Haddon & Williams, Inc. is a consulting firm offering state-of-the-art design services in sound systems, audio visual, scoreboard & video displays, broadcast provisions & video production, acoustics & noise control, theatre planning, lighting & rigging, distributed TV & satellite, video surveillance & access control, and tel/data structured cabling. Our strengths lie in the combined talents of principals and employees, our diverse technical and business skills, and experience accrued over the years from hundreds of successfully completed projects.

K-array:

The incredibly thin and lightweight K-array loudspeakers are manufactured in Italy and distributed in the U.S. and Canada exclusively by Sennheiser. Despite their small size, K-array speakers deliver impressive power and sound quality for small, medium and large-scale applications, including touring, special events, installed sound and broadcast. For more information, please visit www.k-array.com.

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

Captions:
1. The K-array KP102 line array elements were mounted at the proscenium line at the front of the sanctuary.
2. K-array KT22 Tornado 2-inch point source compact speakers were placed underneath the balcony, providing enhanced audio intelligibility.
3. The K-array system was unobtrusive to the overall aesthetics and architectural splendor of FUMC.

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.

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