GeoBroadcast Solutions Names Jampro Antennas as Exclusive Supplier for MaxxCasting, ZoneCasting Networks

CHICAGO — Terrestrial radio innovators GeoBroadcast Solutions (GBS) announce Jampro Antennas as a technology partner to advance its vision of helping radio broadcasters maximize over-the-air signals and grow revenues.

Jampro joins Harris Broadcast as exclusive technology suppliers for GBS MaxxCasting and ZoneCasting networks. MaxxCasting expands FM signal coverage areas, allowing broadcasters to take full advantage of their FCC-allotted spectrum. ZoneCasting, pending FCC approval, brings hyper-localization to radio through targeted over-the-air content delivery.

Jampro will supply all antennas, combiners and support equipment related to installation of these components. The custom antennas are specially designed for these networks, providing the advanced directivity required to ensure both maximized market coverage and highly-specific regional targeting.

Peter Handy, CEO of GeoBroadcast Systems, notes that Jampro brought a flexible approach to its antenna designs that uniquely fit requirements for MaxxCasting and ZoneCasting deployments. That flexibility extends to custom designs that meet the needs of each broadcaster — highly important as coverage patterns and targeting requirements will differ for each market.

“One critical concern is to minimize conflicts created between transmitting multiple signals across the same market,” said Handy. “Jampro clearly addresses these challenges with custom designs that can increase or decrease directionality. This is perfect for ZoneCasting, where we are geographically targeting content across multiple zones in a single market. Furthermore, it is ideal for spreading coverage into areas of a broadcast market that is lacking a clear over-the-air signal.”

The business benefit of integrating Jampro antennas therefore becomes very clear: A larger audience receives the signal due to their exceptional directionality, which means advertisers reach more listeners. This potentially translates to more advertising dollars for the broadcaster by opening new revenue streams.

Handy adds that GBS representatives had a number of conversations with broadcasters at the 2013 NAB Show that recognize the game-changing capability of ZoneCasting, but in the meantime are very interested in the opportunity to increase the distribution of their over-the-air programming through MaxxCasting. This is a perception that Jampro Antennas President Alex Perchevitch echoes.

“As an industry we have always accepted the fact that the legal signal coverage of a radio station is one model, while the actual signal coverage often falls considerably short of what a broadcasters is allowed to service,” said Perchevitch. “A solution like MaxxCasting that allows you to bridge that gap is not only unique, but very compelling.”

Harris Broadcast and Jampro often collaborate on radio and television transmission projects, bringing proven compatibility to GBS for out-of-the-box reliability. Harris Broadcast will integrate Jampro antennas and combiners across its single-frequency FM transmission networks, which incorporate multiple Flexiva™ transmitters and Intraplex® synchronizers as well as special GBS control software.

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 25,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. Additional information on JAMPRO can be obtained at www.jampro.com

About GeoBroadcast Solutions
GeoBroadcast Solutions, LLC (“GBS”) was formed in 2009 by founders who collectively have hundreds of years in the radio business. Peter Handy of GBS, Rich Redmond of Harris Broadcast and Alex Perchevitch of Jampro Antenna are amongst the architects and helped develop and test the GBS ZoneCasting technology, currently filed as a petition for rulemaking with the Federal Communications Commission. In 2012, GBS identified and launched MaxxCasting, the technology that helps broadcasters cover more of their signal coverage area. Both technologies are innovative, exciting and revenue generating. Visit http://www.geobroadcastsolutions.com for more information.

# # #

Contact Information:
Brian Galante
Dimension PR
brian@dimensionpronline.com
570-425-2315

Jampro contact:
Sonia Del Castillo
mailto:Sonia@jampro.com
916-383-1177

Jampro Press Contact:
Harriet Diener
Desert Moon Communications
harriet@desertmooncomm.com
845-512-8283

Animoog, the award-winning Synthesizer app from Moog is Now Available for the BlackBerry Z10

ASHEVILLE, NC – May 16, 2013 – At BlackBerry Live this week, Moog Music announced the release of Animoog®, it’s award-winning app for the BlackBerry® Z10™ smartphone. Animoog, previously only available on iOS®, is Moog’s first music creation tool for the BlackBerry® platform.

The Animoog app for BlackBerry 10 was unveiled earlier this week and will continue to be showcased throughout BlackBerry’s annual enthusiast, developer and partner conference in Orlando, FL. From May 16th through May 23rd (the date that would be Bob Moog’s 79th birthday), Animoog will be available on the BlackBerry® World™ storefront for the BlackBerry Z10 smartphone at an introductory price of $.99. After this promotional period ends, Animoog will return to its regular price of $9.99.

“We are very excited about the release of Animoog on the BlackBerry 10 platform and about our relationship with BlackBerry,” said Mike Adams, President and CEO of Moog Music, Inc. “BlackBerry has long been the choice for business professionals who in many cases are in creative fields. Now, for the first time, we can offer a high performance music creation tool to artists and synthesizer enthusiasts that prefer BlackBerry,” said Adams.

“Moog is a long time iconic brand in the music industry and their synthesizers are used by major artists worldwide,” said Martyn Mallick, VP of Global Alliances and Business Development at BlackBerry. “We are thrilled to have Animoog available on the BlackBerry 10 platform”.

Moog Music is driven by a company culture that lives at the intersection of technology and music. This culture is celebrated annually at Moogfest, its multi-day festival in honor of the innovative spirit of its founder, Bob Moog who was inducted into the National Inventor’s Hall of Fame last week. Moog’s early adoption of the BlackBerry 10 platform is in line with this pioneering philosophy.

“This project is the beginning of a collaboration with BlackBerry’s innovative user experience team and an exploration of new means for creative expression with handheld devices. It is always our intention to create better tools for artists and this relationship allows us to investigate exciting future possibilities,” said Emmy Parker, Moog’s Senior Brand Manager.

Links:

- Video: http://www.moogmusic.com/sight-and-sound/product_demo/animoog-blackberry
- Animoog on BlackBerry World:
http://appworld.blackberry.com/webstore/content/28277801
- Animoog product page: http://www.moogmusic.com/animoogbb
- Moog Music website: http://www.moogmusic.com/
- Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
- Moog Music on Facebook: http://www.Facebook.com/MoogMusicInc/

###

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.

BlackBerry and related trademarks, names and logos are the property of Research In Motion Limited. BlackBerry is not responsible for any third-party products or services.

Prism Sound Launches Two Low Cost Versions of SADiE 6

Prism Sound has released two new versions of its SADiE 6 software, which was recently nominated for a TEC Award in the Workstation Technology category.

SADiE 6 Professional and SADiE 6 Lite are designed to bring this ground-breaking audio production and recording software to a much wider audience by allowing users to access the software at a lower price point.

Graham Boswell, Sales Director of Prism Sound, says: “SADiE has always excelled in roles where the most sophisticated editing capabilities are required and where reliability and robustness are paramount. However, we have recognised that not every user needs a full complement of features and functionality, so we have tailored specific versions of SADiE 6 software to suite different budgets and applications. SADiE Professional and SADiE Lite are the latest additions to our product suite.”

SADiE 6 Lite presents the core capabilities of SADiE in an entry level package, while SADiE 6 Professional can handle unlimited tracks and incorporates one year’s free support including all major updates. Both SADiE Lite and SADiE Professional include SADiE’s unique and streamlined array of flexible and non-destructive editing tools such as the Playlist, Trim and Region editors. They also provide a slimmed down core set of iZotope VST plug-ins and the well-established palette of SADiE channel strip processing.

“SADiE Professional and SADiE Lite are designed to appeal to radio producers who want the core functionality of SADiE 6 so that they can edit on their own lap-tops,” Boswell adds. “These versions are ideal for users who don’t need integration with networked radio automation or facilities to master or restore audio.”

SADiE Professional retails at £949 plus VAT, while SADiE Lite retails at £450 plus VAT. Both versions are available now as a download or on a dongle.

-ends-

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

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

Sound Devices Offers Enhanced Recording and File Transfer Options for PIX 260i Users

Latest Firmware Update, Version 1.02, Now Available for Free Download

LOS ANGELES, MAY 15, 2013 — In an effort to continue to streamline workflows for production and post-production environments with its rack-mounted PIX 260i Production Video Recorder, Sound Devices, experts in portable audio and video products for field production, now offers expanded audio and video recording and file transfer capabilities with its newest firmware update, Version 1.02. Available as a free download to all PIX 260i users, this latest version will be highlighted at Cine Gear 2013 (Booth 94).

With Version 1.02, all drives are now formatted as exFAT instead of UDF. While this new drive formatting is available, it is still possible for PIX 260i users to record and play back from UDF drives for compatibility with the PIX 220i and PIX 240i. Users have the ability to set each PIX 260i drive independently to Ethernet File Transfer (Network) mode. This offers the convenience of transferring files over a network while the PIX 260i records new data. Drives will also automatically switch to the Ethernet File Transfer mode when full. In addition, the end user can now read and write data to PIX 260i drives over Ethernet. The update also enables the PIX 260i to provide users with both simultaneous recording to multiple drives or sequential mode, recording to the next successive drive as drives become full. A 10-second (maximum) pre-record buffer for the audio-only mode has also been added.

“The PIX 260i offers an innovative new approach to file-based audio and video recording,” says Paul Isaacs, Technical Development Manager for Sound Devices. “Every new version of PIX 260i firmware, including version 1.02, is the result of feedback from customers who have incorporated it into their everyday workflows.”

Based on Sound Devices’ PIX 240i portable audio/video recorder, PIX 260i is a rack-mounted, file-based audio/video recorder that seamlessly replaces tape-based video decks in production and post-production environments. PIX 260i offers 32 tracks of audio record and playback as well as control functionality from browser-capable computers and tablets. PIX 260i offers the features and tools that production companies and broadcasters require to migrate to file-based recording and playback capabilities. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in common editing environments, such as Avid, Final Cut Pro, and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

PIX 260i users can download Version 1.02 by visiting www.sounddevices.com/download/pix260i-firmware/.

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. The fourteen-year old 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.

KRBK Springfield, Missouri, Creates Single Frequency Network with Multiple Jampro UHF Slot Antennas

Sacramento, CA — Jampro Antennas of Sacramento, California, a world leader in radio and TV broadcast antenna systems, recently delivered five of its Prostar UHF slot antennas to KRBK in Springfield, Missouri. KRBK is the primary Fox television station for Springfield and the Ozark Plateau area.

The antennas were deployed at various sites around the area and configured into a Single Frequency Network (SFN) where several transmitters simultaneously send the same signal over the same frequency channel.

Alex M. Perchevitch, Jampro president commented on the project: “Few stations in the United States have deployed a single frequency network in a multiple antenna design successfully. Both Jampro and KRBK are very proud of that accomplishment.”

One of the critical aspects of successfully implementing the SFN was engineering and producing slot antennas which complied with critical azimuth and special elevation patterns. The Jampro engineering staff worked closely with the KRBK consulting engineers in the development.

In order to create the SFN, Jampro delivered five from its line of Prostar brand UHF slot antennas. These antennas are internationally proven for performance, quality and reliability. Compatible with DTV, ISDB-T and DVB-T broadcasts, Prostars are available in power ratings ranging from 1 kW to 90kW. The feed lines are pressurized for pro¬tection, and the slots are radome sealed to protect the antenna from the environment. Prostars are constructed from the finest marine brass, copper and virgin Teflon. Computer modeling is used in the pattern designs and the patterns were confirmed at Jampro’s facility in Sacramento before the an¬tennas were shipped to KRBK. Measured performance and the factory tuning before shipping gave KRBK the confi¬dence that the SFN would perform as desired.

Owned by Koplar Communications, KRBK is the primary Fox and secondary MyNetworkTV television station for Springfield and the Ozark Plateau area of southwestern Missouri. Licensed to Osage Beach, it broadcasts a high definition digital signal on UHF channel 49 from a transmitter in Eldridge.

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 25,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. Additional information on JAMPRO can be obtained at www.jampro.com.
###

Jampro contact: Sonia Del Castillo
916-383-1177 • mailto:Sonia@jampro.com

Press Contact: Desert Moon Communications
Harriet Diener • 845-512-8283
harriet@desertmooncomm.com

GeoBroadcast Solutions Names Jampro Antennas as Exclusive Supplier for MaxxCasting, ZoneCasting Networks

Exceptional antenna directivity supports maximized and targeted signal delivery across single-frequency FM radio transmission networks

CHICAGO, May 14, 2013 — Terrestrial radio innovators GeoBroadcast Solutions (GBS) announce Jampro Antennas as a technology partner to advance its vision of helping radio broadcasters maximize over-the-air signals and grow revenues.

Jampro joins Harris Broadcast as exclusive technology suppliers for GBS MaxxCasting and ZoneCasting networks. MaxxCasting expands FM signal coverage areas, allowing broadcasters to take full advantage of their FCC-allotted spectrum. ZoneCasting, pending FCC approval, brings hyper-localization to radio through targeted over-the-air content delivery.

Jampro will supply all antennas, combiners and support equipment related to installation of these components. The custom antennas are specially designed for these networks, providing the advanced directivity required to ensure both maximized market coverage and highly-specific regional targeting.

Peter Handy, CEO of GeoBroadcast Systems, notes that Jampro brought a flexible approach to their antenna designs that uniquely fit requirements for both MaxxCasting and ZoneCasting deployments. That flexibility extends to custom designs that meet the needs of each broadcaster — highly important as coverage patterns and targeting requirements will differ for each market.

“One critical concern is to minimize conflicts created between transmitting multiple signals across the same market,” said Handy. “Jampro clearly addresses these challenges with custom designs that can increase or decrease directionality. This is perfect for ZoneCasting, where we are geographically targeting content across multiple zones in a single market. Furthermore, it is ideal for spreading coverage into areas of a broadcast market that is lacking a clear over-the-air signal.”

The business benefit of integrating Jampro antennas therefore becomes very clear: A larger audience receives the signal due to their exceptional directionality, which means advertisers reach more listeners. This potentially translates to more advertising dollars for the broadcaster by opening new revenue streams.

Handy adds that GBS representatives had a number of conversations at the 2013 NAB Show with broadcasters that recognize the game-changing capability of ZoneCasting, but in the meantime are very interested in the opportunity to increase the distribution of their over-the-air programming through MaxxCasting. This is a perception that Jampro Antennas President Alex Perchevitch echoes.

“As an industry we have always accepted the fact that the legal signal coverage of a radio station is one model, while the actual signal coverage often falls considerably short of what a broadcasters is allowed to service,” said Perchevitch. “A solution like MaxxCasting that allows you to bridge that gap is not only unique, but very compelling.”

Harris Broadcast and Jampro often collaborate on radio and television transmission projects, bringing proven compatibility to GBS for out-of-the-box reliability. Harris Broadcast will integrate Jampro antennas and combiners across these single-frequency FM transmission networks, which incorporate multiple Flexiva™ transmitters and Intraplex® synchronizers as well as special GBS control software.

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 25,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. Additional information on JAMPRO can be obtained at www.jampro.com

About GeoBroadcast Solutions
GeoBroadcast Solutions, LLC (“GBS”) was formed in 2009 by founders who collectively have hundreds of years in the radio business. Peter Handy of GBS, Rich Redmond of Harris Broadcast and Alex Perchevitch of Jampro Antenna are amongst the architects and helped develop and test the GBS ZoneCasting technology, currently filed as a petition for rulemaking with the Federal Communications Commission. In 2012, GBS identified and launched MaxxCasting, the technology that helps broadcasters cover more of their signal coverage area. Both technologies are innovative, exciting and revenue generating. Visit http://www.geobroadcastsolutions.com for more information.

# # #

Dave McNair Plugs Sonnox Pro-Codec Into David Bowie’s Instant Classic “The Next Day” CD

OXFORD, UK: A mastering/mixing engineer with credits ranging from Iggy Pop and Rod Stewart to Los Lobos and Tina Turner, New Jersey-based Dave McNair most recently lent his technical and aesthetic expertise to David Bowie’s instant classic The Next Day. Warmly embraced by critics and fans alike, Bowie’s first album in ten years has accrued universally positive reviews, strong sales and, extensive YouTube viewing thanks to its avante garde look and sound.

McNair, who has worked with producer Tony Visconti, a long-time Bowie collaborator, on several previous projects, took particular advantage of his Sonnox Fraunhofer Pro-Codec on The Next Day. I’ve been using the Pro-Codec to preview encoded files in real time since it was introduced,” McNair says. “It’s become invaluable in previewing various codecs on the mastered higher resolution files for clients who will be making MP3′s or lower resolution files for digital distribution. I’ve found that the higher the bitrate, the less overs are created when making an MP3 or AAC.”

McNair uses the Pro-Codec via his Sequoia mastering rig. It enables him to hear (and visualize) exactly how an encoded file will sound. “A miniscule amount of red in the NMR (Noise-to-Mask Ratio) display in the FFT window (or, no red at all if I back the Bitstream level down) means there’s less or no audible distortion created in the encode stage,” he explains

The Pro-Codec was particularly useful on Bowie’s The Next Day album. “This recording was captured at 96kHz and also encoded for the Mastered for iTunes format.” McNair reveals. “The CD target level for Bowie was -0.6dB for the 96K session. After sample rate conversion to 44.1 kHz, it probably ended up closer to -0.1dB. Based on what I was seeing with the Pro-Codec and a later check using the Apple Mastered For iTunes software, the 96K files sent to iTunes were delivered at – 0.8dB. Overall, the Pro-Codec is a great tool. It really helps with my workflow. It was an honor and a great personal pleasure to be associated with this incredible project,” McNair concludes.

Photo: Mastering/mixing engineer Dave McNair recently worked on David Bowie’s The Next Day album.

###

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

Nashville Recording Workshop +Expo 2013 Ushers In First Annual “Nashville Audio Engineer Week”

Nashville, TN (May 8, 2013) — The 4th Annual Nashville Recording Workshop +Expo, set to take place on May 14th and 15th at the Rocketown Event Center in downtown Nashville. Presented by the Audio Engineering Society, Nashville Section, this two-day event features presentations from top producers, engineers, and other industry professionals, as well as a keynote speech and on-stage production demonstration by Sugarland’s Kristian Bush. Additionally, Nashville Mayor Karl Dean will be join the AES Nashville Section in recognizing “Nashville Audio Engineer Week”, May 12th through 18th, to coincide with the Nashville Recording Workshop +Expo and AudioMasters Benefit Golf Tournament, and Mayor Dean will be on-hand for a special opening ceremonies event the first day of the show.

This year’s lineup of presenters covers a wide scope of topics ranging from acoustics and home studio issues, to business and songwriting, and common production techniques for getting the most out of a selective studio budget. One highlight of the event, “Progression of a Project”, will feature keynote speaker, artist, songwriter, and personal studio owner, Kristian Bush, and his engineering and production partner, Tom Tapley, walking through the production of a complete song from start to finish. The duo will highlight the role of technology in the creative process, revealing the depths of what’s possible within and without a personal recording space. Day two’s “Progression of a Project” presentation will further feature engineer/producer Steve Marcantonio, who, having worked early in his engineering career with John Lennon in New York City, assembled a coalition of Nashville artists, studio musicians and facilities for a tribute album to benefit the Nashville Engineer Relief Fund. Steve follows the progression of tunes from “We All Shine On”, from start to finish, with comments about the collaborators’ contributions, and comparisons to the original foundation.

Another integral part of the Nashville Recording Workshop +Expo, the showcase exhibit area, will feature over 30 pro audio manufacturers and related services showing their latest offerings. Attendees will have ample opportunity for hands-on product showcases and demos, along with networking opportunities with audio professionals from around the country. Additionally, two state-of-the-art mobile facilities will be on-hand for tours and demonstration by attendees. The first, TNDV’s “Vibration” mobile production studio (featuring a Studer Vista 9 console, 7.1 surround sound, and interface for up to 256 inputs), specializes in mobile, multi-cam, and hi-def productions for any size or type of venue. Alongside will be the Yamaha Rolling Showroom – a spacious, hands-on exhibit of the latest NUAGE product line, developed in conjunction with Steinberg, utilizing the powerful Dante audio network protocol. Both impressive facilities will be open, along with other exhibitor booths and showcases, throughout the two day event.

Presented by the AES Nashville Section in conjunction with the Audio Engineering Society, and designed to share the expertise of audio pros with home studio owners, musicians, songwriters, producers and engineers, NRW+E 2013 will feature presentations by industry pros, exhibits by audio gear manufacturers and an opening night reception. Panelists slated to appear include Jonell Polansky, Chris Mara, Chris Estes, Bil VornDick, Richard Adler, Lynn Fuston, Glenn Meadows, Mike Metlay, Randy Wachtler, Tom Tapely, and Steve Marcantonio, among others.

Sponsors and exhibitors for this year’s Nashville Recording Workshop +Expo include: ADAM, AEA, API, Asterope, Cartec Audio, Daking, Drawmer, Earthworks, Electronic Musician, Empirical Labs, Flourish Acoustics, Focusrite Novation, GluBoost, Gordon Instruments, ITI Audio, Latch Lake, Magix, Mix Magazine, MusicStartsHere.org, Nashville Muse, New Bay Media, New Life Digital Media, NTS ProMedia, PhasX Acoustics, PixAural, Prism Sound, Pro Audio Review, Pro Sound News, Recording, Sabra-Som, Samplitude, Sonodyne, Sontec, Sony Electronics, Sweetwater, TELEFUNKEN Elektroakustik, TransAudio Group, Unity Audio, Waves Distro, Waves Audio, and Yamaha Commercial Audio Systems.

Reduced rates are available for students and members of professional industry organizations (AES, AFM, NSAI, Recording Academy, SPARS, RMA, BMI, ASCAP, SESAC, SMPTE).

For more complete schedule and registration information visit www.nashvillerecordingworkshop.com.

The Music Industry Gathers to Remember Phil Ramone

— Visionary, producer, engineer, composer and audio technologist was remembered by his peers, his family, and artists in whom he helped bring out the best —

NEW YORK, NY, May 13, 2013 – With those in attendance underscoring the breadth and depth of a remarkable career in music, family and friends of multiple GRAMMY® Award-winning music producer Phil Ramone came together on May 11, 2013, to celebrate and honor his singularly amazing life. Ramone, who passed away on March 30, 2013, was most noted as an inspired record producer, crafting recordings that have sold into the hundreds of millions of copies for artists including Billy Joel, Barbra Streisand, Frank Sinatra, Tony Bennett, Natalie Cole, Paul McCartney, Paul Simon, James Taylor and many others. But Ramone, a classical violin prodigy who studied at the Juilliard School, was as deeply interested and gifted in the technology of music production, and it’s telling that in addition to his 14 GRAMMY Awards (out of 33 nominations) Ramone was the recipient of a Technical GRAMMY, for his many contributions to the science and art of recording. Such contributions include the establishment of A&R Recording, the Manhattan studio Ramone co-founded in 1958 that set the bar for the industry nationally; his production of Billy Joel’s 1982 52nd Street LP, the first CD album ever commercially released; the Frank Sinatra Duets series of recordings, with which Ramone pioneered recording techniques in which vocalists – in some cases thousands of miles apart – were paired in the studio via fiber-optic technology; and countless more. An early advocate of digital music technology, Ramone also founded one of the first record labels focused on digital music, N2K Encoded Music.

The event, titled Phil Ramone, Music Memorial Celebration, was held at the Centennial Memorial Temple, a landmark Art Deco auditorium inside the Salvation Army’s Greater New York Division Headquarters. The choice of venue held a particularly special meaning, since in November 2011 Ramone founded The Salvation Army Phil Ramone Orchestra for Children — the result of Phil’s lifelong dream to touch the lives of less fortunate children in challenged communities by giving them access to music education. The program currently serves children ages 7 to 12, and teaches these students how to play instruments through group and full orchestra lessons.

The event read like a Who’s-Who in the music industry. It drew a stream of luminaries who recalled Ramone’s gifts as a person and music professional, including Tony Bennett, engineer Ed Cherney (Bonnie Raitt, the Rolling Stones), Josh Groban, Dave Grusin, Billy Joel, Quincy Jones, Shelby Lynne, Matthew Morrison, Paul Simon, Kevin Spacey, Noel Paul Stookey, Nikki Yanofsky and Peter Yarrow. In attendance were family members Karen, BJ, Matt and Simon Ramone, who shared the stage and the love everyone felt for Ramone.

An all-star backup band accompanied many of the artists who performed and included such renowned musicians as Rob Mounsey (musical director/piano), Steve Gadd (drums), Bashiri Johnson (percussion), Ben Butler (guitar), Henry Hey (keyboards), Zev Katz (bass), Vaneese Thomas (background vocals) and Jill Dell’Abate (background vocals and music coordinator).

After a performance of “When the Saints Come Marching In” by The Salvation Army Phil Ramone Orchestra for Children, some of the attending artists performed songs paying tribute to Ramone. Billy Joel performed “Where’s the Orchestra”; Tony Bennett sang “Fly Me To The Moon”; keyboardist/composer Dave Grusin performed “Sun Song”; Peter Yarrow and Noel Paul Stookey (Peter, Paul and Mary) performed “Day Is Done”; Shelby Lynne performed “You Don’t Have to Say You Love Me”; actor Kevin Spacey evoked memories of Ramone’s work with Sinatra and performed a medley of “By Myself,” ”When Your Lover Has Gone” and “The Curtain Falls”; Nikki Yanofsky performed “You’ll Have to Swing It (Mr. Paganini)”; and Matthew Morrison performed a medley that included “Come Rain Or Come Shine” and ”Basin Street Blues.” Finally, renditions of “Slip Slidin’ Away” and “Fifty Ways to Leave Your Lover” by Paul Simon, and “Smile” by Josh Groban, brought the event to a gentle and wistful conclusion.

“Phil Ramone was a lovely person and a very gifted musician and producer,” said Tony Bennett. “It was a joy to have him work with me in the recording studio on so many projects, as he had a wonderful sense of humor and a deep love of music.”

Billy Joel added, “I always thought of Phil Ramone as the most talented guy in my band. He was the band member no one ever saw onstage. So much of my music was shaped by him and brought to fruition by him. I have lost a dear friend – and my greatest mentor.”

The 3-hour event was produced by longtime friend and former manager Nancy Munoz (Anami Music, Inc.), who also worked with Phil producing The Songwriters Hall of Fame Awards.

Photo File: PhilRamoneMemorial.JPG
Photo Caption: Pictured L-R, seated: Paul Simon, Quincy Jones, Karen Ramone, BJ Ramone, Simon Ramone; L-R, standing: Steve Gadd, Josh Groban, Dave Grusin, Ed Cherney, Nikki Yanofsky, Kevin Spacey, Noel Paul Stookey, Shelby Lynne, Peter Yarrow, Matthew Morrison. Photo by Johnny Richie Photography. (This photo is the property of Johnny Richie Photography and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

Mikkel Heimburger Forays Into High Profile Movie Trailer and Sound for Picture Projects with Antelope Audio Orion32

Santa Monica, CA, May 9, 2013 – Mikkel Heimburger is a sound for picture composer focusing primarily on movies, film and television commercials and advertising. During the last several years, he has successfully repurposed his audio career, having previously been an engineer/producer, focusing on the pop music scene. Recently, Heimburger has been working on several high profile projects. He placed a song in the latest Al Pacino film Stand Up Guys, and composed, performed and mixed the trailer score for the most recent Muppet Movie. Each day he relies on his Antelope Audio Orion32 audio interface as the cornerstone of his Los Angeles-based studio.”I was a creator of dance, pop and urban music just a few years ago,” Heimburger says. “But now I am producing trailers and advertising segments that are diverse and creative, but also more lucrative.” Needless to say, he is working in a segment that has become increasingly competitive and saturated. Heimburger says that to stand apart, he must ensure that his productions are ‘as good as they can be.’ Therefore he depends on his Antelope Audio Orion32 to help set his music apart.

“The companies I am pitching to often receive dozens of tracks in a day — I want them to remember mine not only for writing and performance, but also for sonic quality,” he states. The Antelope Audio Orion32 is now a key component in his set up: “When I first heard it, I was blown away,” he says. “It has what many of today’s other converters are lacking – punch. I really need this for the trailers I am working on, and with the Orion32, it happens automatically — it is just there and I don’t have to adjust the EQ or manipulate the low end.”

For Heimburger, the main differentiator between the Orion32 and other well known high-end converters rests primarily on sonic quality. “I’ve been through a half a dozen audio interfaces during the last decade, just trying to keep up with technology changes in the market,” he says. “When I A/B’d the Orion32 against the other units I had from other manufacturers, suddenly they sounded way too thin and overly sibilant. I also noticed that many of these other converters introduce a ’3D effect’ that just wasn’t true.”

In addition to raising the overall sonic quality of his mixing rig, the Orion32 has introduced workflow efficiencies at cost savings that was unexpected, but most welcome. “The Orion32 is considerably less expensive than competitors’ models — you basically get a 32 channel interface for $3,000,” Heimburger observes. “Other models typically cost $3,000 for 8 channels, and don’t sound as good!”

Having access to no less than 32 tracks of Antelope Audio conversion at the output stage has enabled Heimburger to employ creative summing techniques, which he says has led to increased fidelity. “I am using every single output on the Orion32, and having all these channels means I can sum my mixes the way I want. I use the Orion32 in combination with my Shadow Hills Equinox, which is a 30 channel summing mixer. This combination has made a really big difference as far as the width and depth of my mixes are concerned,” he says.

All in all, the Orion32 has earned a place in Heimburger’s studio not only from a sonic perspective, but also feature and price. “In my opinion, the Orion32 wins hands down in every measure,” he concludes. “I am pretty sure the competition will need to rework their product strategies.”

About Antelope Audio
Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

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