Sabaton storms ahead with Sennheiser

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

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

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

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

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

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

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

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

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

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

Photo credit:
Anna Dave Bertram

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

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

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

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

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

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

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

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

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

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

About Audiotool:

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

About Moogfest:

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

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

About Moog Music:

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

NY’S QUAD STUDIOS BOW WSDG UPGRADE

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

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

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

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

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

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

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

Walters-Storyk Design Group has designed over 3000 media facilities worldwide. Credits include Jimi Hendrix’s 1969′s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College,) Beth Walters, Sergio Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications.WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a seven-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, Mumbai and St. Petersburg.

Hal Leonard Releases Two New Books on Ableton Live 9

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

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

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

Also shipping now: Producing Music with Ableton Live 9

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

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

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

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

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

Audio-Technica Offers Free “Installed Sound Support” App for iOS Devices

— Easy-to-use mobile app provides a number of essential tools for system integrators, sound contractors and other audio professionals in the field —

STOW, OH, February 10, 2014 — Audio-Technica, a leading innovator in transducer technology for over 50 years, is pleased to announce the availability of its new Installed Sound Support App, featuring a number of helpful tools for system integrators, sound contractors, FOH engineers, musicians and other audio professionals in the field. This easy-to-use app was developed based on direct feedback from working professionals, and includes useful calculators, meters, record-and-playback functions, A-T mic application guide and more. Compatible with Apple iOS devices such as iPads and iPhones running iOS 5.1 or higher, the app is free and can be downloaded by visiting the Apple App Store on an iOS device.

In-app features include the following:

Application guide for Audio-Technica microphones
Wavelength Calculator
Needed Gain Calculator
3:1 Microphone Placement Calculator
RTA & SPL Meter
Frequency Finder for Audio-Technica wireless products
Record and Playback functions for sound system testing

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

Bruno Mars delivers record-breaking halftime performance at Super Bowl XLVIII with Sennheiser

New York, February 11, 2014: The stars aligned during Super Bowl XLVIII on the evening of February 2 as Bruno Mars delivered an unforgettable halftime performance to a record-breaking broadcast audience of 115.3 million viewers – the largest in Super Bowl history. For the duration of the performance, Bruno Mars sang through his Sennheiser SKM 5200 handheld transmitter, coupled with an MD 5235 dynamic microphone capsule, ensuring crisp and detailed sound for millions of fans around the world.

During the 12-minute set, which included his top hits “Locked Out of Heaven,” “Treasure” and “Just the Way You Are,” Bruno Mars showcased his versatility as an entertainer with a dramatic drum-solo introduction, James Brown-inspired dance moves, and an instantly recognizable soulful voice captured by Sennheiser.

Working alongside veteran production provider ATK Audiotek, Bruno Mars’ production team – including monitor engineer James Berry and front-of-house engineer Derek Brener – specified Sennheiser SKM 5200 handheld transmitters and MD 5235 capsules for each of the three vocalists on stage, including Bruno Mars. In addition, all of Bruno Mars’ performers were equipped with Sennheiser 2000 Series wireless monitoring systems. “It was rock solid perfection, just as we expected,” says Berry. “Everything just worked, and we had no problems.”

Preparing for the Big Game
Whether they are touring the world or performing at the Super Bowl, preparation is key for Bruno Mars’ production team. “First, I need to have all my Sennheiser products there, because I know it’s all going to work,” says Berry. “We went in on Monday, checked everything and Bruno came in on Tuesday. Then we ran through rehearsals three or four times a day – everything was easy and we didn’t have any problems.”

“You’ve got to let go of the pressure in the moment,” adds Brener. “We must have rehearsed upwards of ten times so we knew what we were doing and we knew that it sounded great. Thankfully, with Sennheiser, you don’t have to worry about the ‘What if’ moments, since Sennheiser virtually never fails.” Brener was grateful to have ATK Audiotek by his side as well. “They are so well prepared for the scale of this kind of production – especially on the biggest show of the year.”

Cutting Through the Mix
Wherever Bruno Mars is on stage – including at the Super Bowl – his Sennheiser SKM 5200 transmitter with MD 5235 capsule is always nearby. “It’s very imporant to us that Bruno is on the SKM 5200,” says Berry. Derek Brener explains how the MD 5235 capsule is especially well suited to Bruno Mars’ voice: “There is something special about this capsule,” he says. “It just punches through the PA better than any other mic we’ve tried on Bruno. There is a special quality in the timbre of his voice, and how this aligns with the MD 5235. It’s a great match.”

“I am grateful we are able to use the products that we want on a high-profile broadcast production like this, because on some other TV shows, you are at the mercy of having to use other equipment that is provided,” adds Berry. “We hear the quality of these microphones every day while we’re on tour and it’s always reassuring to know that Bruno’s vocals come across perfectly in a broadcast mix.”

For Brener, the ultimate test of the audio quality is the broadcast mix itself. For this reason, Bruno Mars’ team hand picked legendary record producer/engineer Brendan O’Brien to supervise this. “For a broadcast going out to nearly 120 million people, this was a really smart move,” observes Brener. “He’s already done a Super Bowl with Bruce Springsteen and has produced so many great records – this allowed me to concentrate on delivering a great house mix.”

While Bruno Mars’ halftime performance during Super Bowl XLVIII may have astounded millions of audience members around the world, Berry says that Bruno Mars’ team approached the performance just like any other show. “This show was no different than any of our other stage shows,“ he says. “Bruno puts out the same amount of energy whether he is in a club or whether he is performing for millions of people. We took that same approach as a crew. It is all a matter of making him feel comfortable, and for Bruno to feel comfortable, he needs the right microphone. That’s always a Sennheiser.”

For front-of-house engineer Brener, the Super Bowl performance was a resounding success: “When people would ask me who I was rooting for, I would say ‘Bruno’. And Bruno won!”

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 Caption:

Bruno Mars sang through his Sennheiser SKM 5200 handheld transmitter with MD 5235 capsule during his halftime performance at Super Bowl XLVIII (Photo credit: Kevin C. Cox, Getty Images)

iZotope Masters Q&A Series, Part 3: Dave Whitehead, Master of Audio for Sound Design

Cambridge, MA (February 10, 2014) —Dave Whitehead is a part of the multi-award-winning audio team at New Zealand’s Park Road Post Production, with credits that include Elysium, the Lord of The Rings series and most recently,The Hobbit. In a job where creativity on a deadline is standard, Whitehead is constantly being challenged to find new solutions to keep things fresh. Read on to find out why iZotope plug-ins like RX 3 and Iris have earned a spot in his permanent arsenal of audio tools.

What role does audio play in sound design?
Great audio files are the building blocks for any great sound design project. In an ideal world, we have new recordings made with great mics through great preamps, in great spaces. The world is far from ideal and that’s not always the case. That’s where products like RX 3 come in to play. Trying to align the perfect frequencies and timbres to drive the emotion on screen is what sound design for film is all about.

Why is efficiency important in your projects nowadays?
Most of the projects I work on have large concepts that must be realized in a very short space of time. You pull all the insight you can from the script, artwork, personal research, the film footage and the director’s brief. You then have to dive in with your own concept. That process is usually one of discovery, parsing the good from the bad—and the plain ugly, which is actually exactly what you’re after sometimes. So, efficiency is everything—from naming your field recordings to saving your plugin settings.

Creating plug-in chains is a daily practice and is one of the cornerstones to designing sound (along with getting great field recordings). When you’re in a real hurry, you need intuitive plug-ins that are easy to move around. I find the interfaces of iZotope plug-ins easy to navigate, which means they become an extension of your thoughts, ultimately improving your creative output.

I used to twiddle with plug-ins and find a great sound, then tweak the settings a bit more and that magic sound I had would be gone. I learned my lesson early and record anytime I hear something good come out of my speakers.

Which iZotope tools are you currently using?

I have used all of iZotope’s products in the past year, but I have my favorites. I use Ozone at some stage on any given day. In sound design you’re trying to make the perfect sound for any given moment so I am constantly working a single sound to get the most out of it. Ozone allows me to literally punch a sound into shape. The Multiband Dynamics are where I tend to shape sounds the most and coupled with the Harmonic Exciter and Stereo Imaging you can seriously augment and transform something meek into a monster.

Iris is a awesome! It’s the perfect stinger machine. The day it came out I made a few hundred stingers for Elysium. It’s also excellent for creating ambient loops and alien textures, musical tonalities and drones.

Trash 2 hit my plug-ins folder late last year and I didn’t really play with it much at first. Turns out that was my loss. The distortion is like no other. You can create your own distortion algorithms or choose one of the presets as a starting point. The control over the distortion is phenomenal, especially with multi-band control, which allows razor sharp harmonic shaping across multiple frequencies. Then there’s the convolution section. This is a great sound design tool and I will be exploring it heavily this year on a couple of Sci-Fi films.

How did you use RX 3 in any of your recent projects?
I’ve used Spectral Repair to remove birds and insects from many recordings during The Hobbit. It’s preferable to start with a perfect recording, but nowadays if a few birds tweet while I’m recording, I’m not as concerned as I know I now have the tools to fix it.

The Declick module is great to help tame the crackles and pops of a fire. You can get the warm roar of the flames without the clicks, which will always aggravate the re-recording mixers. I sometimes use Alloy 2’s Transient Shaper for this also, to subtly take down the attack on sounds with a sharp attack, like drips.

Occasionally, I will teach the RX 3 Denoiser what noise is and record that noise only as a sound effect. You can get some really cool results. But I’m also removing noise from files constantly and have found myself using the new Dialogue Denoiser, usually in Manual mode, for real time noise reduction. It’s quick and the results are great, which are the two things I like most while in salvage and repair mode. It’s quick and effective noise reduction.

Dereverb has also opened up the palette of usable material. We have recorded great material indoors over the years that you really can’t use on exterior scenes without gating or EQ’ing drastically. Dereverb helps transform these for multiple uses.

RX 3 has changed my thinking on older recordings that were once deemed unusable.

When have you had to fix audio that was recorded less than perfectly?
This is a constant practice and not always because something was recorded poorly, butmore frequently because you want to hone in on one particular element within a recording. Like a surgeon, you can isolate and attenuate, or export components of the audio. For example, I’ve isolated selected cicadas in a jungle to tame the cacophony into a quiet jungle. I’ve lowered wind in trees to better isolate the tree creaks. The list goes on and on.

When I started out, I had terrible mics, worse recorders and even worse preamps. RX 3 has really allowed me to revisit old material and revamp it. I remembered recording a bee in 1991 and found the old DAT tape. I loaded it, removed the birds and noise on the recording and used it in The Hobbit.

I also record vocal FX at the desk in my studio quite often. I have a noise profile saved and can quickly remove the noise before working with the material, which is handy too!

iZotope creates plug-ins for people who create some of the best ear candy in the world. I find new parameters to play with all the time and love that they keep making new tools to play with.

About the iZotope Masters Q&A Series
The iZotope Masters Q&A Series profiles masters of various audio professions, including audio for video games, broadcast, film composition, and more.


About iZotope RX 3

RX 3 is an industry-leading audio repair solution for audio engineers, post production professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more. Work up to six times faster than before thanks to processing enhancements and a redesigned user interface. Remove or reduce reverb, clean up dialogue on the fly, recall session details with the new RX Document format, and much more with the new RX 3. For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.

Hal Leonard and Worship Musician™! present The Worship Bass Book

Bass, Espresso, and the Art of Groove

Montclair, NJ (February 6, 2014) - The Worship Bass Book is a fun, informal, and extremely practical resource for bassists playing in a team setting. The material is presented in a way that is easy to understand, accessible, and powerfully insightful. Acclaimed bassist and music educator Norm Stockton covers a broad range of topics in bite-size chunks, allowing players to emerge with solid and practical understanding of how to best function as an effective bassist in a rhythm section.

“As opposed to a comprehensive methodology for all things bass, this will be more of a collection of the nuggets – many of which were acquired through lessons learned the hard way – that I’ve found valuable for my own development as a bass player,” explains Stockton.

The Worship Bass Book also provides valuable instructions and helpful direction regarding bass techniques, musical concepts, and important relational considerations that will help ANY bass player thrive, inside or outside the worship realm.

“Much of the material is relevant to bass playing in any context, so if you’re not a worship musician, welcome!” says Stockton.

Other topics included are musical phrasing, tools of the trade, fingerboard familiarity, musical styles, slap and tap techniques, bass and drum synergy, solo bass arranging, real-world groove lessons, a passion for the groove, and much more.

About the author
Norm Stockton travels extensively throughout North America, Europe, and Japan. He has been profiled in Bass Player magazine and is recognized by many as one of today’s premier bassists. From 2006 to 2012 he was the touring and recording bassist with chart-topping worship artist – and former Steve Perry guitarist – Lincoln Brewster. Stockton currently performs with Grammy Award-winning singer Bobby Kimball – the original lead vocalist with Toto. As a solo artist, he has released two instrumental jazz projects that have garnered widespread global acclaim.

Stockton’s instructional DVD series, Grooving for Heaven, has been enthusiastically received in the United States and abroad; his instructional website ArtOfGroove.com serves subscribers from around the world. Known internationally as an effective educator and clinician, he has conducted several master classes and is an adjunct faculty member at, among others, Biola University, The Los Angeles Music Academy, Tech Music School London, and Concordia University. He has also been a columnist for Christian Musician magazine since 1999. Follow Norm on Twitter, Facebook, and Instagram.

The Worship Bass Book
$19.99 (US)
Inventory #HL 00333737
ISBN: 9781458443212
Width: 8.5″
Length: 11.0″
234 pages, DVD-ROM included

NEUTRIK USA ANNOUNCES UPDATES TO ITS MULTIMEDIA CONNECTOR LINE

Charlotte, NC – February 2014… Neutrik USA, the leading supplier of robust and reliable professional connectivity solutions for audio, video, and data, is pleased to announce updates and improvements to its line of multimedia chassis connectors and cable assemblies.

Chassis connectors—all of which fit into the ubiquitous Neutrik D size cutout—are now available for HDMI® 1.x, USB 2.0 (with selectable screen-to-chassis grounding and reversible A-to-B inserts), FireWire 400, and D-Sub (9- and 15-pin) connectors. These chassis connectors are available in nickel or black finish. Neutrik’s multimedia chassis connectors are all feedthrough designs, making integration literally a snap. more…

Hal Leonard publishes Make Some Noise – Become the Ultimate DJ

Montclair, NJ (January 29, 2014) – There are books on how to become a DJ, books that talk about beatmatching, mashups, and how to perform in nightclubs – even one that claims it can teach you everything in two hours. Make Some Noise is a complete, cutting-edge DJ book and is unlike any current book on the subject. It does teach the basics, but it goes beyond the how-to, discussing DJ’ing while playing with a live instrument as well as goal-setting, marketing, and choosing your music genre. The book also features a collection of twenty-five spotlights on some of the biggest DJs in the world, providing you with the opportunity to learn from the best of the best. Some of the DJs included are Infected Mushroom, Judge Jules, Miss Nine, Todd Terry, Chus, Umek, Kissy Sell Out, and Format B.

Make Some Noise blends together practical advice and tools for learning the craft, along with an inspirational message that will help encourage you to pursue your own dreams and aspirations about becoming a DJ.

“DJ’ing consists of these elements: mixing and beatmatching, programming amazing sets, incorporating live instrumentation, and crowd interaction,” says Scott Binder, the author of Make Some Noise. “If you master these elements, you will separate yourself from 99 percent of the DJs out there. Modern DJs are at their best when they are turning their shows into true live performance, and mastering all of the levels illustrated in this book will help you do that.”

About the author
Scott Binder is the co-producer of the popular electro house duo the Banger Bros and is a producer for Warner Music (NL). His song “Beat, Beat, Bang” was featured on MTV’s The Real World, and his other releases consistently reach the music charts, including Billboard, DMC World Magazine, Beatport charts, and the Music Week Top 100. Binder has also worked with house legends Roland Clark and Todd Terry. He is the owner of Golden Needle Records, a lable launched in 2010.

Make Some Noise is a Hal Leonard Music Pro Guide. Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group – please visit www.halleonardbooks.com and www.onstageandbackstage.wordpress.com

Make Some Noise
$29.99 (US)
Inventory #HL 00120756
ISBN: 9781480350458
UPC: 884088917395
Width: 8.5″
Length: 11.0″
200 pages

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