Audio-Technica 2012 AES Press Kit

Zeehi’s CueCast Technology Allows User File Conversion Between Three DiGiCo Models, Yamaha PM5D and Avid

Danny Abelson, Co-Founder of software startup Zeehi, announces that the CueCast Digital Mixing Console User File Conversion Service will support the DiGiCo SD7 platform beginning mid-November 2012. This raises the number of supported console models to five in CueCast’s latest Beta Release.

CueCast enables sound engineers, hire companies and production managers to quickly and easily convert complex show files between different digital audio mixing consoles.

“We’ve had a very positive response from the pro audio community since we released the first CueCast Beta version in July,” according to Abelson. “A growing number of engineers have been converting their files at our site, and new users from around the world are signing up for the service every week.”

CueCast gives every new user two free fully-featured conversions. That means anyone who’s interested can evaluate the service with no cost or commitment.

“We’ve been working closely with several of the large hire companies. One of their most frequent requests was that we add support for the DiGiCo SD7, since they have so many of these desks in their inventories. We were happy to oblige, and our development team is doing a great job implementing the new console. We’ve also made significant enhancements to the user interface.”

In its latest version, CueCast converts user files between Avid, Yamaha PM5D, and now three DiGiCo models: SD7, SD8 and SD10. The company plans to develop solutions for every major console model.

The web-based CueCast service solves a fundamental problem in audio engineering; transferring complex user settings from one console to another without the time-consuming headache of entering those settings manually.

“Converting show files on CueCast is reliable and takes just three easy steps,” says Abelson. “Simply upload your file to the secure Cuecast site, then specify the format you need, and download the converted file for installation in the new console. CueCast stores your files on a secure server for safe-keeping and future use.”

Abelson noted, “We are helping people improve the way they work by making the process of moving user settings to a new console fast and easy. We can bring the biggest benefit to the engineering community by expanding the number of different console models we support. Adding the SD7 was a significant step. Soon we’ll be announcing support for more Yamaha models, including the new CL range, as well as the Soundcraft Vista and Midas desks.”

The current Beta release of CueCast converts the most commonly used console features and functions including bussing, sub-group assigns, control group assigns, routing, labeling, mutes and mute groups, EQ and dynamic in/out settings, aux. send on/off/and assigns, and effects and matrix on/off and assigns. Future releases will support variable settings, snapshots and many other features.

Information on CueCast can be found at cuecast.com

GC Pro Extends Its New High-End Technical Support Group Initiative to Nashville

— GC Pro continues to expand this acclaimed service with the addition of technical support personnel in Nashville, which joins GC Pro’s location in Hollywood to offer access to complex systems design, installation and integration services —

— The initiative will also be fully integrated with GC Pro’s acclaimed Affiliate Services Program to create a truly comprehensive turnkey system solution —

WESTLAKE VILLAGE, CA, October 22, 2012 — As part of its continuing effort to add useful and valuable services and products to its client offerings, Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, today announced the extension of its successful new Technical Support Group initiative to the Nashville professional audio market. The program, which provides a number of technical support services, including customized Macintosh®-based audio systems solutions for clients in all of the market sectors it serves (recording studios, post production facilities and installed A/V), will now benefit Nashville’s music recording and production community. The Technical Support Group was initially launched in May 2011 at GC Pro’s Hollywood, California location. Additional personnel for the Technical Support Group are planned for other GC Pro locations in the U.S. in the future.

In the newly opened Nashville location, GC Pro Technical Services Technician Frantz Verna says that key services have already been provided for a range of professional clients there, such as loading and authorizing customers’ plug-in packages and integrating key applications including AVID’s Pro Tools® HD systems and others, and designing and building Mac-based audio systems equipped to the customers’ specifications for hard drives, video cards, RAM and other parameters. Such clients include producer/drummer Mike Marsh of the band Dashboard Confessional, legendary vocalist/composer/actress Bonnie Bramlett and Sound Emporium Recording Studios.

Verna says that many of these tasks, such as loading and authorizing software, are time- and labor-intensive, and pull music professionals away from their real work. “Musicians in Nashville definitely have better things to do with their time,” he says. “The advantage we bring to them, that they cannot get at a computer store, is that GC Pro understands how to optimize and maximize computer hardware, software and peripherals for music applications and integrate computers with their outboard equipment. We know how a computer best fits into a professional audio system. We’re able to give our clients a computer that’s ready to plug and play, which is exactly what they want and what no computer store could ever offer.” And all systems from the Technical Support Group will also be available for integration by members of GC Pro’s acclaimed Affiliate Services Program, which offers the services of certified studio designers, acousticians, systems integrators and other technical services to all GC Pro customers. No other professional audio retailer can offer such a comprehensive package of high-end products and programs.

“We are proud to expand our Technical Support Group endeavors to the rich market of Nashville,” stated Rick Plushner, GC Pro Vice President. “Nashville’s music community is growing larger and larger every day, and with such a large concentration of artists, players, composers, producers, engineers and post-production professionals, it is the type of market that can clearly benefit from the services of our Technical Support Group.”

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

GUITAR CENTER OPENS NEW WILLISTON, VERMONT STORE

— 237th Guitar Center location features on-site lessons and repair services, along with GC’s vast inventory selection —

Westlake Village, CA (October 15, 2012) – On the evening of Thursday, October 11, 2012, Guitar Center held the grand opening of its new location in Williston, Vermont, located at 21A Hawthorne St., Williston, VT 05495. The Williston store is Guitar Center’s 237th retail location.

Guitar Center Williston’s grand opening introduces customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To celebrate the store opening, Guitar Center hosted a Grand Opening Weekend celebration featuring exclusive savings, gear giveaways and free events. Guitar Center’s Williston location features showrooms equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment and more.

The store features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which is already creating unrivalled opportunities for Williston musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios will be the most modern lessons facility in the area. Guitar Center Williston also features GC Garage, Guitar Center’s on-site guitar repair service.

As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center Williston will offer unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry will be able to come to the store to interact with and pick the brains of several industry leaders.

Williston shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include Williston inventory, but it also provides easy access to Guitar Center’s $400 million in new and used inventory located in hundreds of GC stores and warehouses nationwide. Customers have the ability to combine a variety of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new Williston store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. Williston residents will now be able to participate in these ongoing national events from their hometown:

Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crüe, KISS and Jane’s Addiction.
Guitar Center Singer-Songwriter is an artist discovery program that aims to find the nation’s best unsigned singer-songwriter. Last year’s winner received a career-altering prize package which has included recording 3 songs with accomplished Grammy® Award-winning Producer John Shanks, recording time at Converse Rubber Tracks studio and $10,000 cash.
Guitar Center’s Battle of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Daniel “Boscoe” France, performed alongside Grammy Award-winning Producer Pete Anderson at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.
Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center Williston is open seven days a week. Store hours are 11:00 a.m. – 7:00 p.m. Monday-Friday; 10:00 a.m. – 7:00 p.m. Saturday; and 12:00 p.m. to 6:00 p.m. Sunday.

Antelope Audio Announces World’s First 32 Channel AD/DA Converter and Audio Master Clock in a 1U Rack Box

Antelope Audio today announced Orion 32, the world’s first 32-channel AD/DA converter and audio master clock in a 1U rack. The new device supports both MADI and USB interfaces, clocked by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) technology.

Orion 32 allows 192 kHz I/O streaming of 32-channel digital audio through its custom-built USB chip, which provides simple connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its Fiber Optic MADI I/O connections, which can be used to connect with any suitably equipped MADI device.

Orion 32 also supports ADAT protocol by offering 16 I/O channels, for even greater compatibility with a large number of audio devices. The multi-channel converter inputs and outputs pass the analog signal through 8 D-SUB 25 I/O connectors.

Antelope Clocking for Increased Sonic Accuracy
In addition to being an extremely high quality audio converter, Orion 32 is also an audio master clock. The Orion 32 employs Antelope’s proprietary 4th generation of AFC and oven controlled oscillator, both technologies that made Antelope Audio clocks an industry leader for accuracy and reliability in recording, mastering and post-production facilities around the world. The four word clock outs, together with the 10 MHz input, make Orion 32 ideally suited to be in the center of any project or high-end studio.

“The multi-channel Orion 32 is the logical step, following our highly acclaimed stereo AD/DA converter Eclipse 384 we launched last year,” Igor Levin, Antelope Audio CEO says. “We have developed this device in response to customers who have demanded Antelope’s signature-quality sound, but in a multi-channel device. Orion 32 is ideally suited to a sound engineer’s needs for high quality, clean and transparent conversion, combining the efficiency of MADI and USB interfaces with the perfection of Antelope clocking.”

With its seamless digital routing options, the Orion 32 offers exceptional flexibility. The routing feature allows sound engineers to, for example, use the AD conversion and output the signal simultaneously both through the MADI and USB interfaces. The device is managed through a user friendly desktop application available for both Windows and OS X. Moreover it is equipped with five preset buttons for fast and easy recall of favorite settings.
Orion 32 is packaged in a 1U enclosure with an eco-friendly power consumption of only 15 Watts. In addition to saving rack space and having very low heating levels, Orion 32 comes with an extremely reasonable pricing even for small home studio, launching with a street price of only $2,995.

Key Features

  • Antelope Audio precise AD/DA conversion technology
  • Up to 192 kHz on 32 channels I/O via custom-built USB chip
  • 32 channels I/O via Fiber Optic MADI I/O connections
  • Eight D-SUB 25 connectors for AD and DA
  • 16 channels on 4 ADAT input and output connectors
  • Antelope’s renowned 64-bit Acoustically Focused Clocking with Atomic input
  • Antelope’s proprietary Oven Controlled Oscillator for supreme clocking stability
  • Four word clock outputs and one word clock input
  • Five presets for fast and easy recall of favorite setups
  • 1U rack size with power consumption of 15 Watts and very low heating levels
  • A user friendly desktop application available for both Windows and OS X

Moog Announces Release of “Analog Delay,” First Delay Designed Exclusively for the 500 Series Pro Audio Format

Today Moog Music announced the release of the “Analog Delay,” the first delay designed and created exclusively for the 500 series pro audio format. The Analog Delay is a 100% analog signal path module that features 800ms of delay time, front panel MIDI control, and an assignable Tap Tempo/CV jack on its front panel. Included with each unit is a free VST/AU/RTAS editor for easy implementation into any recording, live, and performance situation.

The Analog Delay has been designed with tone, connectivity, and flexibility at the forefront. Moog’s engineering team worked tirelessly to deliver a delay with an incredibly clean front end that could easily be pushed into a warm, natural overdrive for saturated delay trails or distorted delay effects.

Though not on the front panel, the Analog Delay features a 6 Waveshape LFO that allows users to create other time based effects such as tape delay, chorus and extremely modulated sounds. The LFO is easily accessed via MIDI and the free VST/AU/RTAS Analog Delay plug-in editor.

Also accessible via the included editor are advanced features like Tap/CV input routing, Keyboard Control settings, Clock Divisions and a Delay Multiplier for access to illegal delay times (up to 4x the front panel position). In addition to Tap Tempo and CV control, the Tap/CV input can also convert click track audio into a tap tempo signal.

The new Moog 500 Series Analog Delay module will be debuting at the 2012 AES conference in San Francisco booth 1222 and is expected to begin shipping in Dec. 2012

Web Page: moogmusic.com/analogdelay

Myers Exhibiting at Content & Communications World

New ProTrack TV & Radio Version 6.06 on-display in Booth #1060

Northampton, MA – Myers Information Systems – the respected developer of broadcast traffic, business, and content management software – today affirmed the company’s plan to participate in the industry event. Content & Communications World (CCW) — November 14-15 at New York City’s Javits Convention Center — embraces several formerly separate technology shows: HD World, 3D World, Production+Post Expo and SatCon. The Myers team will be at Booth #1060.

“CCW attendees represent a broad cross-section of the media industry; they’re involved in every aspect of the creative process, from concept to distribution,” noted Crist Myers, company CEO and president. “The business and content management workflow tools within ProTrack are designed to help make the creative enterprise profitable.”

Myers’ proven flagship suite, ProTrack, is available in both radio and television editions. It offers comprehensive scheduling and business management for individual, multichannel and multi-station facilities. Actively used by more than 226 media outlets, supporting more than 1,300 channels, ProTrack provides a high-level of structure, scalability, and systems integration for today’s rapidly evolving media environments.

ABOUT MYERS INFORMATION SYSTEMS
Myers Information Systems, Inc. has been developing broadcast management software since 1989. The Company provides technology and services for television, radio and other digital media providers designed to improve every aspect of their operations, from contracting to invoicing, media management to scheduling, and from trafficking to reconciliation. For more information, please visit: www.myersinfosys.com

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Myers Information Systems contact: Crist Myers
+1-413-585-9820 / sales@myersinfosys.com

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

Grizzly Bear Evolves its Unorthodox Onstage Vocal Chain, Using Several TRUE P-Solo Preamplifiers

2012 has been a defining year for Grizzly Bear, a Brooklyn, NY-based indie rock band that has headlined at venues including Radio City Music Hall in New York and The Greek Theater in Los Angeles, and performed on television shows including “The Tonight Show with Jay Leno,” “Late Night with Jimmy Fallon” and others. A few years ago, the band began employing a somewhat unorthodox practice of integrating guitar pedals and other stage effects into its onstage vocal chain. Thanks to front of house engineer Drew Malamud, the band has recently taken this approach to the next level by incorporating several TRUE Systems P-Solo preamplifiers, distributed by audio specialist Sennheiser.

“When I started working with Grizzly Bear back in 2009 around the release of ‘Veckatimest,’ they were doing things like taking their stage mics and plugging them right into reverb pedals with just an XLR to 1/4″ adapters on the end of the cable,” Malamud recalls. “Then after the reverb pedal, they would go into a DI and that was their vocal chain. It didn’t sound very good because a microphone likes to hit a preamplifier before anything else.”

Malamud began searching for a suitable preamp solution to use at the foot of the stage, before eventually choosing the TRUE P-Solo. “I liked many things about the P-Solo,” he says. “It is compact, has a robust build and also has an internal power supply rather than a wall wart. I was already familiar with the great sound because I have a TRUE Precision 8 in my own studio.” Malamud soon acquired six TRUE P-Solos for Grizzly Bear’s live performances, one for each vocal mic on the stage.

After setting up the P-Solos on stage, which took the microphone input and then ran to a Radial Engineering X-Amp™ active preamplifier, through a series of effects pedals and finally through a Radial JDI, there was a noticeable increase in the quality of the audio signal. “Once we had the TRUE P-Solos all set up and routed through the wireless personal monitors, the band couldn’t believe the difference in sound they were hearing versus just plugging a mic into an effects pedal,” Malamud says. “They were able to experience much more sonic detail and clarity.”

Having noticed that TRUE preamplifiers are often used in recording trucks for well-known festivals such as Bonnaroo, Coachella and others, Malamud has long appreciated the natural sound of the TRUE P-Solo. “It is a clean sound that I knew would work with Grizzly Bear,” he says. “It also had really nice LED metering on the front so I could see what was going on, even in extremely low light situations.”

While its onstage vocal chain set up may be somewhat unconventional, it is the result of Grizzly Bear’s relentless desire to recreate the sonic textures of their studio work in a live setting. “Part of their whole sound is the effects,” Malamud says “When Grizzly Bear is recording and mixing in the studio, I am always thinking, ‘How am I going to help recreate this sound live?’ And for the onstage vocal effects, the TRUE P-Solo is a perfect fit.”

As Grizzly Bear continues to find new audiences around the world and its live rig continues to expand and evolve, the band remains committed to its sound: “I feel like it’s all been a natural growth,” concludes Malamud. “We are one of the few bands in music today still doing everything with analog at front of house with really unique and exotic gear and vintage analog effects. Our TRUE P-Solos are a perfect complement to our approach.”

TRUE Systems P-SOLO at a glance

Natural, musical, highly detailed soundfield
Complete compatibility with condenser, dynamic and ribbon mics
A totally balanced, dual servo, high dynamic range, transformerless design
Internal linear AC power supply for excellent transient response
Built-in DI: high-impedance instrument output
High impedance instrument input
High-pass filter and 48 V phantom power
Dual analog outputs
Four-level metering
Oversize volume control with selectable 10 dB input level attenuation
Compact, portable, solid desktop case

The upgraded version of the P-SOLO is available now, and pricing remains the same at $599.95.

Photo captions:
1) Grizzly Bear during a rehearsal on their Fall 2012 tour.
2) The TRUE P-Solo is a core component of Grizzly Bear’s on-stage live vocal chain.

Acoustics First’s acoustical wall fabric saves $Green$ while being Green!

For Immediate Release

Acoustical wall fabric saves $Green$ while being Green!

Acoustical wall fabric installed under chair rail

Sound Channels® acoustical wall fabric is manufactured from 100% Post-Consumer Recycled material, making this a quick ship, easy, no thought acoustic solution.

Sound Channels® is applied directly to vertical surfaces, is easy to cut and installs like wall carpet. This absorptive wall fabric is a great choice to moderate speech frequencies in any application. Great to soften sound in conference rooms, distance learning, offices, and day care facilities, this material can also be used as a base layer in home theaters, recording studios and broadcast facilities.

Not only is this economical acoustical treatment available in countless colors, it is manufactured from recycled materials, reducing environmental impact!

Sound Channels in manufactured using Eco-fi fibers. Eco-fi is a high-quality polyester fiber made from 100% certified recycled plastic bottles. It can go into any textile product such as clothing, blankets, carpets, wall coverings, auto interiors, home furnishings, and craft felt. Eco-fi can also be blended with other fibers, such as cotton or wool, for enhanced qualities.

AN EASY GUIDE: 15 bottles = 1 yard of wall covering

Why buy Eco?fi products?
We have the capacity to keep billions of plastic bottles out of the world’s landfills each year by using post-consumer plastic bottles instead of virgin materials in the fiber manufacturing process. By doing this, we can lower harmful air emissions and save millions of barrels of oil from being used which, in turn, reduces the harmful effects of acid rain, global warming, and smog. Fabrics made from Eco-fi fiber are chemically and functionally nearly identical to those made from non-recycled fiber. The difference is that Eco-fi fiber is made without depleting the Earth’s natural resources. With properties such as strength, softness, shrinkage-resistance, and colorfastness, market applications for Eco-fi products are expanding every day.

Click here for more information on the Sound Channels acoustical wall fabric.
http://www.acousticsfirst.com/sound-channels-wall-covering.htm

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Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

AES Convention Heyser Lecture By JJ Johnston

“Audio, Radio, Acoustics and Signal Processing – The Way Forward

SAN FRANCISCO: An innovative and highly respected pro audio doyen James D. “JJ” Johnston, will present the 133rd AES Convention Heyser Lecture. Scheduled for Saturday evening, Oct. 27 from 6:30 to 8:00 PM at the Moscone Center. Dr. Johnston’s lecture is entitled “Audio, Radio, Acoustics, and Signal Processing – The Way Forward.”

This presentation will explore the current understanding of human auditory perception, and reveal how the way we actually work encourages a dichotomy of knowledge that no longer exists. Dr. Johnston will propose educational methods designed to amalgamate artistic and technical approaches; and techniques for applying some of the technical expertise we’ve acquired on the artistic side in order to better understand what the artistic side of the business needs and desires.

Currently an independent consultant, JJ Johnston recently retired from his position as Chief Scientist for DTS, Inc. In that role, he contributed to a variety of acoustical modeling, preprocessing and post-processing algorithms for audio capture, analysis, control, and presentation. He served in a similar capacity at Neural Audio, and as an Audio Architect for the Codecs, Core Media Processing, and Video Services Groups of Microsoft Corporation. He previously worked with AT&T Labs Speech Processing Software and Technology Research Department. And, with AT&T Bell Laboratories’ Acoustics Research and Signal Processing Research Departments.

“JJ Johnston is one of our most distinguished, imaginative, and forward-thinking AES members,” remarked AES president Jan Pedersen, “We are extremely fortunate to have him share the benefits of his long and productive career with us at the 133rd Convention.”

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Photo: 133rd AES Convention Heyser lecturer JJ Johnston

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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