Monday, January 26, 2015

Press Release - Avid Everywhere Brings Foo Fighters Sonic Highways Recording Odyssey To Life

Press Release : Avid Everywhere Brings Foo Fighters Sonic Highways Recording Odyssey To Life

HBO documentary series deploys Avid MediaCentral Platform for fast, collaborative workflows to manage huge volumes of footage and tight timescales 

Avid® (OTC: AVID) today announced that the creative teams behind Foo Fighters Sonic Highways embraced Avid EverywhereTM to create the HBO documentary series commemorating the band’s 20th anniversary. The Avid MediaCentral Platform powered a fast, efficient and collaborative workflow that gave the teams the creative freedom to infuse each episode with a different style, while managing a vast amount of footage and tight timescales.
Directed by Foo Fighters frontman Dave Grohl, the eight-part series sees the band travel to legendary music studios in cities across the nation – Chicago, Austin, Nashville, Los Angeles, Seattle, New Orleans, Washington, D.C. and New York - to write and record their latest album, Sonic Highways, which was released on November 10. Each episode features interviews with influential artists, producers and studio owners - from superstars like Dolly Parton and Willie Nelson, to pioneers like Steve Albini and Daniel Lanois.
The editing and sound teams established a collaborative post production environment with the Avid Artist Suite’s Avid Media Composer® | Software and Avid Pro Tools® | Software. According to sound mixer Jeff Fuller, Pro Tools helped the sound teams cope with increasingly tight timescales and give each episode a different style. “We went from having a week-and-a-half to turn around the first episodes to just three or four days by the end, but Pro Tools was amazingly robust,” he said. “We had absolutely no glitches with it throughout the entire production. The workflow didn’t change much, but we changed the mix stylistically for each episode to keep it fresh.”
Six video editors – Brian Lazarte, Scott Hanson, Grant MacDowell, Kristin McCasey, Lenny Mesina, and Meg Ramsay – each took the lead on one or two episodes. As the editors finished their episodes, they helped out on others, sharing sequences and footage, to meet the tight deadlines. The editors also collaborated closely with Grohl, and writer Mark Monroe.
With an average of 400 hours of footage per episode, Media Composer’s media management and project sharing capabilities helped the editors cope with the sheer volume of footage as well as facilitating collaboration. “Project sharing in Media Composer across all the editors and assistants makes a huge difference in terms of being able to collaborate and work efficiently,” explained Hanson, who cut the Austin episode.
Media Composer’s tight integration with Pro Tools also helped boost efficiency and collaboration between the editing and sound teams. “Using Avid Artist Suite solutions for both the audio and video delivered reliability and stellar results,” said Lazarte, who cut the Seattle episode. “I’ve used this workflow on every major project, and I love and trust it.”
“With Avid Everywhere, creative professionals can connect and collaborate seamlessly to bring their stories to life,” said Jennifer Smith, senior vice president and chief marketing officer, Avid. “To create such a unique and compelling documentary - while managing huge volumes of content and extremely tight deadlines - is testament to the power of Avid Everywhere, and the talent of the Foo Fighters Sonic Highways team.”

Saturday, January 24, 2015

Press Release: DPA Microphones and Blues Duo P.S. are d:dicate'd to Autism Awareness

Press Release:

Dan Spitz, co-founding member, co-producer and lead guitarist of the American thrash metal band Anthrax, and vocalist Michaela Paige, a Top 12 contestant on Season 3 of NBC's hit reality TV show The Voice, have collaborated to form P.S., a unique blues duo with the mission of raising autism awareness around the world through a soon-to-be-released, self-titled acoustic EP. For the project, Spitz plays several unique Weissenborn lap slide guitars, which he recorded using a stereo pair of DPA Microphones' d:dicate™ 4011A Cardioid Microphones, an equally distinctive microphone capable of capturing the instruments' exceptional acoustics. In addition, Spitz knew that DPA's d:facto™ Vocal Microphone would lend perfectly to Paige's vocal range. The pair will also use DPA microphones during a performance on the 2015 NAMM Show Main Stage on Thursday, January 22 at 1 p.m.

Having previously used DPA's d:dicate 4011A to record the Weissenborn, Spitz knew that the mic would once again be perfect for this album. "The unique sounds that can be achieved with this instrument help me bring my personal experiences to life," says Spitz. "With the Weissenborn, you're playing all frequencies continually, and that's the beauty of the instrument. The 4011A captures baritone to alto sounds and gives the microphone a chance to recover, even in a condenser form, before switching over to grab another frequency. When I started to select microphones that would best suit this recording, I knew I needed something that could project the purity and tonality of my instrument and Michaela's vocals. The songs had to sound exactly like what we heard while we played. I knew the natural sound of the DPA mics would be an ideal solution." 

Paige, who is using the d:facto with both wired and wireless setups, echoes Spitz' sentiments. "I think this is an absolutely beautiful microphone," she says. "The d:facto has a clearness and a smoothness to it that I haven't found with previous microphones. I fell in love with it the first time I used it. I've noticed that Dan's mics are also great at picking up the bluesy sound of his Weissenborn, giving our album just the right amount of soul. I'm very happy to have been introduced to all of the DPA mics. They perfectly capture the sound of this project, which encompasses everything Dan and I believe in." 

In the future, the duo plans to take the d:dicate 4011A and d:facto mics on the road, praising the simplicity of switching between setups and having mics that can highlight the range of sounds. "I'm excited to take the mics on the road with me for my live performances, like the one at the 2015 NAMM Show," Spitz adds. "We have a great sound that will appeal to a large audience, not just blues fans. My goal is to raise autism awareness through music, and I plan on reaching as many people as possible."

In addition to his role as Anthrax's lead guitarist and co-producer, Spitz's six-string accomplishments include several Platinum, Multi-Platinum or Gold albums and soundtracks, as well as three Grammy® nominations. He is also the first heavy metal artist to have his music played on another planet. Chosen by NASA to place the first top 10 song chart on Mars to awaken the NASA Curiosity Rover 2012 - alongside prestigious songs from Frank Sinatra and the Beatles, among other revered artists - Spitz can be thought of as the first intergalactic heavy metal recording artist.

Already an iTunes Top 100 artist, 19-year-old Paige has made it to the Top 10 on U.K. and German Dance charts and has been mentioned in USA Today newspaper, Rolling Stone magazine and on Access Hollywood. With a voice that's reminiscent of the greats, like Billie Holiday and Ella Fitzgerald, Paige has wowed international audiences and philanthropic circles, performing jazz, blues and R&B standards. 

DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA's ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA's products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

Thursday, January 22, 2015

NAMM: Audiofile Releases Triumph 2.5

Press Release: 

A next-generation tool for audio editing, mastering, sound design, 
podcasting and post-production

Audiofile, a leading music technology company, announces the release of Triumph 2.5 on the Mac App Store. Built on the success of the company's Wave Editor, Triumph 2.5 represents the next generation in audio editing, mastering, sound design, podcasting and post-production with new features, powerful DSP and a refined workflow.

Triumph 2.5 is a significant step forward in Triumph's evolution. Audiofile has improved workflow efficiency by redesigning the Render Assistant with the ability to render and export multiple formats simultaneously, allowing assets to be auditioned more easily by clicking "play" in an asset's popover, and by adding video import functionality, which will appeal to sounds designers and those working in post-production.

Triumph 2.5 also represents a significant step forward for sample rate conversion and dither as it now includes algorithms by Goodhertz, creators of Triumph's digital scrubbing feature and FHX™ headphone listening DSP. Goodhertz' mastering-grade audio sample rate converter combines incredible sonic performance with unmatched speed and efficiency for a nearly ideal frequency response, preserving high frequency content and eliminating aliasing. Goodhertz dither is a custom-tailored noise shaping algorithm that, rather than relying on noisy peaks or drastic high frequency shaping, always remains smooth and natural sounding while preserving every possible detail of the audio.

"The Triumph workflow is revolutionary," adds Ricardo Gutierrez, Grammy-winning mastering and mix engineer. "It's a great Swiss army knife. The fact that it can play back different sample rates in a project is amazing. The shapes used for automation, and the way you can snap to grid the different shapes, is really cool. I'm fully in the box now with mastering and finally have the tools and plug-ins to work in the box. I haven't touched my analogue gear since the summer. Clients want things so fast and Triumph lets you do that!"

Other additions and enhancements to Triumph include:
  • Greatly improved performance and stability
  • Optimized for OS X 10.10 Yosemite
  • Enhanced editing of individual channels in the Waveform View
  • Adds an option to import DDP sets from the File menu
  • Improved SoundCloud integration
  • Improved multichannel file support
  • iZotope MBIT+ Dither™ and 64-bit SRC™ are now available by purchasing an additional license from the Audiofile online store or via in-app purchase in the Mac App Store version
  • Various improvements to key commands
  • Improved User Guide
"I really like this app a lot," said Rich Breen, Grammy-winning recording, mix and mastering engineer. "Of course, most important are the sonics, and I've found it to be totally solid in this respect. For scripting, I can either duplicate and edit an existing script directly in Triumph, or copy it into AppleScript Editor and edit there for greater flexibility - I don't know of any other audio apps that offer this kind of feature."

Pricing and Availability
Triumph 2.5 is now available on the Audiofile website for $79.99. Triumph 2.3.2 is available on the Mac App Store for $79.99 with free update coming soon. For product and ordering information or to download a demo, visit

Wednesday, January 21, 2015

NAMM: Antelope Audio to Demonstrate Zen Studio, Satori Monitor Controller, Pure2 Mastering Converter and MP32 Preamplifier

Press Release: 
During the 2015 NAMM Show this week, leading digital audio manufacturer Antelope Audio [Hall A - Booth 6274] will demonstrate the detail, purity and flexibility of the newest products in its lineup of professional audio products: the Pure2 mastering converter, the MP32 microphone preamplifier, the Satori monitoring controller, and of course the Zen Studio — which has received industry accolades and a TEC Award nomination during 2014.

The new products, which are all shipping as of this month, bring unprecedented detail, depth, clarity and transparency to professional users' audio signal chain, while extending usability with an array of product features and multiple I/Os. Antelope Audio will also showcase new accessories for Zen Studio including its new Z-rack mounting system and a Zen Studio embroidered protective carrying case, an elegant solution designed for ease of use and portability.

Zen Studio: A Fully Featured Recording System 'To Go'

Zen Studio, which is nominated for the 30th Annual Technical Excellence & Creativity (TEC) Awards in the 'Computer Audio Hardware" category, is a full-featured audio interface, clock, preamp, and monitor controller in an ergonomic and robust road-ready chassis.

Featuring 20 analog inputs, 12 world-class mic preamps, Antelope's acclaimed conversion and clocking, onboard DSP effects, multiple monitor mixers, custom high-bandwidth low-latency USB, and Mac/PC control software, Zen Studio is a powerful core to any professional mobile recording studio.

Pure2, Satori and MP32: The Enlightened Audio Chain
The combination of the Pure2 mastering converter, the Satori monitor controller and the MP32 preamplifier, which will each be demonstrated at the Antelope booth, brings a new level of detail and purity to any signal chain.

Pure2 is a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock, enabling users to realize unsurpassed digital clarity and analog realism, while offering a flexible set of connectivity options and extremely efficient and ergonomic software remote control. With best-in-class Burr-Brown converters and the same Acoustically Focused Clocking (AFC) technology present in Antelope's ultra high-end Trinity master clock, Pure2 helps musicians and engineers achieve new levels of mastering excellence. 

MP32, a 32-channel, console-grade microphone preamplifier with integrated software control, is designed to compliment Antelope's Orion32 and provide the greatest possible transparency during the recording process. Occupying just 3U rack spaces make the MP32 the ultimate solution for both studios and live recording — where rack space can be a precious commodity.

Satori, meanwhile, is a true analog monitoring and summing system designed to deliver an 'epiphany' experience to the sound engineer. Antelope's renowned relay-controlled stepped attenuator, the extremely versatile connectivity options and great selection of stereo effects and comprehensive monitoring options, place the Satori among the most advanced monitoring controllers in the world, and make it equally suited to both commercial and project studios.

To learn more, stop by Antelope's booth at the NAMM Show or visit Antelope's web site at:

NAMM Preview: Back to the Future Sounds: Moog Recommences Manufacturing Large Format Modular Synthesizers

Press Release: 

50 years ago, at its first introduction, the Moog modular synthesizer represented as radical a transition as Kandinski’s abstracts or Kodak’s cameras – offering both a break from yesterday and a startling glimpse of tomorrow. And, as with all cultural explosions, the impact of Dr. Bob Moog’s invention was impossible to evaluate from the epicenter. It’s only now, 50 years down the line that we can get some measure of the importance, and the sheer untapped potentiality of the Moog Modular Synthesizer.

Today, it is with great excitement that Moog Music Inc. announces their plans to re-commence the limited run manufacturing of three of their most sought after 5U large format modular synthesizers: The System 55, the System 35 and the Model 15. These three modular synthesizer systems were originally created and manufactured by Moog in 1973. 

To commemorate the announcement, Moog shot a short film at their factory about the inspiring and multifaceted relationship artists have with modular synthesizers. The video features electronic music pioneers such as Suzanne Ciani, Malcolm Cecil, David Borden, Dick Hyman and Herb Deutsch alongside performances by contemporary modular artists like Holy Ghost! (DFA), Gavin Russom (ECSTATIC/Entropy Trax), Max Ravitz AKA Patricia (L.I.E.S./Spectral Sound/Opal Tapes), Kaitlyn Aurelia Smith (Western Vinyl), Jacques Greene (Vase/LuckyMe) and M. Geddes Gengras (Stones Throw). Each artist played a patch live, in one take, with no overdubs on one or more of the new Moog Modular systems.

The foundation for this announcement was laid last year at Moogfest 2014, when Moog released the Emerson Moog Modular system – a faithful recreation of Keith Emerson’s legendary modular instrument, which was the culmination of three years worth of research and engineering. Now Moog will use the techniques learned recreating the EMMS manufacturing process to once again build these modular systems. Crucially, in deference to the unique character and appeal of the original instruments, these systems will be made entirely to their original product specifications and manufacturing techniques and processes.

Working from the 1970s schematics, the System 55, the System 35 and the Model 15  will be meticulously handcrafted, as a true recreation of the original. The modules are built from the original circuit board films - just as they were in 1973- by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. The front panels are photo-etched aluminum, a classic process rarely still used in today’s synthesizer manufacturing, to maintain the classic and durable look of vintage Moog modules.
Upon their first release in 1973, the System 55, the System 35 and the Model 15 represented a high watermark for modular synthesis, and their inimitable tones can be heard shaping many much-loved albums. They were fundamental in the development of contemporary soul, RnB, and disco from giving Stevie Wonder’s classic run of 70s LPs their questing, innovative edge, to providing Giorgio Moroder with the pulsating machine melodies that ushered in electronic dance. At the same time, these were the instruments that inspired Brian Eno to push further out into seas of layered tranquillity on his pioneering ambient albums, or provoked bands like Yes and Tangerine Dream to blast their sonic freak outs into the cosmos.

However, the reintroduction of these instruments is not about reliving the past – while much incredible work has been done with the Moog Modular, there is so much further yet to be explored in this relatively young instrument. Artists had only begun to grasp the vast possibilities of these large format modular synthesizers when they went out of production over thirty years ago.  Decades of electronic experimentation have enabled musicians to move on from viewing the Moog Modular as a replacement for traditional instrumentation. Now a new generation of artists, with a greater understanding and more complex tools, will have the opportunity to explore the power of these singular sonic machines.  Today, the modular synthesizer is viewed in the manner Bob Moog originally intended: to “discover endless offbeat, unconventional, and even irrational ways of working.”

The dedicated nature of the Moog modular rebuilding process is such that the units will come in extremely limited quantities. There will be 55 units of the System 55, priced at $35,000 per instrument; 35 of units of the System 35, priced at $22,000 per instrument; and 150 units of the Model 15, priced at $10,000 per instrument.

Alongside these Moog Modular Systems will be the Sequencer Complement B Expansion Cabinet, a dual 960 Sequential Controller, an accompaniment to the System 35 and System 55, that has been out of production for over 30 years– as well as an optional 5-Octave duo phonic keyboard.


Modular Systems:

Tuesday, January 20, 2015

NAMM Preview: TC Electronic Introduces New Loudness Normalization Plug-In with Stand-Alone Capability

Press Release: TC Electronic Introduces New Loudness Normalization Plug-In with Stand-Alone Capability

Audio professionals everywhere can now benefit from the addition of LCn Loudness Correct to TC Electronic’s arsenal of pristine loudness tools – either as a Pro Tools plug-in or as a complementary stand-alone version with watch folder capability for automatic batch-normalization of multiple audio files. LCn is available for stereo or 5.1 surround -  LC2n and LC6n respectively.

These days, hitting the right loudness target is essential whether the delivery platform is HDTV, Mobile TV, podcast, radio, iTunes, Spotify, etc. and LCn makes this as easy as clicking a button or dragging a file to a folder. The plug-in version allows Pro Tools users to apply faster-than-real-time, two-pass, off-line processing from within their host, while the stand-alone version runs on PC and Mac.

Watch the Folder – Watch the Light

A key functionality in the LCn stand-alone version is the dedicated watch folder capability that allows users to simply drag and drop their audio files into a user-defined target folder for fast and easy loudness normalization and true peak limiting. The new, normalized file will automatically be created in another user-defined destination folder, and the application can be set to automatically delete the original file or keep it in the watch folder.

Another practical feature is the “traffic light” indicators to quickly see whether or not a file is compliant with the standard chosen.

Users may even paste multiple audio files into the watch folder, making the LCn a highly efficient loudness batch processor.

Finally, the watch folder feature also works across a networked system, so users could install it on a central server and simply drag their audio files to it from any computer on the network.

Mastering Quality True Peak Limiter Included

True peak limiting is an essential part of normalizing to loudness, but the quality of true peak limiters varies significantly. TC Electronic originally developed this very accurate way of measuring and processing peaks. Therefore, the company has a long history of providing the absolute finest, mastering-grade true peak limiting algorithms, and their legendary Brickwall 2 True Peak Limiter is an integrated part of LCn – complete with various true peak limiter profiles and linking functionality.

Producers can now be absolutely certain that their material will pass the ingest stage on both loudness and true peak targets and thereby eliminate virtually any risk of having their content rejected.

For broadcasters who deliver to multiple platforms such as HD TV and Mobile TV, it is essential to be able to hit two very different loudness targets – typically   -23/-24 LUFS and -16 LUFS. In that process a true peak limiter is absolutely key and with Brickwall 2 handling the peaks, audio quality is kept at its finest regardless of the delivery platform.

S-Max and Loudness
LCn takes the very latest revision of the EBU R128 standard into consideration by adding a ‘Short-Term Max Limit’ feature that the user can choose to activate.

In other words, it is now possible to hit the loudness target and at the same time comply with the new S-Max goals of the EBU R128-2014 revision. This is absolutely essential for producers of short-duration content such as commercials and trailers.

Dual Radar Confidence Check

During processing LCn shows two small Loudness Radar Meters that all TC Electronic loudness meter users will be familiar with. However, even new users will easily be able to understand how the Dual Radar Confidence Check feature works.

Quite simply, the Radar Meter on the left shows the loudness landscape over time (short-term loudness) of the original content, and as soon as the processing has been completed, the loudness landscape is shown on the right radar reflecting the new, loudness-normalized audio file. For instance, if the program material is of longer durations this is a very easy and fast way to check, literally at a glance, that everything is in order.

LCn will be available January 2015 through TC Electronic’s dealers and distributors as well as in the TC Electronic online store.

NAMM Preview: Audient comes to NAMM with TEC-Award nomination ASP88 Mic P

Press Release:

Seventeen years since its inception, British audio equipment manufacturer Audient brings exciting new products, a fresh, dynamic team, a progressive new owner and a new distribution partner to the United States.

No stranger to NAMM, Audient comes to this year's show having picked up its third TEC-Award nomination, this time for the eight-channel mic pre, ASP880. Another recipient of much acclaim is the feature-packed USB AD/DA interface and monitoring system, iD22 which visitors to the show should be able to get a look at.

It all started with the large format ASP8024 analogue console designed by David Dearden, who himself lays claim to a sound electronics design experience second to none. He's spent over 40 years working with consoles, headed up DDA, co-founded Audient, and also had the incredible experience of helping build the custom console used for John Lennon's 'Imagine' album.

"Every Audient product with a mic pre - including the latest releases, ASP880 and iD22 - incorporates the original Dearden-designed console preamps," explains Chief Technical Officer, Tom Waterman taking pride in driving Audient's engineering in new directions, whilst staying true to the company's heritage. "Indeed Audient is the only company whose renowned mic pre design features throughout the whole range. It is testament to the design of the flagship analogue console, ASP8024 that it is still manufactured today and that there are more than 1,000 in daily use worldwide."

ASP8024 is a top choice for schools as well as studios across the United States. Renowned creative institute Full Sail University packs a staggering 12 desks into a single teaching space; NYU Steinhardt and University of Central Oklahoma both possess one and Women's Audio Mission has just taken delivery of its first 48 channel Audient.

Industry heavyweight Simon Blackwood is at now at Audient's helm and has a proven track record for pro audio business development - past successes including Focusrite, Novation and founding Spirit.

A year after taking the reins he is very pleased with the brand's progress, stating: "There was significant growth in our business in 2014 and our focus for 2015 is the US market". Most recently he has utilised his close connections with industry manufacturing to help source new technology and better component pricing, which has led to the significant reduction in the price of iD22.

Together with Tom's vision for exciting new products, Simon promises to propel Audient forward into the new year. "We have plenty of scope for further development over the next 12 months, and great energy from our team based in southern England. Setting up new distribution agreements in the States and across the globe is just the start of it."

To bring this new direction to the USA, Audient has signed on a new distribution partner in Momentum Audio Sales. Founded by audio industry veteran John Devins on his experience in leading sales efforts for Steinberg, Cerwin-Vega, Focusrite/Novation, AKG, and JBL, Momentum Audio Sales is the perfect fit for Audient to expand their offerings in the US market. Devins will tap established dealer and sales rep networks in the US and is looking forward to a year of growth in 2015.

Monday, January 19, 2015

5 Tips for eating healthy on the road… A different perspective

Want to eat healthier on the road? Try getting more sleep. One of the most difficult things to do when working either as a crewmember or artist is to keep a healthy lifestyle on the road. The constant push to keep moving and arrive at the next destination on time or better yet early makes the traveling portion a major grind. Long hours on the road or airport while eating on the way at fast-food joints or even worse, gas stations.

Here is what I have learned over my years of doing road gigs: I get hungry when I am tired. Yes, I tend to go for the sugar and carbs when I am absolutely exhausted. It’s like my body’s saying, “Hey, you are tired but need to keep going? Have some sugar and fast food (which is really bread [sugar carbs] and sweeteners) so we can keep this pace up”. Although for you road warriors and other crew types, you know that sleep is pretty much a premium. During one of my first tours as a green A2, I was shocked to see crewmembers getting a 2-hour break and then spending it curled up under a staircase or on a set of road boxes. This would often be the sleep they would get before another 8-hour shift.
So as I grow a little bit older, I noticed that when I was well rested, I tended to eat much healthier. Mostly vegetables and protein; no fast food. When I get tired at night, I sleep a minimum of 7 hours. This leaves me well rested and actually ready for the day. I tend of have more cognitive engagement as the day progresses as well. I translated this new behavioral process to my road warrior lifestyle and so far, so good.
Here are my 5 tips for eating healthier on the road:

  1. Get sleep in a minimum of 3.5 hour blocks.
  2. Eat mostly plants and protein (meat or vegetarian options)
  3. Try to have 2 hours of downtime for yourself somewhere in the day. Play video games or do something mindless you enjoy.
  4. Naps are great, take a 10-30 minute nap if possible
  5. Work out! Yes, work out. 30-60 minutes of increased cardio helps curb appetites and makes us crave better food and sleep!

Monday, January 12, 2015

Press Release - Antelope Audio Zen Studio Wins Mix/PAR 2014 Innovative Product Award

Press Release : Leading professional audio gear manufacturer Antelope Audio announced that its Zen Studio won an 'Innovative Product Award' in the first Mix/PAR reader's choice awards. The Zen Studio audio interface was nominated in the Interface category alongside equipment from several other leading audio manufacturers. Each of the winning products were selected by readers of Pro Audio Review and Mix Magazine.

"We are pleased that Zen Studio has been recognized with an Innovative Product Award by readers of Pro Audio Review and Mix Magazine," commented Marcel James, Director of US Sales and Marketing, Antelope Audio. "We believe the many innovations in Zen Studio and our other products like Pure2, MP32, Orion32, Satori and others are raising the bar and shaping the expectations of pro audio consumers, who are demanding greater flexibility and uncompromising audio quality in the products they choose."

In recognition of outstanding technical achievement, Zen Studio recently received a nomination for the 30th Annual TEC Awards. Zen Studio is a professional portable audio interface, clock, preamp, and monitor controller. It is built with the purpose to be a powerful professional mobile recording studio, but its features such as 20 analog inputs, 12 world-class mic preamps, Antelope's acclaimed conversion and clocking, onboard DSP effects, multiple monitor mixers, custom high-bandwidth low-latency USB, and Mac/PC control software make it a perfect recording solution not only for location but studio recording as well. Since its launch in May, Zen Studio, has received multiple recognitions from the media, users and Grammy Award winning engineers across the Globe.

Zen Studio was designed and manufactured based on proven conversion, clocking and USB technologies used in Orion32, the company's best selling product. Orion32 is part of the critical audio signal path in a number of large live shows and prominent studios. For its diminutive size, Zen Studio delivers a breakthrough number of mic pres and DI instrument inputs in a mobile interface, along with exceptional monitoring and tracking DSP capabilities more commonly found in high end, commercial studios.  

Monday, January 5, 2015

Twitter Problems

So recently I was trying to update's twitter account @TheAudioPod and found some pretty interesting limitations.

1) Twitter will only let you follow 1,000 people a day. Not a great thing when you want to keep up to date with all the artists out there.

The work around: Put them into lists. *WARNING: Twitter has a limitation on lists also. See below

2) Twitter will only let you do about 150 list changes per hour. YES! per hour! That means you can only add or remove 150 people at a time. Not a great system. I imagine the reason is so that it limits the amount of BOTS on their systems at one time. I could see a bot removing or adding people on lists jumping into a FOR loop and crashing twitter.

However, the issue is that for small blogs like this or ordinary people it is a major hassle to manage your news feeds. Feel free to leave some ideas on how to manage this better. Yes I also use Hootsuite.