tag:blogger.com,1999:blog-72640974331160402902024-02-06T18:20:43.123-08:00TheAudioPod.comUnknownnoreply@blogger.comBlogger94125tag:blogger.com,1999:blog-7264097433116040290.post-84549414895276297162021-11-23T07:24:00.003-08:002021-11-23T07:24:46.717-08:00Moving over to www.TheAudioPod.com®<p> Thank you to all those on blogger who followed me during my website transition (which might have taken 10 years). You can now follow the blog with much more detail and search options at <a href="http://www.TheAudioPod.com">www.TheAudioPod.com</a></p><p>I look forward to seeing you over there!</p><p><br /></p><p>Dr. Mike Testa. Ed.D</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-76685471464348777632021-09-27T08:56:00.000-07:002021-09-27T08:56:14.456-07:00Beginning Mix Theory: Where Do I Put This Instrument?<p> I get this question often: "Where do I put XYZ instrument in the mix?". The answer is complex. But there are standards that we follow in the music industry. For example, Kick, Snare, Bass, and Vocals traditionally sit in the middle of the mix. The reason stems from pure function. The Kick, Snare, Bass, and Vocals are the instruments that set the rhythm, tone and contain the message of the music. We would consider these instruments most important within the arrangement. </p><p>Stereophonic sound reproduction requires two speakers, or two earbuds, or two sides of a headphone. Most people do not set up their home speaker systems correctly to get the full impact of stereophonic sound. Imagine entering your grandmother's house or your friend's dorm room. Have you seen their stereo system set up where one speaker is in the living room, and one speaker is in the kitchen? When this arrangement occurs, the listener will only hear the instruments in the extreme left or right of the mix (depending on which room they are in). However, if the engineer pans the essential instruments in the middle of the stereo spectrum, the listener can hear those parts in both speakers or, in this example, both rooms. </p><p>Engineers often think about the song mix as occurring on an imaginary concert stage or sound stage. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDSe3La1pgnEmCiHQLpdU7k4ST9AiZbrXkmhUHlJJUMp-JUsO9LbEXzSs_u48HGFTA690UnwMSIbitcPEfX-N_y3Qq13F1jVuXvhhODKtGvYCpZzkqFVm0JeEy5IpPvW39WdTVafV1kiAS/s1548/Stereo+Grid.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1016" data-original-width="1548" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDSe3La1pgnEmCiHQLpdU7k4ST9AiZbrXkmhUHlJJUMp-JUsO9LbEXzSs_u48HGFTA690UnwMSIbitcPEfX-N_y3Qq13F1jVuXvhhODKtGvYCpZzkqFVm0JeEy5IpPvW39WdTVafV1kiAS/s320/Stereo+Grid.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /></div><br /> To simplify the mixing process, we will split the stereo spectrum into five parts; Center, Left Center, Right Center, Left, and Right. <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5h_48AJLTNH19nGbBc15sF8zYY1gbCB9T6zYSTXALAOi_qSmZm3O2xOgtwg9Fd4eo0rVd_tARNgfmB4h4AGK1V3mAAwjyr6YVCawAfqk15shscz_uYgvE-Z_Fg_3zgDWs6RNwCr5-CNqA/s1548/Screen+Shot+2021-09-27+at+11.40.20+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1016" data-original-width="1548" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5h_48AJLTNH19nGbBc15sF8zYY1gbCB9T6zYSTXALAOi_qSmZm3O2xOgtwg9Fd4eo0rVd_tARNgfmB4h4AGK1V3mAAwjyr6YVCawAfqk15shscz_uYgvE-Z_Fg_3zgDWs6RNwCr5-CNqA/s320/Screen+Shot+2021-09-27+at+11.40.20+AM.png" width="320" /></a></div><br /><p><br /></p><p>The typical convention for stereo mixing is as follows: </p><p>Center: </p><p>Kick, Snare, Bass, Vocals, and a Solo if there is one. </p><p>Left Center: Hi-Hat, Piano/Synth</p><p>Right Center: Mid Tom, Piano/synth</p><p>Left: Guitar 1, Left Cymbal Crash, Hi Tom</p><p>Right: Guitar 2, Right Cymbal Crash, Low Tom</p><p><br /></p><p>Distance is more complex. Listeners identify instrument distance by both volume and frequency cues. To simplify distance in this example, we will primarily focus on fader volume as a way to get started. This example will split the soundstage into three parts; near, middle, and far. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfTcIhbbKcltT-42jgP1yI6pie4T0Bhve8aN0vRznl2k-sHXa5dSCMxNqhk9tdtVKbkDMYYTSInFkne0URZ5YocmrCBPOKzOFTxGsNc5cEyQCQEY4_YnUhf8-aBFHiD26oeCcX_enM2Cyd/s1548/Screen+Shot+2021-09-27+at+11.40.20+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1016" data-original-width="1548" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfTcIhbbKcltT-42jgP1yI6pie4T0Bhve8aN0vRznl2k-sHXa5dSCMxNqhk9tdtVKbkDMYYTSInFkne0URZ5YocmrCBPOKzOFTxGsNc5cEyQCQEY4_YnUhf8-aBFHiD26oeCcX_enM2Cyd/s320/Screen+Shot+2021-09-27+at+11.40.20+AM.png" width="320" /></a></div><br /><p><br /></p><p>Near: Vocals and Solo</p><p>Middle: Kick, Snare, Bass, Hi Tom, Mid Tom, Low Tom, Guitar 1, Guitar 2 (sometimes piano)</p><p>Far: Piano/synth, cymbal crash left and right. </p><p><br /></p><p>If we think about the sound stage as an XY grid, then panning is the x-axis, and volume is the y axis. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Cv0EGBomONilIcvOTba0v1XGMyUMAIkRDmMq1x7ca143tU7Xx6-VwV85bh-D4bJN8bwW83MJelXOBzaqRtY2HAu6EOB_VAZa4V8yotf-IZtYfzSNwa1r2vy81XJWgXpnzBVlOZuNs7Xw/s1548/Screen+Shot+2021-09-27+at+11.40.20+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1016" data-original-width="1548" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Cv0EGBomONilIcvOTba0v1XGMyUMAIkRDmMq1x7ca143tU7Xx6-VwV85bh-D4bJN8bwW83MJelXOBzaqRtY2HAu6EOB_VAZa4V8yotf-IZtYfzSNwa1r2vy81XJWgXpnzBVlOZuNs7Xw/s320/Screen+Shot+2021-09-27+at+11.40.20+AM.png" width="320" /></a></div><br />The audio mixer can now grid out the instruments in the song arrangement and balance them on the imaginary sound stage. <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitOFCjXYKC4EgNpLiD_cW3lszCG0ZiCH-xTxgBr0frw470pT8KZ_eXlZqqItdbg0t70YAicMGNGxyhJsUgdNFadHr2KCBhGhVRErJbbX299YkDhioVYBQQQ16OY3_tdOTBjZJ2eTDD0ro4/s1548/Screen+Shot+2021-09-27+at+11.40.20+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1016" data-original-width="1548" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitOFCjXYKC4EgNpLiD_cW3lszCG0ZiCH-xTxgBr0frw470pT8KZ_eXlZqqItdbg0t70YAicMGNGxyhJsUgdNFadHr2KCBhGhVRErJbbX299YkDhioVYBQQQ16OY3_tdOTBjZJ2eTDD0ro4/s320/Screen+Shot+2021-09-27+at+11.40.20+AM.png" width="320" /></a></div><br /><p><br /></p><p>Balance is determined by not having too many instruments on one side of the stage versus the other. If we have too many instruments on the right side of the stage, the mix is "heavy to the right," and vice versa. We aim to have every instrument occupy its own place on the imaginary stage. </p><p>We simplified the mixing process to adjusting the volume and panning to put the instrument in its proper grid position. The closer the instrument, the more volume it will need. The further away from the listener, the less volume the instrument will need in the mix. </p><p>This example is a starting point. Commercial mixes are more complex than this example. It is a good idea to grid out your mix first on a piece of paper to verify the soundstage balance. Then start your mix with the essential instruments in the center of the sound stage, and work your way to the less important instruments. When you get more proficient at mixing, the grid lines start to blur. A mix will then have a more cohesive blend as your mix skill improves. </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-1293070230230403162020-09-27T16:30:00.003-07:002020-09-27T16:30:04.197-07:00Concerts in a post COVID-19 World; A model for a better streaming experience?<p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.bostonmagazine.com/wp-content/uploads/sites/2/2015/12/VL_120915_DropkickMurphys_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="460" height="284" src="https://www.bostonmagazine.com/wp-content/uploads/sites/2/2015/12/VL_120915_DropkickMurphys_small.jpg" width="284" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span><p></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">From May 26 through May 29, 2020, The Dropkick Murphy's and Mindpool Productions collaborated to produce a broadcast quality concert "Streaming out of Boston" in the intra/post-COVID-19 world. Prior to this date, the live music industry has been struggling to find some solution to bringing quality produced live music to a home audience without the </span><em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">musician in the basement look</em><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">. The answer was an open-air baseball stadium not currently used for it's intended purpose due to the pandemic. The venue has hosted major musical acts in the past, such as Bruce Springsteen, The Rolling Stones, and Paul McCartney, to name a few. However, the concerts were in the traditional stage and audience format we were all used to attending. This concert by the Dropkick Murphys did not have a stage nor audience, and the musicians were roughly 15-20 feet apart, and the final output was to streaming broadcast. The logistical challenges were unique for both the venue, the production company, and the band. This article looks to document best practices throughout the planning and execution of this concert using the CDC guidelines for preventing COVID-19 exposure. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The Players</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> The planning of this concert was the idea of the Dropkick Murphys. They approached Mindpool initially to produce this show. Josh Adams, the owner of MindPool Live "The Dropkick Murphys, reached out to me and said, Hey, we're thinking about doing this. Is this something you would consider or be interested in? And you know, right away the conversation has turned to, you know, how are we going to do this with safety in mind? And once we all realized we could put a safety plan in place, that's when things started to go forward."</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> The concert staff consisted of three groups: The Dropkick Murphys and their backline staff, the MindPool Live crew, and the production crew. Mindpool was in charge of the overall production. Video Productions was assisting Mindpool with the technical direction of the show as well as providing playback and access to the main video board in centerfield. Along with this, video productions were also in charge of some graphics and transmission lines to broadcast. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> However, there were significant crew health questions that needed addressing. How could we do this safely without getting the crew, the band, and other workers sick? Was additional personal protection equipment (PPE) needed, and who needed it? Who was going to pay for that equipment? How do you safely let musicians and crew use restroom facilities? How do you divide and isolate certain parts of crew members to avoid cross-contamination between crew groups? </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> </span><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Planning</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The first step in the planning process was designating crew areas and limiting contact between other crews. "Everybody had a color-coded assignment that defined workspaces. Josh said, "we had assigned bathrooms per group of workers, so there was no cross-sharing of bathrooms." Secondly, the city of Boston had a few public safety rules in place, mainly the number of people in an area at one time and a citywide curfew of 9:00 pm. The venue was only allowed to have 35 people total in the park at one time. This included band members, working staff, security, and park detail. "The part that took it the next level was identifying work times, adding much more time that is normally needed for a load in because everything was taking a lot longer. We used half as many people, and we took twice as much time," said Josh. Time management became a crucial component of the concert at every level of the crew's organizational chart. Also, the decision about which team member was allowed to be onsite and allowed to work remotely became a key factor. "Our technical and production co-manager was off-site. It turned out to be a great decision. He wasn't getting pulled into a thousand other things. He was probably better able to coordinate than he would have if he were onsite because of just the rush of trying to get everything done, and that was a pleasant surprise." Said Josh. Other Mindpool members worked off-site in such capacity as graphic creation and editors. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">CDC Guidelines</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> The CDC recommends a multi-step approach to preventing the spread of the virus from person-to-person. As of the date, this article was written, the virus spreads through "close person-to-person contact (within 6 feet) through respiratory droplets when an infected person coughs, sneezes, or talks. These droplets can land in the mouths or noses of people who are nearby or possibly be inhaled into the lungs. Some recent studies have suggested that COVID-19 may be spread by people who are not showing symptoms."</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Dr. Eric Osgood, Medical Director at Physician Practice Enhancement and front line COVID-19 doctor in Trenton NJ, commented: "I believe the first law of safety in the COVID-19 pandemic is 'behave as though you are asymptomatically carrying it,' so assume your respiratory droplets are loaded and act accordingly to protect those around you and everyone they interact with."</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> To prevent the spread of the virus, the CDC recommends these preventative measures:</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">1) Wash your hands often. If you are not near a hand washing station, use a hand sanitizer with at least 60% alcohol. Avoid touching your face with unwashed hands. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">2) Avoid close contact. Maintain a 6-foot minimum separation between you and another person. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">3) wear face coverings. Face coverings could be cloth or surgical in the material.</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">4) Clean and disinfect surfaces with EPA registered household disinfectants. These surfaces include all workstations, equipment, and commonly touched surfaces like doorknobs and light switches. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">5) Monitor your health. Take your temperature daily and look for common symptoms of COVID-19, such as: </span></p><ul style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Fever or chills</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Cough</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Shortness of breath or difficulty breathing</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Fatigue</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Muscle or body aches</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Headache</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">New loss of taste or smell</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Sore throat</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Congestion or runny nose</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Nausea or vomiting</span></li><li style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; list-style-type: disc; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Diarrhea</span></li></ul><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The Venue</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">Upon entering the venue, workers were asked to complete a health screening survey before driving to the facility. The survey asked the following questions: </p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">"Have you, or anyone you have been in contact with, had a positive test or presumptive positive test for Covid-19 in the last 14 days?"</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">"Have you had any signs or symptoms of a fever in the past 24 hours, such as chills, sweats, or had a temperature that is elevated for you/100.0F or greater?"</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">"Are you experiencing any of the following symptoms? </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Fever chills or repeated shaking with chills</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Sore Throat</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> New Cough (not related to chronic condition)</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Nasal Congestion or Runny Nose (not associated with seasonal allergies)</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Muscle Aches</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">New Loss of Smell or Taste</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Shortness of Breath or Chest Tightness (that is new/unusual to you)"</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Musician Plot and Layout</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> There were some unique characteristics of playing in a baseball stadium. First, the stadium is an open-air facility. The crew and Musicians had plenty of space to operate safely with plenty of fresh air. Because of the pandemic, no major league sports were in operation at the time of this concert. Thus, the band had use of the infield, which is typically off-limits to concerts during the season. The musicians were able to set up 15-20 feet apart as if they were positions on the baseball diamond. Technical tents were set up near the dugouts and were roughly 40 feet away from the closest musicians. Musicians wore face coverings until they got to their stations on the field. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Because the musicians were playing on the infield, most of the equipment sat upon plastic flooring used to protect the infield dirt from scaring. This synthetic flooring also protected the amplifiers from sitting directly on the crushed clay of the baseball diamond</span>. The singers were allowed to sing on the infield grass and, on occasion, the pitcher's mound. Again, this allowed for 15-20 feet of distance between each musician at all times during the performance. </p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Day of</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Once you passed the screening questionnaire, you had to print out or provide a screenshot to the security gate. At the security gate, all workers were wearing face coverings and gloves. Security asked each individual to stand in front of a thermal camera, which took the person's temperature. If the temperature was below 100 deg Fahrenheit, the worker was then cleared to pass through the gate. Once the person passed through the metal detectors, they were provided a sticker, which indicated which zone they worked in and which restrooms you were assigned. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Inside the park, employees wore masks at all times, and Clorox wipes were available at each workstation. Hand sanitizer stations were visible at each doorway and consistently refilled by the cleaning staff. Bathroom floors, walls, and fixtures were washed and sanitized with industrial power washers and cleaning products every 3 hours.</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Load-in</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Load-in for a concert or production is often a carefully choreographed in pre-COVID19 conditions. In post COVID19, it was more complicated (insert a quote from A1). All stage hands wore masks and gloves. Most of the time, the stage workers were socially distant except when cases required a two-person carry. Small 10x10 tents were set up for the technical crew off to the side near the dugouts. These tents only had top coverings, and all four sides were exposed to the open air. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Set up</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> The set up of the instruments and microphones occurred just like any other live concert would have. Instrument techs set up amplifiers and road cases in position according to the plot provided. Audio crews set up microphones and monitors while video production crews set up robotic cameras at each musician station. The most significant disadvantage to the stage crew was the distance needed to travel from the equipment staging area to its final position. (insert stage crew quote) Since the musicians would be on the baseball infield dirt, all equipment had to be moved by hand and carried as not to damage the turf. Again, each worker wore a face covering. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Once the band's equipment was in place, Audio and Video placed microphone cables and video cables in the positions outlined in pre-production. Each band member (except for the singers) had robotic iso cameras. A video engineer on the field controlled these. Each band member had an individual monitor speaker and a singing microphone. Audio FOH also placed microphones in front of speaker cabinets, in front of bagpipes, and over the drums at this time.</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Sound Check Camera and Blocking</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Musicians wore face coverings while on the sidelines, while walking to their equipment and until they were ready to play. Because of the distance between the performer and their amplifiers, the soundcheck continued to be socially distant. Performers were able to play their instruments while tech crews adjusted microphone positions and cameras far enough from musicians to be well outside the CDC recommended 6-foot distance. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Four camera technicians operated the hard patched Triax cameras. One camera operator was above the field in the </span><em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">high home</em><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> position frequently used during baseball broadcasts. Two other operators were on the ground about 120 feet away at the edge of the wall and infield foul territory. One camera person was operating a wireless hand-held Sony XD camera and was able to move to different positions. This operator observed all social distancing rules and had frequent communication with the director about blocking positions that were creative yet safe to both themselves and the band. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The concert, Breakdown, and Loadout</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> The show was rehearsed and executed with minimal changes to the original format. The final output stream was delivered to BrightCove, a back end service provider. Viewers were able to view the concert on various social media platforms (Facebook, Twitter, YouTube, and Twitch)</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> During the breakdown, the same precautions were taken as during the setup. Staff still wore face coverings and gloves. Equipment was cleaned and wiped down as typically would be during an outdoor concert. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Crew members were socially distant and packed each piece of equipment inside road cases while rolling them out individually. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> As for the band's performance logistics, Jon Marcantonio, monitor engineer, said that precautions were taken even with the instruments. "Yes, we were constantly wiping everything down we touched, everyone stayed in their own “zone,” nobody used anyone else’s mics, and we stayed masked up all day. There were no direct instrument handoffs, their next instruments were left in stands behind them, and in some cases, guitar changes were made by musicians tossing guitars across the field at techs. Note: The guitar was caught every time."</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Challenges and Recommendations for Future Concerts</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> According to the CDC, the first line of defense is frequent hand-washing. In addition to hand sanitizer, portable wash stations closer to the worksite for crew members would have an even more significant impact. Dr. Osgood recommended a good rule of thumb is to wash your hands </span><u style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">often,</span></u><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> for a </span><u style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">minimum</span></u><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> of 20 seconds. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Masks and face coverings made it very difficult for open-air communication. "Generally, standing so far away from people you’re trying to communicate with was a challenge," said John Marcantonio. Once wireless communication was established, crew members were able to talk a bit easier to each other. Masks often block out the high-frequency portion of the voice spectrum, usually where the intelligibility of speech lies. Assigning every crew member a headset microphone and headphones might make communication a lot easier with face coverings. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Manual labor with face coverings proved extremely challenging. Often heart rates get up around 120-160 depending on the task. That challenge will be something that managers need to monitor for crew safety and best practice effectiveness. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> In terms of people management, Josh Adams found that the required level of planning was more significant than he anticipated. "The biggest challenge is that you just can't do anything that you're used to doing. You have to plan everything, including meals. We couldn't have a food service because we couldn't ensure an environment where we could feed everybody safely. So workers had to bring their meals and social distance while eating." Additionally, with a limited crew, Josh stated that he would add a day to the load in process in future concerts and plan to use even more space between technical crew stations. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> As for taking temperature for crew members, Dr. Osgood said, "as far as using temp of 100.0 - temp guidelines vary state to state, I would use oral temp of 99.5 as a cutoff which some states have done, this was the cutoff for temp used in the original studies coming out of China. I would also advise caution with those forehead gun thermometers for people working outdoors in the sun, which will give you false fevers." Some states do allow a "cool off period," giving the worker a chance to re-test in the case of a false fever. Check your local guidelines as they vary from state to state. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Conclusion</strong><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Mindpool demonstrated entertainment production could happen while closely observing the CDC guidelines for preventive COVID19. Caution is still needed to ensure performer and crew safety as the CDC recommendations are there to minimize the risk of transmission, but not eliminate it. Crew members can always be asymptomatic and be within the infective window; thus, not all risk can be minimized. Proper planning is essential. Reducing exposure between crew groups through pre-production planning and project management is a crucial component of risk mitigation. Ensuring that crew members follow safety protocols is where thoughtful leadership will set the example. Our goal in the production industry is to provide quality production and entertainment to an audience starving for art in the time of this pandemic. It is our responsibility to produce that art safely to all those involved. </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-57771968600663175352020-09-23T07:30:00.004-07:002021-09-27T10:19:55.734-07:00Officially Trademarked!<p><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://fiverr-res.cloudinary.com/images/q_auto,f_auto/gigs/122899849/original/d916c40d2ec89c1b6f5d2b70b325d0420045e96b/get-your-logo-or-service-mark-trademarked.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="262" src="https://fiverr-res.cloudinary.com/images/q_auto,f_auto/gigs/122899849/original/d916c40d2ec89c1b6f5d2b70b325d0420045e96b/get-your-logo-or-service-mark-trademarked.png" width="393" /></a></span></div><span style="font-family: georgia;"><br /> </span><p></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;">Today, after 12 years, the United States patent and trademark organization granted theaudiopod.com an official trademark, capping off a very long process. </span></p><p><span style="background-color: white; color: #282625; white-space: pre-wrap;"><span style="font-family: georgia;">This blog is gone through a lot of iterations. From being a technology review to focusing more on Twitter, finally in its current iteration as an education blog. </span></span></p><p><span style="background-color: white; color: #282625; white-space: pre-wrap;"><span style="font-family: georgia;">I'm extremely proud of where this blog is come over the past twelve years and also extremely for your readership. you've allowed me to bounce ideas off of you and helped me grow as an audio engineer, music producer, and educator. We have a great name, and now this name will stay with the blog for a very long time!</span></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-76453149391995840982020-02-24T12:23:00.002-08:002021-09-27T10:20:20.939-07:00Creativity Lost<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">As a teacher, I have observed interesting trends in my career. One of the more frightening trends has been the fear of creativity. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> When I first started teaching, the projects I would assign were very open-ended and allowed for much creativity. The projects ranged from mixing assignments to compositions. For example, an assignment might have a given theme in which the student would compose a piece of music inspired by the subject. Student submissions would range from hip hop, to rock, to jazz or even EDM. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> In my observations, I have found that students feel more comfortable with rubricked assignments rather than open-ended creativity ones. For example, one of the assignments for a music technology course is to create a music concrete piece that used 6-10 original sounds. Music concrete is a style of music in which found object sounds are manipulated and altered to create an art piece. The students record the sounds and then shape and organize them into a piece of music. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> But I think we can question if releasing the rubric to students has hindered the creative process. Students seemed focused on checking down the list of grading requirements rather than explore the possibilities of creating a unique piece of music. Since moving towards a more purpose-focused assignment paradigm, I have found that student engagement in the classroom has gone up since they now have to concentrate on proper usage of the tools instructed in class. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">These are the typical questions get.</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Q: How long does the piece have to be?</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A: I typically answer this question by referring to previous assignments. In my intro classes, I usually teach a variation of ABABB music structure revolving around a "B" segment of 16 bars. I often say that the project can be structured as the students wish. However, most students end up following the old structure rather than explore new musical arrangements. </span></div>
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Q (Follow up): How long does the piece have to be to get an A?</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A: "However long that you think it needs to be." The follow-up question is typical of 21st-century students. As students who are rubric driven try to navigate the more open-ended types of assignments, they focus on the grade rather than the creation. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Q: How many tracks does it need to be?</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A: "As many as you need to create your vision." Today's student often finds themselves paralyzed by open-ended rubrics. If the student does not have a specific goal to accomplish to which in this case would be track count, then they will either refer to a previous assignment or reask the question. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Q: (Follow up) Can I still get an A with just one track since there is no minimum?</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A: I liken this question to that scene in the original Jurassic Park movie, where the dinosaurs are testing the perimeter to look for weakness. This question is difficult to answer as a teacher because without an explicit assignment goal; you might have to answer yes. Is the purpose of your assignment to create a piece of unique music? If so, then a student could potentially make something highly unique without recording more than one track of audio or music. However, if the assignment goal is to teach the student to work with multiple tracks, then the answer would be no, and you would have to define a minimum. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Q: Can I use samples?</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A: A sample is a fragment of any commercially recorded music that is edited to down to a smaller portion. These samples would then be looped to create a piece of music that often closely resembles the original composition. I find that explaining the purpose of the assignment to the students gives them clarity about the focus, which, in this case, would be to develop a unique piece of music. </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Q: How should I process the sounds?</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A: My response to this question is something like this: "As you wish." I often find that students are hesitant to put effects processing on their tracks. The main reason given by the students is, "I am afraid of being wrong." This lack of confidence could be due to inexperience with various effects. Giving the students low-pressure opportunities such as in-class assignments and exploration sessions would help the student gain confidence in applying the effect correctly. </span></div>
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Q:(Follow Up) Did I process this sound correctly? </span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">
<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A: My response to this would be, "Does it fit into the piece you are creating?" In my experience, this again points to a lack of confidence in using signal processing. However, in this case, the student is looking for guidance on the correct combination of effects that will lead to the high letter grade. I have found that if you say "yes, that is processed correctly," then the student will apply the same effects across all their tracks in their project. The goal is not to insert several effects as described in a recipe book, but to use them as treatments needed to achieve the desired tone. </span></div>
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<strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Challenge</strong><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">. </span></div>
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<span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> What these questions point towards is a lack of clarity with the purpose of the assignment. A rubric only gives the student your criteria for grading the homework. But disclosing the rubric can lead to "objective fixation," where the student only fulfills the requirements of the rubric and loses sight of the quality of the composition. Giving the students a clear purpose of the homework will lead to more creative assignments. We want the students to focus on </span><em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">how</em><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> to use the tools, rather than just using the device for usage's sake. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-84894490397343368592019-03-25T05:50:00.000-07:002019-03-25T10:12:57.259-07:00Money<div class="separator" style="clear: both; text-align: center;">
<a href="https://cdn.shopify.com/s/files/1/1892/7651/products/il_fullxfull.1678424421_h9qd_2400x.jpg?v=1537927217" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="800" height="220" src="https://cdn.shopify.com/s/files/1/1892/7651/products/il_fullxfull.1678424421_h9qd_2400x.jpg?v=1537927217" width="320" /></a></div>
I did gig about 5 years ago where the CEO of a big company asked what motivated his employees to work hard? He answered for them "Money! We all like Money! If we didn't like money, we wouldn't be here..."<br />
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This comment really stuck with me to this day. It might have been a throwaway line" to this big CEO, however, it resonated with myself because it has never been a motivation to my work in all honesty. I was really lucky to know what I wanted to do for my career at an early age. I always played piano and in high school my teacher Mr. Hamill took us on a field trip to Berklee college of Music. Here I found out what Music Engineering was and I immediately fell in love. I was a science geek in grade school and loved music as well. My decision was set firm, I wanted to be an audio engineer so I could use technology and play with music at the same time.<br />
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Throughout my high school career, I directed every decision I made to get into music college and get into a music engineering program. When I finally did, my college career was dedicated to getting a job in the industry so I could sit behind a console, play with buttons and have the ultimate control over electrons and sound pressure waves.<br />
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Money was never my motivation, money always seemed to be there, it might never have been enough, I might have been "poor" in some people's eyes but I never was homeless and I never went hungry. I always made my car payments and I had some extra to take my girlfriends to a nice dinner. I had a 401K, a stable income, but it was not my "motivation" for working. I would have done the work for free, because that's what I always wanted to do, I could never dream about doing anything different.<br />
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I wasn't a dummy however. The first thing I did when I got out of college is hired an accountant to do my taxes because I was self employed and freelancing. I was lucky to have a great mentor who taught me about tracking expenses and not letting people walk all over you. "Get paid what you are worth, and don't take anything less than market value because undercutting the rest of us will get you on the 'I don't want to work with this guy' list real quickly." he said. So what did I do?<br />
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I worked for free...<br />
To a point...<br />
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When I needed more experience, I worked for free. When I felt comfortable, I used "standard rate". This showed my clients that I was serious about the work, and not just the Money... because I was serious about my art. But, I found that my clients not only respected this but were more apt to pay standard rate despite my little experience at the time because they saw the time investment I put in.<br />
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So, after hearing this speech by Mr. CEO, I rechecked my money situation. I'm still ok. :) The money is there, not much of it, but it's there and I am comfortable with my life and my career. So, Mr. CEO... Money doesn't motivate me, but it's a nice byproduct of enjoying what I would be doing normally.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-60572461929013046592019-03-18T05:30:00.000-07:002019-03-25T10:12:52.755-07:00Working with Virtual Guitars<br />
Recently I have been experimenting with a lot of virtual plug-ins for guitar. Let's look at why the guitar is such a unique instrument and why it sounds so good through an amplifier.<br />
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<b>Feedback</b><br />
The biggest interaction we see with the electric guitar and amplifier system is the feedback loop that is inherent. The sound produced by the metal strings is picked up by the pickups, then fed down the guitar cable into the amplifier, which then produces a much higher SPL into the room. This sound then has the potential to hit the guitar strings again and sympathetically vibrate them causing the sound to be picked up again by the pickups. This is very apparent in the traditional metal guitarist holding his or her guitar up to an amplifier to get the system to feedback. Even when far away, the slight feedback loops that occur at higher frequency levels contribute to the overall sound of the guitar, thus something that is lacking with an electric guitar plugged directly into a computer or tablet and using a virtual instrument to produce the amplifier tones.<br />
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<b>Recording</b><br />
When recording, the interaction of the guitar and the amplifier as well as the floor producing some interesting reflections and feedback options. Particularly, as Alex Case stated in an AES journal entry, the interaction with the floor and vs the direct sound from the amp produces a comb filtering effect which can either aid or hamper the recording process.<br />
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So, we can use this interaction to be part of the tone, or we can try to reduce the interaction by adding carpeting, raising the amp or reducing the distance of the mic from the amplifier. We can also play with the distance to see if the overall tone might be improved due to the enhanced comb filtering.<br />
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<b>Least Significant Bit</b><br />
The other issue that we have with virtual amplifiers is the problem of the quantization effect of the least significant bit. Think about it this way, you have a light dimmer, as you turn the dimmer up, more light comes into the room. This is analog. in digital, you have to flip the light switch many times a second to get the light to continuously be in the room. In a digital recording system, we have to worry about what happens at the 0 to 1 Bit portion of the bit depth plot. When the audio signal dips below the 2 and 1 bits because it is reducing in volume, the computer remembers acts as 1's and 0's, electricity on or off. At 1 bit, it still thinks this audio is "on", but below the 1 bit, in analog, there is many decimals for the audio to hang out at before it goes to nothing. In digital land, it is an electrical limbo, and the computer is not sure what to do with it. We get a quantization error. To overcome this, we put a virtual noise floor called Dither into the 0-1 bit depth, so technically the computer is always quantizing and sampling, it never stops and shuts off the light switch.<br />
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But in recording the guitar, the natural interaction of the amplifier which might make those last notes ring out a lot more; would be cut off by this quantization error and reduce the signal below the dither protocol, thus we might have reverb tails end quicker and less natural.<br />
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<b>What can you do?</b><br />
How do we make those virtual guitars sound more natural? There are a couple of steps we can do.<br />
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1) Add a small amount of delay with significant feedback to the guitar in order to extend those big long drawn out notes. This will help the virtual plugin handle the LSB (Least significant bit) and extend your distortion or FX times to a more natural sound<br />
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2) Add reverb pre-virtual plugin. This doesn't really apply to fast runs, but for those long drawn out notes and chords, it sure will. Automate the reverb in so it only pops in during the parts where you are struggling with keeping the guitar sustained.<br />
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In the end, we use virtual instruments for a number of reasons; we live in apartments and can't make loud noises, we want to change the tone of a sound, we don't know how to play the guitar so we use an instrument we can play and try to make it sound like a guitar. However, nothing can replace a well-played guitar, but if we think about the specifics of what makes it such an awesome instrument, then we can sure try to get close.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-38987361412239972642019-03-11T05:00:00.000-07:002019-03-11T05:00:06.619-07:00Welcome Back!Wow, I can not believe it has been so long since I posted on here.<br />
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Let me first talk about what I have been up to.<br />
Over the past 3 or so years, I have been focusing on writing my dissertation at U Mass Lowell. This process has been extremely time-consuming. Not only has it entailed long nights, but very early mornings and many hours in safe writing spaces, ie: Starbucks, libraries and other distraction-free zones. Now, as I am starting to transition out of that process into the real world again, I find myself wanting to explore writing and education with renewed vigor.<br />
I have also accepted a tenure track position at Salem State University as the Coordinator of Music Technology. This has also been time-consuming but very rewarding as I am working with some amazing students and some amazing colleagues.<br />
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New Direction<br />
As I have been thinking a lot about how to get the message of music technology out to a greater audience, I found myself exploring Twitter, Instagram and ultimately, coming back to this blog. When I started this in 2007, I had an idea of this blog being a reposting hotspot for industry news. Now, as I see it 12 years later, this blog should be about a personal journey of growth and education. I am TheAudioPod and it is me, and all of you. We learn things, we grow and we evolve as time goes on.<br />
This is where I want to take this blog. I want to use this platform for inspiration and to help you all create music and art in a way that is unique and appropriate for your message.<br />
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Updates<br />
Well as you can see, the updates make this blog a bit more hip (well maybe not). New Logo, new color scheme and a more mature voice (hopefully). I am excited to take this journey with you into creativity and look forward to interacting with you on a deeper experimental level.<br />
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In the meantime, visit my<a href="https://www.youtube.com/channel/UCmP-4xVJBT1KTGuqwrDYm-g/videos?view_as=subscriber" target="_blank">YouTube</a> and check out some of the things I have been doing over the past 2-4 years. Hopefully, you can gain some insight and be inspired to create!<br />
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See you soon<br />
<br />
Mike<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-78255870779493746652017-09-11T08:04:00.002-07:002017-09-11T08:05:36.084-07:00Fabio Lendrum Trusts Prism Sound To Deliver High Quality Results<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">A growing realisation that he wanted to create higher quality mixes and masters for his clients proved to be all the push producer and songwriter Fabio Lendrum needed to invest in a Prism Sound Lyra 2 audio interface.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">“It made sense to have an interface that would bring me the clarity and quality I needed to meet new standards,” he explains. “I first heard the Prism Sound Lyra at an event at RAK studios in London and while I was there I bumped into an old friend, Matt Schwartz, who invited me to his visit his studio. We got into a very nerdy chat about gear, as producers and engineers always do, and he said: ‘If you want to play this game, Prism Sound is what you’ve got to get’.<span style="mso-spacerun: yes;"> </span>I took his advice!”<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">Lendrum’s new Lyra 2 interface has now been installed in Studio 255, his project studio in London where he records vocals, produces, mixes and masters client projects, as well as teaching music production and DJ’ing. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; letter-spacing: 0.7pt; line-height: 115%;">At Studio 255, the producer and artist always comes first and we work hard to put their ideas and emotions to (digital) paper,” he says. “I have </span><span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">had my own studio for about four years, although it has moved about quite often during that time. I’m now finally settled in Kennington and fully used to the acoustics of my room. The equipment list includes my new Prism Sound Lyra 2, plus various pro audio products from Eve Audio, Avantone, Genelec, Moog, Roland, UAD and Korg.”<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">As a producer, engineer and songwriter, Lendrum has worked alongside <span style="letter-spacing: .7pt;">some of the biggest names in music including Dallas Austin (Michael Jackson, Kelis), Rick Nowles (Nelly Furtado, Lykke Li, Stevie Knicks), and Kool Kojak (Britney Spears, Nicki Minaj, Flo Rida). He is also very familiar with the London DJ circuit having played in all the major clubs such as Fabric, Building Six, XOYO, KOKO, SeOne.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; letter-spacing: 0.7pt; line-height: 115%;">As well as his studio work, Lendrum is also head tutor at Subbass Academy and has written all the Logic Beginner, Intermediate, and Advanced level courses as well as the Roland Aira Academy course, which is issued all over Europe.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; letter-spacing: 0.7pt; line-height: 115%;">Although Prism Sound’s Lyra 2 audio interface is designed for a wide variety of audio applications where a high-quality interface is needed, Lendrum is mainly using his as a digital output.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; letter-spacing: 0.7pt; line-height: 115%;">“</span><span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">I haven’t recorded any instruments or microphones through it yet, but I’m using the internal digital clipping, which sounds tasty,” he explains. “The overkill feature isn’t something I’ve used in the past; I love the way it sounds on my masters.”<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">He adds that he can now hear every nuance of his mixes and masters without any ‘weird’ colouration. “The stereo field feels more natural and the bass is definitely tighter. I paired the Lyra 2 with the Sonarworks Reference 3 and now my mixes are tighter than ever.”<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">Lendrum is currently focusing on <span style="letter-spacing: .7pt;">making underground house music and techno but he still mixes and masters a wide variety of music including Hip-Hop and Pop. Whatever he does, his </span>Lyra 2 is being used on every project and has become so indispensable that he says he feels awkward without it.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "verdana"; font-size: 10.0pt; line-height: 115%;">“It’s so small I can even take it away with me if I need to,” he says. “It doesn’t just sound great, it looks great, too!”<o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-42379793753730145252017-09-08T09:03:00.001-07:002017-09-08T09:03:27.633-07:00 BLACK PEAKS ON THE RISE WITH SENNHEISER <div class="p1">
<span class="s1"><b><i>Marlow, U.K., September 7, 2017 – </i>Formed in 2013 in Brighton on the UK south coast, Black Peaks is a four-piece progressive rock band that are going places. Their debut album Statues has been described by The Independent as ‘an exceptional combination of alternative rock, heavy metallic riffs, prog infused concepts and subtle post-rock flourishes that all interweave to create an extremely accomplished debut’ and they have been championed by both Radio 1’s Daniel P Carter and Zane Lowe. Having started out, as most fledgling bands do, with an unrefined mix of microphones, adding Sennheiser to their inventory has made a world of difference. <span class="Apple-converted-space"> </span></b></span></div>
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<span class="s1">“We were originally an instrumental three-piece, which was me, Andrew Gosden on bass and Liam Kearley on drums,” explains guitarist Joe Gosney. “We quickly got Will Gardner (vocals) involved and from there our music really started to take shape. We spent 2013 and 14 playing a bunch of shows around the UK and getting tracks together for what would eventually become our debut album Statues.”</span></div>
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<span class="s1">With their live performances becoming more frequent and higher profile – last year, for example, saw them support the Deftones, playing to a crowd of 12,000 at Wembley Arena and this year, as part of a six-week run round Europe and Scandinavia, Mastodon and System Of A Down – they wanted to upgrade their equipment, with microphones being the number one priority.</span></div>
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<span class="s1"><a href="http://hummingbirdmedia.us2.list-manage1.com/track/click?u=419dcda8b73a1b5e587b76c36&id=5415eaa77d&e=b6d831c322"><b></b></a></span><br /></div>
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<span class="s1">“We’re now using Sennheiser e 935s on Will’s vocal and 904s on Liam’s toms,” says their front-of-house engineer, Jack Childs. “I love the 935s for their clear glassy highs and rich low mids, the clarity is amazing. They work so well with Will’s voice as he has such a wide dynamic range. I find they perform really well when he’s whisper quiet, keeping their definition and clarity, yet they can handle the insane screams and extreme SPL that this guy can produce (he really is a loud chap)! When he is screaming at full tilt, the 935s continue to provide me with warm and balanced low mids, giving a full-bodied defined tone that makes pronunciation easy to hear, even in the most unruly of venues and spaces we play in.” </span></div>
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<span class="s1">Jack has found the biggest difference in using Sennheiser, compared to many of the other mics he’s tried with Will, is that they sound consistent throughout the show.</span></div>
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<span class="s1">“I’ve found other leading brands tend to clog up with spit and start to sound dull after half an hour of use and its really apparent,” Jack adds. “I feel confident using the e 935s live, as I know they will do their job every show of the tour - these are some seriously well-built and hard wearing mics. The Black Peaks’ show is intense musically, but also physically. The mics have been thrown around stages all over Europe and after two years of vigorous touring they are still going strong and sound like new, even if they are looking a bit tired now.” </span></div>
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<span class="s1">“The last few years have been a bit of a whirlwind to be honest,” concludes Joe. “We have been so humbled by the response to Statues. “We have been touring the record for the past two years now and played hundreds of shows around the UK and Europe in support of it, and knowing that we have great sounding, reliable mics has made a world of difference.</span></div>
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<span class="s1">“We're now back in Brighton, working hard on our next album and can't wait to get it out. When we start to tour it, our Sennheiser mics will be going with us!"</span></div>
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<span class="s2">Image captions:<span class="Apple-converted-space"> </span></span></div>
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<span class="s1">1) Will Gardner of progressive rock band Black Peaks in close contact with the fanbase (© Ian Coulson)</span></div>
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<span class="s1">2) An evolution e 935 reliably picks up Will Gardner’s energetic vocals (© Ian Coulson) </span></div>
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<span class="s1"><b>About Sennheiser </b><br />
Sennheiser is shaping the future of audio – a vision built on more than 70 years of innovation culture, which is deeply rooted within the family-owned company. Founded in 1945, Sennheiser is one of the world’s leading manufacturers of headphones, microphones and wireless transmission systems. With 20 sales subsidiaries and long-established trading partners, the company is active in more than 50 countries and operates its own production facilities in Germany, Ireland and the USA. Sennheiser has around 2,800 employees around the world that share a passion for audio excellence. Since 2013, Sennheiser has been managed by Daniel Sennheiser and Dr. Andreas Sennheiser, the third generation of the family to run the company. In 2016, the Sennheiser Group had sales totaling €658.4 million. <a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=f5a90d9e6c&e=b6d831c322"><span class="s3"><b>www.sennheiser.com</b></span></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-31267065062914178022017-09-06T09:01:00.000-07:002017-09-08T09:02:16.098-07:00Legendary Mixer Dave Pensado Makes Way for BAE’s 10DCF Compressor in His Workflow<div class="p1">
<span class="s1">Dave Pensado has been recognized as a top level mixing engineer since the ‘70s, and over forty years into his career he has his workflow down to a science. “Some of you have heard me say I don’t need another reverb, I don’t need another EQ, I don’t need another delay, and I sure don’t need another compressor,” he says in a nod to the many viewers who tune into his popular weekly YouTube series “Pensado’s Place,” where he talks gear and practice with industry-leading producers, engineers, and mixers. But recently, the BAE Audio 10DCF compressor has caused a reversal in Pensado’s sentiment. “I couldn’t have been more wrong.”</span></div>
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<span class="s1">To test its mettle, Pensado tried the 10DCF in a battery of applications. He found the compressor both versatile and musical. First, he applied its compression to vocal takes by some of his well-known clients. “I tried it on T-Pain’s vocal, I tried it on a Nelly vocal, and it gave them character,” he says. “With a hip-hop song you want things to jump out at you but you still want to understand the lyrics, and I could get that sound with the 10DCF.” The compressor’s natural peak taming on sources as delicate as a vocal is attributable to its classic circuit design and all discrete wiring.</span></div>
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<span class="s1"><b>Drums with Authority, Guitars with Bite</b></span></div>
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<span class="s1">Aside from a forward, yet intelligible vocal, Pensado says that low end is also key to hip-hop music. For him, the 10DCF’s inductor-based hi-pass filter makes it the perfect tool for processing drums. “The power comes from the low end, from the 808 and the drums,” he says. “With the 10DCF’s filter, you can determine how much low end comes through uncompressed and when you do that you can keep all that power but you can affect the more audible part of the spectrum in that drum. It just pushes the sound right in your face.”</span></div>
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<span class="s1">For rock music, Pensado abides by a clear ethos to ensure the right energy in the mix. “To me, in a rock song, the guitars are where the power is at,” he explains. “If you’ve got wimpy guitars then you’ve got a wimpy song.” He obtains powerful results by placing the 10DCF on a single auxiliary channel to which he sends all of his guitar tracks. Utilizing the compressors intuitive attack, recovery, threshold, and ratio controls, he is able to easily dial in a sound that meets his exacting standards. “The 10DCF is like money. You almost don’t need any EQ at all when you’re using it.”</span></div>
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<span class="s1"><b>Roughness Transformed to Silk</b></span></div>
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<span class="s1">Another useful application Pensado discovered is using the 10DCF to imbue keyboards with an anaIog smoothness that helps them sit well in the mix thanks to the compressor featuring both Carnhill and Jensen transformers in the path. “Keyboards or synthesizers—they’ve got a bit of a harsh sound to them because it’s a reconstructed waveform,” he says. “It has to be smoothed out, and going through the 10DCF really smooths over those little artifacts that don’t sound good.”</span></div>
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<span class="s1">The transformer-based path also helped salvage a home vocal recording by a newer client Pensado is working with. “There was definitely some clipping on the mic, maybe the capsule collapsing a bit, he says. “I ran it through the 10DCF without much compression and it smoothed it out.”</span></div>
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<span class="s1"><b>Analog That Carries Its Weight</b></span></div>
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<span class="s1">Despite its sonic smoothness, Pensado emphasizes the power of the 10DCF with slightly more aggressive language. “It feels to me like it grabs you the neck, throws you on the ground, and stomps on your neck. It’s really got some powerful stuff going for it!” It has joined a short list of analog gear that Pensado, who works almost exclusively ‘inside the box’ with digital plugins, recommends to his followers. “Anybody can design an electric circuit but only a handful of people can make an art form out of it,” he says. The ones that have a sense of musicality and are made by people who use the gear they create tend to work better for me. I really like the 10DCF and I think you guys should check it out.”</span></div>
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<span class="s1">For more information on BAE Audio and the 10DCF, please visit <a href="http://baeaudio.com/"><span class="s2">baeaudio.com</span></a></span></div>
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<span class="s1"><b>About BAE Audio</b></span></div>
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<span class="s1">BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound. For more information on BAE Audio, please visit our website at <a href="http://www.baeaudio.com/"><span class="s2">www.baeaudio.com</span></a>.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-78468280264532948882017-08-31T09:00:00.000-07:002017-09-08T09:02:26.801-07:00Full AES New York 2017 Convention Schedule Online<div class="p1">
<span class="s1"><b>Full AES New York 2017 Convention Schedule Online – the Big Apple Experiences Maximum Audio Beginning October 18</b></span></div>
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<span class="s1">The full technical program and event list is now online for AES New York 2017. Hundreds of sessions are available to Convention registrants, with All-Access registration giving access to all the onsite sessions and the exhibition — affording the Maximum Audio experience. With the AES New York Convention less than 60 days away, now is the time to register and make plans to join us at the Jacob Javits Convention Center, October 18 - 21. AES New York 2017 will be co-located with the NAB Show New York 2017, and registration for AES New York 2017, including at the Exhibits-Plus level will give attendees access to the NAB Show New York exhibition floor and the content in the NAB Show New York’s Core Package (a $75 value). Register now, and reserve housing, for the 143rd AES Convention at <a href="http://aes.us1.list-manage1.com/track/click?u=e164a8d868cca8730021f4a7c&id=dd304b0d23&e=5d6e54c97c"><span class="s2">aesshow.com</span></a>. Online pricing discounts end soon. Join us as we take Maximum Audio to the next level!</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-56960880137776175662017-07-19T09:04:00.000-07:002017-09-08T09:04:57.249-07:00DPA Microphones Heats Up the Frozen Desert for Documentary, Antarctica, A Message from the Other Planet
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<span class="s1">When Nerio Gutierrez, co-owner of Madrid-based production company, Playground Estudio, was given the challenge of producing a documentary about Antarctica's view of the world, he knew he was going to be up against some of the most extreme weather conditions. In order to capture the unique sounds and ambience of this harsh, frozen land, he turned to a selection of microphones from <a href="http://r20.rs6.net/tn.jsp?f=001KeQypzmUpDlvB9xb3sqNA0_w82E-SU29bAxG67nu85wCwwAudbzDqOXrEXOnAM3GQlo_AqiWviNTScXkjYX7wtklTFaG0DLgoHtkzyYbRN1HAngQ8sJoBQsJHMX2YZytw0cMh-SzLXipHNI8BsRiXRyntazwDHCwA7uuadp63F_-_rB2SIXd7g==&c=f7iW3kAaIgP8TZF7MVvDiocTwKKgVZDC_GTB8n__QoDM_vucjMVKTQ==&ch=UC7WoFscOSEwWsZqWT6rNr3-f1qjHcRX3Ht31cNwFatEWUGG82gsJA=="><span class="s2"><b>DPA Microphones</b></span></a> for the documentary titled <i>Antarctica, A Message from the Other Planet</i>.</span></div>
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<span class="s1">"The most important thing in a project like this is to be sure that your tools will respond in any condition without any worries," says Gutierrez. "We faced extreme cold, extreme moisture and extreme winds, but our DPA<b> d:dicate</b></span><span class="s3"><b><sup>™</sup></b></span><span class="s1"><b> 4017B Shotgun</b>, <b>d:dicate</b></span><span class="s3"><b><sup>™</sup></b></span><span class="s1"><b> 4011C Cardioid </b>and <b>d:screet</b></span><span class="s3"><b><sup>™</sup></b></span><span class="s1"><b> 4061 Necklace Microphones</b> worked incredibly well and gave us the best sound we could possibly get from a place like Antarctica. One of the most amazing experiences we had was using our DPA mics to capture tiny snowflakes flying around with absolutely nothing else around. This was an incredible sound and there is no doubt that we were only able to catch that kind of detail thanks to our DPA microphones." </span></div>
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<span class="s4">For the documentary, the crew spent six weeks aboard the Spanish Navy's scientific vessel, <i>Hesperides</i>. They also spent time on the continent itself as well as on several islands recording sounds from penguin colonies, whales, zodiacs, sea wolves, marine elephants, icebergs, winds and Drake's Passage (the wildest sea in the world).</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-33568080270140897962016-07-13T10:48:00.000-07:002016-07-13T10:48:14.917-07:00Why Pokémon is a Game Changer and How We Can Use This for Music, Art and Environmental Sustainability. <div class="separator" style="clear: both; text-align: center;">
<a href="http://vignette2.wikia.nocookie.net/pokemon/images/e/ef/025Pikachu_Pokemon_Mystery_Dungeon_Red_and_Blue_Rescue_Teams.png/revision/latest?cb=20150105233050" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://vignette2.wikia.nocookie.net/pokemon/images/e/ef/025Pikachu_Pokemon_Mystery_Dungeon_Red_and_Blue_Rescue_Teams.png/revision/latest?cb=20150105233050" height="200" width="185" /></a></div>
With all the hype over Pokémon Go launching from Niantic and Nintendo, augmented reality games might be here to stay.<br />
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There have been several attempts at delivering augmented reality mobile gaming like with Ghostbusters. However, Pokémon Go seemed to capture two important cultural keys.<br />
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Childhood Memories</h3>
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The first is the connection to childhood memories. Pokémon are imaginary cartoon animals that you can train to battle other Pokémon. It is a modern version of what traditionally has been the Japanese pastime of catching insects. Originally from 1995, Pokémon was accessible via Gameboy and card games. This puts millennials right in the point of origin for the target market. Those that were of game playing age back then are now 30 -40 years old and have expendable income on smartphones and other technology. The game puts you in the first person, which is what other versions of this game lacked.<br />
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Culturally Significant Landmarks</h3>
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It also uses geofencing technology to augment gameplay. Right now, Niantic uses a propriety database of culturally significant landmarks as "PokéStops" where you can collect more "PokéBalls" (traps to catch Pokémon). In my home town which is an old mill city, most cultural landmarks such as bell towers and even Fenway Park are PokéStops. You can see people of all ages gathering around these areas to catch more Pokémon. <a href="http://www.inc.com/walter-chen/pok-mon-go-is-driving-insane-amounts-of-sales-at-small-local-businesses-here-s-h.html" target="_blank">If your business happens to be a Pokéstop, you have probably seen an increase of sales.</a> Expect Niantic to receive sponsorships in the near future from major retailers to be listed as a Pokéstop.<br />
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Geofencing</h4>
Geofencing is where we can leverage music and arts. Geofencing is nothing new to apps or to art. In fact, two composers used geofencing to create a piece of music that centered around the Washington DC area. However, what happens if the music changes as we move closer or further away from an area? What happens if the speed at which we move changes the music? How do we program for this? How do we produce for this? Can a Pokéstop also educate?<br />
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These are important questions that Pokémon Go is creating. Even with the game in Beta, it didn't create as much of a cultural revolution like it did two weeks ago. People are outside and moving about, altering every perception of video gamers being a solitary hermit micro-society. Nintendo made a brilliant marketing move in the end. It knew it could not compete with traditional game consoles, so it brought the gamer away from the console.<br />
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What now?</h3>
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If this trend keeps on going through the summer, <i><b>prediction</b>: </i>expect to see more advertisements on the platform as well as high paying sponsors. We should also see service get smoother from Niantic which is having a very hard time handling increased server load. </div>
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<i><b>Prediction</b></i>: The login credentials are currently through Google and Niantic's own portal. Expect to see a Facebook login key shortly. </div>
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Long Term Change and Sustainability?</h3>
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<i><b>Prediction</b></i>: We should also see a backlash from telecom companies on the amount of data this app is using. Similar to when Netflix went live with HD streaming, customers are going to push hard against data caps. If the telecom industry is smart, they will figure out a way to mitigate data overages for those customers willing to pay more. If the trend goes beyond 6 months, we can expect to see even more infrastructure installed in low coverage areas, because cultural significant landmark are in these areas. </div>
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<b>Solar:</b></div>
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We should also see improvements in mobile device technology. Right now, Pokémon Go is an absolute drain on battery life. If people are using this app with less access to wall outlets to recharge, Solar might be the answer. <i><b>Prediction</b></i>: Solar Cell mobile phone covers would allow for battery recharging without a wall outlet. Imagine people </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-15831471821234737912016-07-01T18:20:00.002-07:002016-07-07T10:51:57.443-07:00MSR in NYC closing July 1 2016; Why are all the big studio's are going out of business?A few weeks ago, the NYC recording studio <a href="http://www.sonicscoop.com/2016/06/21/midtown-meltdown-msr-studios-shutting/" target="_blank">MSR announced it would cease operations</a> <span style="background-color: white;"><span style="background-color: rgba(255, 217, 222, 0.996078);">as of </span>July 1 </span>2016.This comes on the heels of Avitar Studios (formerly The Power Station) <a href="http://www.cnn.com/2016/06/20/business/avatar-studios-for-sale/" target="_blank">announcing it was up for sale</a>.Why are all the NYC recording studios going out of business? What has happened to the need for big budget studios?<br />
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Change in Economics</h3>
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I believe the answer is in the question. The idea of big budget recording is no longer economically viable. Artists are losing support from the production companies as artists are choosing alternatives to publication(CD Baby, Distrokid, etc). Who needs a big publishing house when you can self-publish and avoid the royalty and publishing fees? This is not a ne<span style="background-color: white;">w <span style="background-color: #ffd9de;">phenomenon </span>as t</span>he book industry is currently going through this same dilemma: Independent and self-publishing is undermining big publishing.<br />
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No More Editorial Process</h3>
What we are losing is the big publishing editorial process. As record labels are downsizing, so is their acquisition and editorial staff. No longer willing to take chances on failure, record labels are mostly going for established artists and thus not needing an entire department of editors. Without editors, executives are again not taking chances on new artists. New artists are now turning to the self-publishing route and thus undermining the entire business model.<br />
What are we left with? A plethora of music to choose from, but no vetting process. This means that you have to hunt for new music or music in a genera (or sub genera, or sub sub genera) you like.<br />
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Computing Cost vs Performance</h3>
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With good equipment being inexpensive in today's market, highly trained audio engineers who graduate from universities and technical schools are producing music without the big budget studio. The paradigm of graduating high school and interning at a studio no longer works in today's market. Most studios want interns who are already college trained, thus reducing the learning curve and getting a more productive employee quicker.<br />
The new millennial employee is also extremely computer literate, which makes the paradigm of analog recording almost obsolete. Why record analog when the computing power of non-linear editing is not only cheaper (no costs for tape), but highly cost effective in terms of staff time. If you don't need 80 hours per song to do basics and fix mistakes and only need 20 hours with digital recording, big studios are losing out o<span style="background-color: white;">n 60 <span style="background-color: rgba(255, 217, 222, 0.941176);">additional </span>billable hours.</span><br />
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So Now What?</h4>
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The paradigm has changed. The old way of analog and big studio recording was too rigid and inflexible. We are now an industry of individual production. We see this with new artists emerging out of the EDM genera who produce their own music and are more successful than established bands working in the old label paradigm. What we can see however is that there is still a need for experienced mixers and mastering engineers. With the resurgence<span style="background-color: white;"> of <span style="background-color: #ffd9de;">vinyl </span>rec</span>ord sales, the back end of the production process is still thriving.<br />
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The need for good sounding mix rooms is still driving most new construction but the purpose is more for mixing and mastering, not for recording. This might not be a bad thing, but recording studios need to adapt to the changing market, or find themselves facing extinction in the production market. </div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-2471324696088230092016-06-13T08:00:00.000-07:002016-06-13T08:00:20.122-07:00 Press Release- Antelope Audio Announces Partnership with BAE Audio, as Company Prepares Imminent Release of Authentic, Vintage Product Emulations<div class="p1">
<span class="s1"><b>Santa Monica and North Hollywood, Calif.,</b></span></div>
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<span class="s1"><b>May 18, 2016 — </b>Clocking, conversion and Effects technology expert <a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=e69c81711c&e=b6d831c322"><span class="s2"><b>Antelope Audio</b></span></a> has announced a partnership with <a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=e5f2a6b19b&e=b6d831c322"><span class="s2"><b>BAE Audio</b></span></a> wherein the two companies will collaborate on delivering authentic digital emulations of some of the most classic vintage recording gear. The digital emulations, which utilize Antelope's proprietary FPGA engine, will enable users of Antelope's <a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=3e72e465a9&e=b6d831c322"><span class="s2"><b>Orion Studio</b></span></a>, <a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=0909a5be4f&e=b6d831c322"><span class="s2"><b>Zen Tour</b></span></a> and <a href="http://hummingbirdmedia.us2.list-manage1.com/track/click?u=419dcda8b73a1b5e587b76c36&id=52f12059dd&e=b6d831c322"><span class="s2"><b>Goliath</b></span></a> to access faithful recreations of the originals— without ever having to reach for a piece of outboard gear or software plug-in.</span></div>
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<a href="http://hummingbirdmedia.com/content/02-clients/00-antelope-audio/01-press-releases/73-antelope-audio-announces-partnership-with-bae-audio-as-company-prepares-imminent-release-of-authentic-vintage-product-emulations/baeaudio.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://hummingbirdmedia.com/content/02-clients/00-antelope-audio/01-press-releases/73-antelope-audio-announces-partnership-with-bae-audio-as-company-prepares-imminent-release-of-authentic-vintage-product-emulations/baeaudio.png" height="320" width="266" /></a></div>
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<span class="s1">The first emulation to be introduced is the BAE Audio 1073 EQ, a classic preamplifier/EQ known for its authentic transformers and authentic, premium grade components based on original specifications. The EQ from the BAE 1073 will become available this week at no additional charge for owners of Antelope's new Thunderbolt interfaces. Over the coming days and weeks, Antelope Audio will be announcing several more digital emulations, including BAE's entire range of EQs and compressors, which the company says will have a revolutionary impact on the traditional plug-in market.</span></div>
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<span class="s1"><a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=0302947d7f&e=b6d831c322"><b></b></a></span><br /></div>
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<span class="s1">"We believe that BAE Audio has created the very best modern version of the vintage 1073," commented Marcel James, Director of U.S. Sales for Antelope Audio. "Therefore BAE was the obvious choice for us to partner with on this and other upcoming products based on their established pedigree. The company's reputation precedes itself, as evidenced by the mountains of BAE gear routinely being used in top studios and on many hit records — oftentimes right alongside the original 1073’s. We look forward to a long and fruitful relationship."</span></div>
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<span class="s1">Antelope’s emulations, which are unique on the market and utilize a proprietary FPGA engine, enable real-time effects processing before a signal even reaches the DAW component. This allows users to access authentic digital emulations of the most classic hardware in real time without buffering. This technique, which Antelope's research team has been developing for years and which is present in all of Antelope's new interfaces, uses it’s hardware FPGA circuit to recreate the characteristics of vintage analog circuits, maintaining the true feel and response of real hardware. Antelope’s FPGA is an actual digital hardware processor, avoiding the need for buffered plugins which add undesired latency and often artifacts to the sound. </span></div>
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<span class="s1">Mark Loughman, President of BAE Audio, commented on the new partnership: "We’ve been approached by many companies on doing digital emulations in the past, and have always been hesitant on the 'company fit'. When Antelope approached though, it was different — we use their converters in house for demos and testing, and are intimately aware of the quality and innovation in their products. We knew Antelope would be able to capture the essence of the original BAE 1073 better than anyone else on the market and we are very pleased at the result."</span></div>
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<span class="s1"></span><br /></div>
<br />
<div class="p1">
<span class="s1">For more information on Antelope's new interfaces featuring BAE Audio emulations and the company's parallel processing technology, please visit <a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=393c3a1849&e=b6d831c322"><span class="s2"><b>http://www.antelopeaudio.com</b></span></a>.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-91378841196700023642016-06-06T08:00:00.001-07:002016-06-06T08:32:04.064-07:00Why we are losing all the great musicians<br />
Prince, Bowie, Lemmy, Nick Menza, John Berry, Phife Dawg, Keith Emerson.<br />
<br />
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<a href="http://fm.cnbc.com/applications/cnbc.com/resources/img/editorial/2016/04/21/103568400-GettyImages-117836883.530x298.jpg?v=1461852402" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://fm.cnbc.com/applications/cnbc.com/resources/img/editorial/2016/04/21/103568400-GettyImages-117836883.530x298.jpg?v=1461852402" height="177" width="320" /></a></div>
<br />
<br />
Looking at the <a href="http://www.tributes.com/celebrity/deaths/Music" target="_blank">Tributes.com</a> and the <a href="http://www.telegraph.co.uk/music/news/culture-stars-who-died-in-20162/" target="_blank">Telegraph.co</a> sites, the list of stars we lost in the last 8-12 is impressive. However, as our music heroes of our childhood age, we shouldn't be surprised that we are starting to lose them in some numbers. Let us take a look at some of the likely reasons for this.<br />
<br />
<br />
<ul>
<li>The 1960-1980's were prolific times in music and culture. Because of this, those celebrities dying now were 20-40 at the time. This puts the celebrities at approx 70 years old right now.</li>
</ul>
<div>
<br /></div>
<ul>
<li>Statistically, as of 2015, the average USA life expectancy is 76 for men and 81 for women. If we look at the two lists for celebrity deaths, we can see an average age of about 68 years old. This means, that we are at the start of the celebrity bell curve. We statistically should start to see more celebrity deaths in the coming 5 years or so. </li>
</ul>
<br />
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<a href="http://images.huffingtonpost.com/2014-10-03-blogbellcurve.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://images.huffingtonpost.com/2014-10-03-blogbellcurve.png" height="213" width="400" /></a></div>
<br />
<ul>
<li>Those that are about 70 years old as of 2016 are known as Baby Boomers. " More babies were born in 1946 than ever before: 3.4 million, 20 percent more than in 1945. This was the beginning of the so-called “baby boom.” In 1947, another 3.8 million babies were born; 3.9 million were born in 1952, and more than 4 million were born every year from 1954 until 1964 when the boom finally tapered off. By then, there were 76.4 million “baby boomers” in the United States. They made up almost 40 percent of the nation’s population." (<a href="http://www.history.com/topics/baby-boomers">History.com</a>)<a href="http://img3.rnkr-static.com/user_node_img/72/1431565/870/ian-fraser-kilmister-recording-artists-and-groups-photo-u4.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEioGz39OLG4CAC4KdmX_lyxUFpXWQYlVoWMBmhtIrPiA0dmE93QADOHyWvB6X4MJ0yvHooh7YGhmacer8ZgEZK74glPF44nzYFqwnNSlMjPw643XtNlK1ZNf8Bi-W_EYFiuRwEoDTcXPQLqOH5dG-AtiRm5r8J25umSeGpAgpq0zFaqAO-uNd0-T4erm4Z1TsTlSI8G74vl4xv50Tn3QczBpviBu7shdBPRk1-I8zSX5Fyl3ax2Njs=" /></a></li>
</ul>
<br />
<ul>
<li>Baby boomers were the original "YOLO" (You Only Live Once) generation for which you were split into two groups: you were either fighting for social justice and equity, or part of the hippie movement. Growing up under the threat of nuclear destruction by the cold war, baby boomers tended to live life to the fullest. This includes the rock stars born on in this generation. A demanding life of hard drugs, partying and long tour travel is starting to catch up with baby boomer celebrities. We statistically see this.</li>
</ul>
<div>
So, statistically, this is not good news for the musical legends in this age range. We will lose more as time goes on, and possibly more frequently. However, the great thing about recorded music is that an artist's emotional memory will carry on through their work. We will always have their music to fall back on a connect to our own trials and tribulations. This is all part of the circle of life.<br />
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<a href="http://disney-sheet-music.com/wp-content/uploads/2014/06/circle_of_life_simba.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://disney-sheet-music.com/wp-content/uploads/2014/06/circle_of_life_simba.jpg" height="205" width="320" /></a></div>
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<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2Fimg3.rnkr-static.com%2Fuser_node_img%2F72%2F1431565%2F870%2Fian-fraser-kilmister-recording-artists-and-groups-photo-u4.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://blogger.googleusercontent.com/img/proxy/AVvXsEioGz39OLG4CAC4KdmX_lyxUFpXWQYlVoWMBmhtIrPiA0dmE93QADOHyWvB6X4MJ0yvHooh7YGhmacer8ZgEZK74glPF44nzYFqwnNSlMjPw643XtNlK1ZNf8Bi-W_EYFiuRwEoDTcXPQLqOH5dG-AtiRm5r8J25umSeGpAgpq0zFaqAO-uNd0-T4erm4Z1TsTlSI8G74vl4xv50Tn3QczBpviBu7shdBPRk1-I8zSX5Fyl3ax2Njs=" -->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-3511316499460810302016-05-26T12:28:00.002-07:002016-05-26T12:28:50.442-07:00Minimalism in Production<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">On May 3rd of 2016, I had the opportunity to go to a special screening of a documentary called "Minimalism" which was based on the blogs, essays, and books of </span></span><a href="http://www.theminimalists.com/about/">Joshua Fields Millburn & Ryan Nicodemus</a>.</span><br />
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<a href="http://www.theminimalists.com/files/2015/12/MinsPodcastCover-1500x1000-500x333.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.theminimalists.com/files/2015/12/MinsPodcastCover-1500x1000-500x333.jpg" height="213" width="320" /></a></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">They catalog personal accounts of becoming a minimalist by discussing their high paying corporate jobs and subsequent jarring life event which forced them to rethink their initial path; which inevitably led them to a more intentional lifestyle. Their story is compelling and life altering. It has forced me to rethink how much "stuff" I have and how to downsize in order to focus on more important things. If you are interested in learning more, I recommend starting with their <a href="http://www.theminimalists.com/start/">blog</a> and podcast at the same time. This combination paints the best picture of their lifestyle.</span><br />
<br />
This got me thinking about minimalism in music production, specifically, those of us with home studios. How much "STUFF" do you have? Here was my simple list<br />
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</div>
<br />
13 guitars<br />
4 keyboards<br />
5 computers<br />
30 XLR cables<br />
50 misc cables<br />
30 TRS/TS cables (various lengths)<br />
400 CD's<br />
100 books<br />
30 Stomp Boxes<br />
100 random assorted cables<br />
<br />
If you are an audiophile like me, then you might have something very similar, including microphones and outboard gear. But in reality, how much of it do we need? The problem is, we hold value to things that might not have value at all. For example, out of my 13 guitars, only 1 held a value over $350. What was I holding on to?<br />
<br />
<u>I realized that my work space and my home space were stifling my creativity</u>. Here was literally my thought on May 2nd, 2016: <i>"I really should do some work on that intro song on my album, but my desk is a mess and I really don't feel like cleaning it. I just want to write. Oh well, I will just play some Fallout 4 instead"</i>.<br />
<br />
On May 10th, I did something radical; I packed up most of my accessories and gear. I then only took out 2 of each thing, or as many as I would possibly<br />
<b><br /></b>
<b>Q: Each guitar/mic/didgeridoo has their own timbre.</b><br />
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<a href="http://i.imgur.com/b6Ws1Hi.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://i.imgur.com/b6Ws1Hi.gif" height="125" width="200" /></a></div>
<b><br /></b>
<br />
<b>A:</b> I did an experiment with this. I chose one guitar, an Ibanez RG series. As I plugged it in and recorded some pure tones from it, I challenged myself to try to mimic the pure tones out of my other 12 guitars using just this one guitar. The result: I was able to. What did this teach me?<br />
<br />
That my ears were the most important commodity I had, not the guitar. If I was able to replicate most of the sounds using a combination of EQ, multi-band compression, and different distortion plug-ins, then, in reality, I didn't need 12 other cheap guitars.<br />
<br />
<b>Q: But I paid $500 for that thing!</b><br />
<br />
<b>A:</b> If you have ever tried to sell something on eBay, you know that the actual market value vs the retail is very skewed. I paid $550 for an Epiphone Les Paul Thru Body Sun Burst guitar back in 2001. The guitar was immaculate and sounded just like a Les Paul. However, on the market, used, this was only worth about $150-200. I attached a value to it that was not reasonable. When we buy something from Guitar Center or any retail shop, it is steeply marked up. Once you walk out the store with it or let the money back guarantee expire, the item automatically loses most of its value. I really had to look at my stuff as sunk money costs.<br />
<br />
<b>Q: But I might need that for a future album!</b><br />
<br />
<b>A: </b>Minimalism teaches the 90/90 rule. If you have used the item in the past 90 days, or will use it in the next 90 days, then keep it. If not, donate it or sell it. I was holding about 110 cables I havn't used since recording a full drum kit in my old studio almost 10 years ago now. The most cabling I use is to my guitar amp and my Korg Kronos now. I did hold onto enought to connect everything at once, and then 1 spare. I only have 20 cables total now.<br />
<b><br /></b>
<b>Q: Who would want this specialized equipment?</b><br />
<br />
<b>A: </b>Schools. Most schools teach production, but don't have the budget to buy new equipment. If you donate the equipment to a school, then they can give you a receipt for a tax deduction. That tax dedution can be worth as much as reselling your equipment retail.<br />
If you want cash in hand, eBay or Pawn Shop. Or donate the equipment to a donation center or thrift store. JUST GET A RECEIPT OF DONATION!<br />
<br />
<b>The Results</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOT5JsRef9VszN8CDfNKkZS2A0rzoX2RBfTnnS7e3PSXjpPqopqPd_0GSsfHLseZm-h0JfdExZ-ZutUmgwAbq4Eph9SF0iQmyY0it8KJQYcANzW9o-HrXLbiJ1H5N6R8BV1Lg62Frw0it7/s1600/IMG_8511.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOT5JsRef9VszN8CDfNKkZS2A0rzoX2RBfTnnS7e3PSXjpPqopqPd_0GSsfHLseZm-h0JfdExZ-ZutUmgwAbq4Eph9SF0iQmyY0it8KJQYcANzW9o-HrXLbiJ1H5N6R8BV1Lg62Frw0it7/s640/IMG_8511.JPG" width="640" /></a></div>
<b><br /></b>
After about a month of cleaning up, I have noticed a significant amount of clutter gone. I have done this to other parts of the apartment and my girfriend is loving the change. The best way to describe the feeling is "freedom". Without the clutter and the extra stuff, we have been both creative with our free time. It is amazing to think that random objects could take away from creativity, but the truth is, visual clutter dosn't alow for creative flow because it takes your attention away from your creative idea. Now, don't get me wrong, I still have shorts, shoes, and t-shirts. I still have mic cables, microphones and a few guitars still, but I got rid of the excess and the things that didn't bring value into my life. The results were more creativity and produtivity... and more time to build better friendships relationships. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-80182856326299551532015-11-09T10:43:00.000-08:002015-11-10T10:44:12.035-08:00Press Release - iZotope Launches Ozone 7: Vintage-Inspired Mastering Tools<div class="separator" style="clear: both; text-align: center;">
<a href="http://r20.rs6.net/tn.jsp?f=001sNsJEZnJDmMcw86KEDfmzeVCYDa1Aojgw-rV2kEbTDkzgWq6j2_baMCX6ZxdYeHvs-EIrhxnDKTqRvMWUnqi9JIsdafwbb70JNJg9W5eZh1c1osfEK8Um4BnC02-TYMJHOaQs1LYTeUGUvCvRjMZtdteASyu0DHj762lWcbDfvPq0seyYLi6KoZ8dHeghf3aFt8D0g3bjiMi3tM31xRxFGrA7b0A0hvQuyYjXVt1syN73SE-5G4Bl_TY9qQT8oJedcjDR4xvVC34o96e2uR_nJ18bvE8Dizk1s_QJKlABw5yDsy95m6hng==&c=gXF6fG8KnH2LoBTHiqp1Sl_fUJF3ux8DPIXdHCjNGy8SFPrgdwt8Dg==&ch=l_tKdgHckks0RTI7CqEEMfO3gzkrIzJhQCmD1yabGR9hl_ui3SlSdQ==" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://r20.rs6.net/tn.jsp?f=001sNsJEZnJDmMcw86KEDfmzeVCYDa1Aojgw-rV2kEbTDkzgWq6j2_baMCX6ZxdYeHvs-EIrhxnDKTqRvMWUnqi9JIsdafwbb70JNJg9W5eZh1c1osfEK8Um4BnC02-TYMJHOaQs1LYTeUGUvCvRjMZtdteASyu0DHj762lWcbDfvPq0seyYLi6KoZ8dHeghf3aFt8D0g3bjiMi3tM31xRxFGrA7b0A0hvQuyYjXVt1syN73SE-5G4Bl_TY9qQT8oJedcjDR4xvVC34o96e2uR_nJ18bvE8Dizk1s_QJKlABw5yDsy95m6hng==&c=gXF6fG8KnH2LoBTHiqp1Sl_fUJF3ux8DPIXdHCjNGy8SFPrgdwt8Dg==&ch=l_tKdgHckks0RTI7CqEEMfO3gzkrIzJhQCmD1yabGR9hl_ui3SlSdQ==" height="213" width="320" /></a></div>
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<span class="s1"> <a href="http://r20.rs6.net/tn.jsp?f=001sNsJEZnJDmMcw86KEDfmzeVCYDa1Aojgw-rV2kEbTDkzgWq6j2_baOiiCa72X-h_VoyQg6YAY_A0md1vj_bB0UFlqFRWxhOu2bGSNx9lwV5WTEIunXeKSt1E5xYm4dvJh9GBm6Hu3co12H3NaysykjN8XOd5bGLJRyma_e0u59o=&c=gXF6fG8KnH2LoBTHiqp1Sl_fUJF3ux8DPIXdHCjNGy8SFPrgdwt8Dg==&ch=l_tKdgHckks0RTI7CqEEMfO3gzkrIzJhQCmD1yabGR9hl_ui3SlSdQ=="><span class="s2">iZotope, Inc.</span></a>, makers of award-winning software for audio production, now has released the latest version of their flagship mastering software, Ozone.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Ozone 7 is a set of essential mastering tools that enable both professionals and aspiring music producers to easily add a final level of polish to their mixes and audio recordings. While retaining the elegant workflow and precision audio processing of previous versions, Ozone 7 brings the best sonic characteristics of analog hardware to modern digital recordings.</span></div>
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<a href="https://www.izotope.com/globalassets/products/ozone-7/resources/izotope-ozone-7-advanced-standalone-vintage-eq-full.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://www.izotope.com/globalassets/products/ozone-7/resources/izotope-ozone-7-advanced-standalone-vintage-eq-full.png" width="320" /></a></div>
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<span class="s1">Ozone 7 main Interface with dynamic EQ</span></div>
</td>
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</table>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">The Ozone family of products includes both Ozone 7 and Ozone 7 Advanced, which includes additional features for gluing together a mix. Ozone 7 Advanced users can take advantage of four brand-new vintage-inspired modules, designed to add deep, rich analog character to digital recordings. Additionally, the new Codec Preview feature lets Advanced users audition the effect of industry-standard codecs on their master, making it easier to make necessary adjustments before exporting for digital distribution.</span></div>
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<span class="s1">Ozone 7 Vintage EQ</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">By starting with Ozone's expansive collection of presets, pros and newcomers alike can quickly achieve authentic sounds in any genre. Through helpful visualizations and intuitive controls, the software aims to takes the guesswork and manual labor out of the mastering process, helping users experiment without fear of making the wrong sonic choices.</span></div>
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<div class="p1">
<span class="s1">"Ozone 7 builds on iZotope's reputation for superior sound quality and mastering tools," says iZotope Product Manager Izzy Maxwell. "We've added new processing capabilities that honor all the aspects of vintage hardware that people love-warmth, saturation, character, richness-and reimagines them for the modern digital music production realm."</span></div>
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/XSoGjBZbhwg/0.jpg" src="https://www.youtube.com/embed/XSoGjBZbhwg?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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<span class="s1">Ozone 7 Key Features:</span></div>
<ul class="ul1">
<li class="li1"><span class="s1">Vintage Limiter: Glue a mix together, control dynamic range, and add character</span></li>
<li class="li1"><span class="s1">Vintage Tape [Advanced only]: Add the distinctive sonic characteristics of analog tape to modern digital recordings</span></li>
<li class="li1"><span class="s1">Vintage Compressor [Advanced only]: Add subtle warming and sweetening effects with a single-band, program-dependent vintage compressor</span></li>
<li class="li1"><span class="s1">Vintage EQ [Advanced only]: Add the richness, warmth, and color of analog equalization to digital audio</span></li>
<li class="li1"><span class="s1">Maximizer with new IRC IV mode: Increase perceived loudness without pumping or distortion with the mode's innovative new spectral shaping technology</span></li>
<li class="li1"><span class="s1">Dynamic EQ: Now included in both versions of Ozone with improved features and optimized performance</span></li>
<li class="li1"><span class="s1">A comprehensive bank of presets: Achieve authentic sounds for any genre and style and explore Signature Mastering Presets from Greg Calbi, the notable mastering engineer whose career spans from John Lennon to Bruce Springsteen to Lady Gaga and Tony Bennett</span></li>
<li class="li1"><span class="s1">New export options: Encode mastered audio to MP3 and AAC formats</span></li>
</ul>
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<br /></div>
<div class="p1">
<span class="s1">Ozone 7 runs as a standalone application, or as a plug-in in your audio editing software. Ozone 7 Advanced includes ten additional component plug-ins for direct access to individual Ozone modules in your host.</span></div>
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<br /></div>
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<span class="s1"><b>Pricing & Availability</b></span></div>
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<span class="s1">Ozone 7 and Ozone 7 Advanced are available now at <a href="http://r20.rs6.net/tn.jsp?f=001sNsJEZnJDmMcw86KEDfmzeVCYDa1Aojgw-rV2kEbTDkzgWq6j2_baNLJ9aNJDQTFPL63ilwSPRatTSQb8dHGz99poWxmzvPA3sU3ZI5m3-KZAJ5V_kfPDqUEaCMRg49Hokms_mMmP6_uqY88RsyJdmyivyc_DC_JsIG0D-ABZnm6wASCB_NuPA==&c=gXF6fG8KnH2LoBTHiqp1Sl_fUJF3ux8DPIXdHCjNGy8SFPrgdwt8Dg==&ch=l_tKdgHckks0RTI7CqEEMfO3gzkrIzJhQCmD1yabGR9hl_ui3SlSdQ=="><span class="s2">www.izotope.com/ozone</span></a> and at select retailers.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Ozone 7 Advanced is also available as part of iZotope's </span><span class="s3">Music Production Bundle</span><span class="s1"> with Insight, Alloy 2, Nectar 2 Production Suite, and Trash 2 (plus two Trash Expansions). </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">The Music Production Bundle, Ozone 7 Advanced, and Ozone 7 are <b>on sale through November 11, 2015</b>:</span></div>
<ul class="ul1">
<li class="li1"><span class="s1">Music Production Bundle is available for $549 USD, €505 (reg. $599, €549)</span></li>
<li class="li1"><span class="s1">Ozone 7 Advanced is available for $449 USD, €429 (reg. $499, €459)</span></li>
<li class="li1"><span class="s1">Ozone 7 is available for $199 USD, €185 (reg. $249, €229)</span></li>
</ul>
<div class="p1">
<span class="s1"> Upgrade pricing can be found on </span><span class="s3">iZotope's website</span><span class="s1">, and owners of previous versions of Ozone can find their upgrade coupons in their iZotope accounts.</span></div>
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<br />
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<span class="s1">All customers who purchased Ozone 6 or Ozone 6 Advanced after August 26, 2015 will receive a free upgrade to the respective version of Ozone 7.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-25603953755311662552015-10-27T10:39:00.000-07:002015-11-10T10:39:40.713-08:00AES NEWS - Waves Audio Director of R&D Itai Neoran to Lecture at AES<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><i>KNOXVILLE, TN, October 27, 2015</i> — Itai Neoran, Director of Research and Development at <a href="https://t.e2ma.net/click/lsgxn/pf5iki/pzgh2d"><span class="s2">Waves Audio</span></a>, will be giving a lecture on FIR reverberation as part of the Immersive Audio Signal Processing and Effects Workshop at the upcoming 139th International AES Convention, taking place October 29 to November 1, 2015, at the Jacob Javits Center in New York City. </span></div>
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<span class="s1">The workshop (October 31, 10:00–11:30 am, Room 1A14, Technical Program Sessions) will discuss multi-channel and surround effects. Neoran’s lecture will focus on the concept of FIR reverberation and on enhancing the statistics of the desired reverb, the sensation of space, and inter-aural correlation. </span></div>
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<span class="s1">Neoran has been developing professional and consumer audio processing tools since 1994, one of which is the <a href="https://t.e2ma.net/click/lsgxn/pf5iki/5rhh2d"><span class="s2">Waves H-Reverb Hybrid Reverb</span></a> plugin. FIR Reverberation, the topic of Neoran’s lecture, is among the key technologies behind H-Reverb. </span></div>
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<span class="s1">Neoran comments, “I am extremely thankful to be invited to lecture at AES. It offers me the opportunity to tell the story of Waves H-Reverb and explain how this processor enables us to control some the most important spatial qualities of reverberation, including echo density, modal density, build-up, decay shapes and stereo image.” </span></div>
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<span class="s1">To learn more: <a href="https://t.e2ma.net/click/lsgxn/pf5iki/lkih2d"><span class="s2">http://www.aes.org/events/139/workshops/?ID=4698</span></a>. To visit Waves at the AES convention, visit Booth 437. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-56888351214477167152015-10-26T10:22:00.000-07:002015-11-10T10:24:16.353-08:00Press Release- Waves Audio Announces Waves Central<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><span class="s2"><i>Press Release - </i><a href="https://t.e2ma.net/click/dq5wn/pf5iki/pfd91d">Waves Audio</a></span>, a leading provider of digital signal processing solutions, announces Waves Central, a new system to replace the current Waves License Center, providing license management and plugin installation (for Waves 9.6 and above) in one easy-to-use interface. </span></div>
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<span class="s1">Until now, users had to activate their licenses through the Waves License Center, then install the plugins using the online installer or (mainly on Mac OS’s) by downloading a huge installer file. </span></div>
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<span class="s1">With the release of Waves Central, activation and installation will both be done within the new interface. Users will no longer need to download installers. They will now be able to manually install the plugins they choose, or simply click on the EASY INSTALL & ACTIVATE button to automatically install all of their licensed plugins. </span></div>
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<span class="s1">Waves Central will be available soon as a downloadable application. Waves users with an account login will be able to download the application for free from the Downloads section at <a href="http://waves.com/"><span class="s2">Waves.com</span></a> (<a href="https://t.e2ma.net/click/dq5wn/pf5iki/57d91d"><span class="s2">http://www.waves.com/downloads</span></a>). The same login info will be used to log in to Waves Central in order to perform product installations and license activations. </span></div>
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<span class="s1">Waves Central covers installations and activations for full products as well as product demos, and provides online installation and activation solutions, as well as solutions for offline installation and for writing licenses to a USB device (for use with computers not connected to the internet).</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-81137774386181271272015-10-19T10:17:00.000-07:002015-11-10T10:19:56.996-08:00Press Release - The New 10MX Atomic Clock from Antelope Audio: The Culmination of Two Decades of Leadership in Digital Audio Technologies<div class="p1">
<span class="s1">In 1990, a University of Michigan Engineering School graduate named Igor Levin set out to make 'superior sound, simplified' by trailblazing developments in the world of digital conversion and audio clocking technology. His innovations were already recognized by a number of sound engineers around the world, when in 2005 Levin and <a href="http://hummingbirdmedia.us2.list-manage.com/track/click?u=419dcda8b73a1b5e587b76c36&id=5f94667d88&e=b6d831c322"><span class="s2"><b>Antelope Audio</b></span></a> introduced the oven-controlled crystal oscillator: the most stable clocking solution ever produced. A couple of years later he revealed the benefits of Atomic clocking for the audio industry. Now, following more than two decades of refinement, Antelope announces its latest innovation in audio clocking technology: the 10MX Atomic Clock.</span></div>
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<a href="http://hummingbirdmedia.com/content/02-clients/00-antelope-audio/01-press-releases/56-the-new-10mx-atomic-clock-from-antelope-audio-the-culmination-of-two-decades-of-leadership-in-digital-audio-technologies/10mxfront.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://hummingbirdmedia.com/content/02-clients/00-antelope-audio/01-press-releases/56-the-new-10mx-atomic-clock-from-antelope-audio-the-culmination-of-two-decades-of-leadership-in-digital-audio-technologies/10mxfront.jpg" height="96" width="400" /></a></div>
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<span class="s1">Press Release - The 10MX builds on Antelope's clocking legacy by fusing proven technologies and advances in industrial design to deliver a product without compromise. The new product combines the atomic precision of the legendary 10M with the sophisticated Acoustically Focused Clocking (AFC) algorithms of the Trinity into an aesthetically stunning 1U enclosure.</span></div>
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<span class="s1">"The 10M Rubidium Atomic Clock and Trinity Master Clock combination has proven to be the 'gold standard' and the ultimate clocking reference in many top recording, mastering and post-production facilities around the world," commented Igor Levin, CEO and founder, Antelope Audio. "In our development of the 10MX, we wanted to raise the bar. We listened to our customers and delivered exactly what they asked for: the best features of the 10M and Trinity in a combined, 1U package."</span></div>
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<span class="s1"><b>10MX: Supporting Sampling Rates up to 768 kHz</b></span></div>
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<span class="s1">As digital devices continue to proliferate the audio signal chain, high quality clocking solutions have never been more critical. The Antelope 10MX is perfectly suited to recording, mixing and mastering environments and is an ideal companion to a variety of live sound applications in delivering refined clarity and three-dimensionality. Housed in a compact and futuristically designed 1U rack box, the 10MX is manufactured with premium components to deliver the most stable clocking solution in the world. The new, smaller and more efficient Rubidium oscillator demands less power consumption and therefore emits less heat radiation.</span></div>
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<span class="s1">The 10MX features multiple atomic outputs, enabling up to ten devices to be clocked simultaneously over 10MHz. Four BNC outputs provide Word Clock (WC) signal, supporting an astounding sampling rate of up to 768 kHz. In addition, four more WC outputs are available through AES and S/PDIF. All features on the new 10MX master clock can be accessed from either the front panel or via the included software control panel, which is available for both OS X and Windows.</span></div>
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<span class="s1">The 10MX is expected to ship in mid-November and is priced at $5,995. For more information, please visit <a href="http://hummingbirdmedia.us2.list-manage1.com/track/click?u=419dcda8b73a1b5e587b76c36&id=85a519862e&e=b6d831c322"><span class="s2"><b>http://www.antelopeaudio.com</b></span></a>.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-70279791639294146542015-10-12T10:13:00.000-07:002015-11-10T10:16:44.108-08:00Press Release - Radial's Headload Prodigy™ is now shipping<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIh6EA-9qHzvAeBb0iQH2N2WmvSeGOKdlO-Ip1JNlK5loFdmooWCvg425-bWwrfO-rDi8KXXMAh3SSo5Jocs0RiWUc-JC0hU46HOhnDaa56-1979rbnQtspA9fwxiBSVCBf8MbK0mE-Bjf/s1600/3d81d7f7-7286-4e53-99f3-2ee7fd8c94ac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIh6EA-9qHzvAeBb0iQH2N2WmvSeGOKdlO-Ip1JNlK5loFdmooWCvg425-bWwrfO-rDi8KXXMAh3SSo5Jocs0RiWUc-JC0hU46HOhnDaa56-1979rbnQtspA9fwxiBSVCBf8MbK0mE-Bjf/s320/3d81d7f7-7286-4e53-99f3-2ee7fd8c94ac.jpg" width="320" /></a></div>
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<span class="s1">Vancouver, BC - Radial Engineering Ltd. is pleased to announce the Headload Prodigy is now shipping.</span></div>
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<span class="s1">The Headload Prodigy is a combination load box and DI that enables one to drive a guitar amp at a higher output in order to maximize the tone, yet produce a lower stage volume when needed.</span></div>
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<span class="s1">Like the original Headload, the Prodigy employs custom made cement-encrusted resister coils to convert the excessive power from the amplifier to heat and is able to withstand up to 100 watts RMS. The Prodigy may be used in three different ways, depending on the need. First, it may be used as a simple direct box connection via a built-in Radial JDX Reactor™. This combines a reactive load with a proprietary filter bank to emulate the tone of a 4 x 12 half stack using a Shure SM57. The second is as a load box where you can attenuate 50% of the output power for use on quiet stages. Third, the Prodigy can be used without a cabinet for completely silent recording. In all cases, the balanced JDX output is available. This is transformer isolated to eliminate hum and buzz caused by ground loops and is equipped with a pin-1 ground lift and polarity reverse. One simply connects the head to the Headload Prodigy and the desired speaker output to suit.</span></div>
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<span class="s1">In order to optimize the playing experience for in-ear monitors, a dual band EQ on the front panel is included. To add greater connectivity options, two additional ¼" outputs are included with one that is post EQ, post JDX, the other pre EQ, pre JDX. These can be used to feed additional amplifiers, effects racks or recording systems and adjusted using the front panel level control. Headphones have their own control for volume.</span></div>
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<span class="s1">Housed in 14-gauge steel, the Headload Prodigy features Radial's unique book-end design that creates protective zones around the switches and controls. An internal I-beam construction adds tremendous rigidity, protecting the internal PC board from torque which could lead to solder joints going cold prematurely. One or two Prodigys may be rack-mounted into a single 19" rack space using an optional rack kit. Power is supplied by an external 15VDC supply.</span></div>
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<span class="s1">MAP for the Headload Prodigy: $399.99 USD</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-60481570465835814342015-10-05T08:00:00.000-07:002015-10-05T08:00:01.328-07:00Optimizing Ableton with Multiple Drives<div class="separator" style="clear: both; text-align: center;">
<a href="https://splice.com/blog/wp-content/uploads/2014/06/Sirius-ableton-live-template.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="187" src="https://splice.com/blog/wp-content/uploads/2014/06/Sirius-ableton-live-template.jpg" width="320" /></a></div>
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Do you use Ableton live for performance or recording purposes? Well, using multiple hard drives are the key to remove data collisions and bottlenecks that will reduce your artistic vision. Ableton recommends using 4 different hard drives for your projects. Make sure all the drives are formatted in your computer's native format:<br />
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1) System drive (SSD): This one should hold your program application<br />
2) Samples and Libraries (SATA3-7200RMP): This one holds your packs, samples and sound libraries.<br />
3) Audio Recording and Caching (SATA3-7200RMP): This is especially key if you are using higher bit rates for your audio recordings.<br />
4) Backup (Any type): This is to have a backup of your files etc.<br />
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For information on how to set these in Ableton Live, check out the link below.<br />
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<a href="https://www.ableton.com/en/help/article/optimize-live-multiple-hard-drive-setup/" target="_blank">Ableton Help File</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7264097433116040290.post-67028484063150855682015-09-28T08:33:00.000-07:002015-09-28T08:33:00.596-07:00Press Release - Sennheiser’s new EK 6042 two-channel camera receiver works with both analog and digital transmitters
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<a href="http://hummingbirdmedia.com/content/02-clients/00-sennheiser/01-press-releases/308-a-world-first-sennheiser-s-new-ek-6042-two-channel-camera-receiver-works-with-both-analogue-and-digital-transmitters/ek6042.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://hummingbirdmedia.com/content/02-clients/00-sennheiser/01-press-releases/308-a-world-first-sennheiser-s-new-ek-6042-two-channel-camera-receiver-works-with-both-analogue-and-digital-transmitters/ek6042.jpg" height="320" width="218" /></a></div>
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<span class="s1"><b>Amsterdam, September 15, 2015 </b>– At IBC, <a href="http://hummingbirdmedia.us2.list-manage1.com/track/click?u=419dcda8b73a1b5e587b76c36&id=217ac85da1&e=b6d831c322"><span class="s2"><b>Sennheiser</b></span></a> unveiled a new slot-in camera receiver that redefines compatibility: the EK 6042 is a true-diversity, two-channel receiver that can work with both analog and digital Sennheiser transmitters across a bandwidth of 184 MHz. It is an ideal partner for Sennheiser’s top-of-the-range Digital 9000 series and can operate with all analog transmitters that feature Sennheiser’s HiDyn plus or HDX companders. The receiver will become available in spring 2016.</span></div>
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<span class="s1">“This is a true “one for all” receiver,” said Tobias von Allwörden, product manager, Sennheiser Broadcast & Media. “It works with any Sennheiser series from Digital 9000, 5000 and 3000 down to 2000 and evolution wireless G3, and automatically identifies the transmitter via an IR link.”</span></div>
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<span class="s1">The camera receiver chooses its own operating mode depending on the transmitter, and also selects the appropriate bandwidth and frequency in the UHF range between 470 and 654 MHz. As a true diversity receiver with four separate receiver circuits, the EK 6042 is extra-reliable, even in difficult RF environments.</span></div>
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<span class="s1">The EK 6042 can be combined with either a 15-pin adaptor to slot directly into Sony cameras, or a 25-pin adaptor for Unislot- and SuperSlot-compatible devices.</span></div>
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<span class="s1">For camcorders without an audio receiver slot, a special backpanel adaptor for the EK 6042 is available as an accessory. If the camera does not supply power to the receiver, a “piggyback” power adapter can be attached to this housing and fitted with two hot-swappable BA 61 battery packs.</span></div>
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<span class="s1">The EK 6042 camera receiver will become available in spring 2016.</span></div>
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<span class="s1">1) A true all-rounder for professional camera sound, the EK 6042 two-channel receiver works with the Sennheiser series 9000, 5000, 3000, 2000 and evolution wireless</span></div>
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<span class="s1">Audio specialist Sennheiser is one of the world’s leading manufacturers of headphones, microphones and wireless transmission systems. Based in Wedemark near Hanover, Germany, Sennheiser operates its own production facilities in Germany, Ireland and the USA and is active in more than 50 countries. With 18 sales subsidiaries and long-established trading partners, the company supplies innovative products and cutting-edge audio solutions that are optimally tailored to its customers’ needs. Sennheiser is a family-owned company that was founded in 1945 and which today has 2,700 employees around the world that share a passion for audio technology. In 2014, the Sennheiser Group had sales totalling €635 million.</span></div>
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<span class="s1"><a href="http://hummingbirdmedia.us2.list-manage1.com/track/click?u=419dcda8b73a1b5e587b76c36&id=fdc7bb1df2&e=b6d831c322"><b>www.sennheiser.com</b></a></span></div>
Unknownnoreply@blogger.com0