Officially Trademarked!

 

Today, after 12 years, the United States patent and trademark organization granted theaudiopod.com an official trademark, capping off a very long process. 

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.

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!

AES NEWS - Waves Audio Director of R&D Itai Neoran to Lecture at AES

KNOXVILLE, TN, October 27, 2015 — Itai Neoran, Director of Research and Development at Waves Audio, 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.  

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.  

Neoran has been developing professional and consumer audio processing tools since 1994, one of which is the Waves H-Reverb Hybrid Reverb plugin. FIR Reverberation, the topic of Neoran’s lecture, is among the key technologies behind H-Reverb.   

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.”   

To learn more: http://www.aes.org/events/139/workshops/?ID=4698. To visit Waves at the AES convention, visit Booth 437. 

Press Release - Radial's Headload Prodigy™ is now shipping

Vancouver, BC - Radial Engineering Ltd. is pleased to announce the Headload Prodigy is now shipping.

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.

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.

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.

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.

MAP for the Headload Prodigy: $399.99 USD

Press Release - DirectOuts MADI Analyzer and Signal Generator Debuts ‘ANNA-LISA’

Press Release : German interconnectivity and audio transport specialists, DirectOut, are pleased to introduce a brand-new must-have tool for everyone that works with MADI – ANNA-LISA made her debut outside Europe at 137th AES Convention in L.A..

ANNA-LISA is a small, handheld MADI analyser and signal generator equipped with BNC and SFP MADI I/Os that provides straightforward, immediate analysis of any MADI input. Signal condition, input level and jitter can be monitored directly at the device. More detailed information, such as protocol and user bit checks, is accessible through an external application via USB and Bluetooth. The integrated signal generator makes ANNA-LISA a convenient, all-round tool for any MADI environment. The device is powered by an integrated battery and chargeable via USB.

Over the past five years, DirectOut has acquired an excellent reputation as an audio transport specialist providing all kinds of converters, routers and little problem solvers for MADI environments. The development of ANNA-LISA, a comprehensive yet compact measurement tool to enable mobile quality control and error tracking for engineers working with MADI out in the field, is thus a logical step for the company. “In mobile broadcasting and recording as well as live sound applications, it is crucial to know the quality of all MADI connections in the setup”, states CTO Stephan Flock. “With ANNA-LISA we are excited to provide a unique new tool which not only makes it possible to track down protocol issues, but moreover is able to provide a qualitative analysis of the physical condition of a MADI connection. Engineers will wonder how they ever managed without it!“

For further details, please visit www.directout.eu

Press Release: DPA Microphpones Delivers Audio during the Filming of Taken 3

Capturing high-quality audio for a blockbuster film is always crucial as dialogue between the actors must be heard if the story is to be understood. But when the sound crew also has to contend with action-packed scenes featuring car chases and shoot outs, recording comprehensible audio becomes an even more complex challenge. This was the situation French sound engineer Stéphane Bucher found himself in on the set of Taken 3, the third and final instalment of action trilogy starring Liam Neeson, Forest Whitaker and Maggie Grace. To combat any audio problems, he chose to use DPA Microphones' d:screet™ 4060 Miniature Microphones.

"I knew we had a lot of dialogue being recorded from difficult conditions for which using a boom mic just wasn't going to work," explains Bucher. "So, there was only one solution. I reached for my stock of DPA d:screet 4060 Miniature Microphones and asked the wardrobe team to help me figure out where we could hide them."

Bucher is no stranger to the versatility and exceptional sound quality afforded by these tiny DPA mics as he used them to great effect last year on the Luc Besson film Lucy, which starred Scarlett Johansson. On that occasion, the mics were sewn into the seams of Johansson's t-shirt, which delivered pristine audio without any visibility issues. For that production, the director filmed with only one camera, allowing Bucher to use a boom mic as a back up.

"The big difference with Taken 3 was that Olivier Megaton [the director] used three cameras at the same time so that he could capture numerous angles concurrently," he explains. "In tight situations, such as inside the police station where Forest had five pages of dialogue to record, we couldn't use a boom because of the wide and tight angles. That was when the DPA mics became so indispensable. Their sound matched perfectly when the boom couldn't be used. We recorded fantastic audio that came across loud and clear in the mix. By the end of the film, I'd say that 80 percent of the audio was recorded using these mics."

Internationally acclaimed as a sound engineer, Bucher has worked with numerous famous actors and directors, including Morgan Freeman, Pierce Brosnan and Kevin Costner. In recent years, many of his projects have come from major feature film production companies, such as EuropaCorp. He also owns and manages the Paris-based rental company, A4Audio, which supplies audio equipment to film and TV clients.

Bucher believes that good preparation was the key to the audio success of Taken 3. Before shooting started in the U.S., he spent four days with wardrobe staff figuring out the best places to hide the DPA d:screet 4060 mics.

"Unlike Lucy, where the action took place over a very short timeframe, this film spans a longer stretch of time so there were more costume changes to contend with," he explains. "Hiding microphones in clothing only works if you can avoid scratching or chaffing noises. We did pretty well with most of the costumes until we came up against a waterproof jacket that Liam wore in a few scenes. This was made from really noisy fabric, so the wardrobe department put a noiseless soft tissue into the jacket to prevent the mic from picking up the crackling of the cloth. Luckily, the d:screet 4060 was sufficiently sensitive, picking up only the sound we did want without any problems."

For scenes where the action took place within a car, Bucher used DPA's d:dicate™ MMC4018-ES Supercardioid Microphones with MMP-ES active cables with side cable, which were supplied by DPA's French distributor Audio2. 

"I used them for the first time and for one particular car chase where Liam was speeding down a highway, and they were great," he says. "I needed a very small mic to put into the car's sun visor. We bought two new sun visors, opened them up and put the 4018 mics inside. This was possible because the cable comes out of the side of the mic and it worked perfectly that way. We also tested them on a much simpler car scene, during which Forest was driving and talking, and they worked great for that as well."

Bucher was so impressed with the results he achieved with the tiny DPA microphones that he is now looking to purchase DPA's shotgun microphone as well. "I've got some new film projects coming up and I think the boom mic would be ideal for this," he says "It's going to be shot in Denmark later this year, so what could be better than using Danish mics? I have no doubt that I'll get great audio quality if I do use them because this is what DPA is renowned for - really translucent, clear and natural sound."

NEWS - EASTWEST's Flagship Orchestral Series Now Available

Press Release : With the recent release of Hollywood Orchestral Percussion, EASTWEST now offers the most detailed and comprehensive orchestral virtual instrument collection on the market: Hollywood Orchestra. The company's flagship product includes Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds, and Hollywood Orchestral Percussion, all produced by award-winning team comprised of Doug Rogers, Nick Phoenix, Thomas Bergersen, and engineer Shawn Murphy. "This has been our labor of love - we've worked over a five year period as we completed each of the sections," says Doug Rogers. "We are proud to now offer a complete professional orchestra that is able to meet any demands composers might have. It's a true EASTWEST milestone." Each individual section of Hollywood Orchestra has received multiple awards from the international press for its unprecedented detail, superior true legato, sound quality, and sound control with five user-controllable mic positions, including main pickup (Decca tree), mid pickup, close pickup, surround pickup, and an alternate vintage circa 1945 RCA ribbon room pickup. Producer Mark Linthicum says: "I love the realism of these Hollywood instruments. For the first time I can go for a big bombastic Hollywood sound, or an intimate sound with the mic options included. There's really nothing else that can do this. It's a game changer!" Truly the Holy Grail for serious film, television, video game, and music composers, Hollywood Orchestra is the culmination of over five years of recording in the famous EASTWEST Studio 1, the home of major Hollywood Soundtracks and Television Themes. It includes PLAY 4 32-bit/64-bit software, powerful scripting for ease of use, and more user control than any other virtual instrument. For more details, please visit  www.soundsonline.com/hollywood-orchestra System Requirements 680GB free hard disc space, iLok security key (not provided) Pricing & Availability Gold and Silver versions are downloadable, Diamond is supplied on a hard drive due to the size of the collection. To purchase and for more information, please visit www.soundsonline.com/hollywood-orchestra  Diamond Edition: MSRP $2996, Introductory price $1495 Gold Edition: MSRP $1996, Introductory price $995 Silver Edition: MSRP $996, Introductory price $495 (coming soon) About EASTWEST EASTWEST (www.soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer. More about EASTWEST at soundsonline.com, on Facebook (https://www.facebook.com/eastwestsound) and Twitter @eastwestsounds.

Press Release: "How I Work" Sound Designer Interview Series Released

Press Release: Pro Sound Effects Blog Features Game Audio Sound Designer Profiles NEW YORK, NY  Pro Sound Effects®, the next level sound effects library company, has released the first three sound designer interviews in PSE's "How I Work" Series. Published on the Pro Sound Effects Blog and inspired by Lifehacker, How I Work asks sound designers in film, video games, and advertising what inspires them and what tools allow them to get their work done from day to day.   Here are overviews of the first 3 How I Work interviews: Will Morton, Solid Audioworks, Scotland, UK  Most recent credit: Grand Theft Auto  How Will Works Andrew Lackey, Wabi Sabi Sound, Atlanta, GA  Most recent credit: Ori and the Blind Forest  How Andrew Works Matt Piersall, GL33k, Austin,TX  Most recent credit: BattleCry  How Matt Works "The How I Work Series is a rare look behind the scenes at what allows sound designers to stay productive, creative and successful," said Douglas Price, Founder & President of Pro Sound Effects. "Pro Sound Effects is thrilled to showcase such an innovative group, and the PSE Blog will regularly release new interviews. The goal is to support the worldwide sound design community and the importance of sound overall." View the How I Work Archives About Pro Sound Effects®: Pro Sound Effects curates and delivers the Next Level sound effects library for media producers worldwide. The Pro Sound Effects Library is 215,000+ royalty-free sounds effects available both online and on hard drive. The Library spans the entire sonic spectrum and is continually updated. Founded in 2004, Pro Sound Effects is relied upon by top freelancers and big media production companies worldwide.

Press Release- Elizabeth Matthews named CEO of ASCAP: Letter to Staffers Included

Press Release:

ASCAP announced that Elizabeth Matthews has been named the new Chief Executive Officer of the organization. Matthews, who has served as Executive Vice President and General Counsel at ASCAP since 2013, was a unanimous choice among the Board’s 12 writer and 12 publisher members. Matthews replaces former ASCAP CEO John LoFrumento, who retired on December 31st after 33 years of service to ASCAP, including 17 years as CEO. Matthews begins her tenure at the helm of ASCAP immediately.

“Now, more than ever, songwriters and composers need an advocate we can trust to ensure our work is valued fairly in a rapidly changing music marketplace,” saidASCAP President and Chairman Paul Williams. “What we do is vital to the future of music. Beth’s experience in the global multimedia content sector, her deep understanding of the complexities of the music business and her passion for protecting the rights of music creators make her singularly qualified for the CEO role. Her enthusiasm for taking on the new challenges of the digital era is unparalleled.”

(pictured, l-r) ASCAP President and Chairman Paul Williams, Rep. Judy Chu (D-CA), ASCAP songwriter Ne-Yo, Rep. Howard Coble (R-NC) and Beth Matthews before a 2014 panel discussion hosted by Creative Rights Caucus Co-Chairs Chu and Coble on music licensing updates

As ASCAP’s Executive Vice President & General Counsel, Matthews played an important role in planning ASCAP's future. She led development of a six-year transformative strategic plan that anticipates the future competitive landscape and changing needs of ASCAP members and customers. Matthews was a key internal leader on modernizing ASCAP’s licensing systems and pushing for reform of ASCAP’s consent decree. She also spearheaded ASCAP's support for introducing the Songwriter Equity Act in Congress.

Prior to ASCAP, Matthews served as Executive Vice President & Deputy General Counsel at Viacom Media Networks (formerly MTV Networks) since 1998. There she guided her Business and Legal Affairs teams through the early days of the shift to digital. Previously, Matthews worked in the Intellectual Property and Corporate Groups for Chadbourne & Parke and the Business Technology Group for Milbank, Tweed, Hadley & McCloy.

In a letter to staffers, Matthews wrote: "

To All ASCAP Staffers:

It is with great excitement and commitment that I welcome the amazing opportunity of serving ASCAP, our members, our licensing partners and you -- the dedicated and talented employees of ASCAP who, like me, are inspired and driven by ASCAP's mission to protect, educate and cultivate the careers of music creators.

As I take on my new role as CEO, I feel very fortunate to have been mentored and guided by John LoFrumento these past two years. John's passion for ASCAP and his track-record of successful leadership were what inspired me to join ASCAP as EVP and General Counsel, and I am so grateful to him for his leadership and for being a personal mentor to me. I know that I can continue to count on John's unique perspective and valuable insights as I begin the work of leading ASCAP into a new era.

We all know that the world in which we have operated for the past decade has changed dramatically, and ASCAP has been at the forefront of efforts to meet the challenges of this new world, both internally and externally. Not only are we in active negotiations with the U.S. Department of Justice to modernize our outdated Consent Decree, but as an organization, we pro-actively got ahead of the need to control our destiny by setting long term strategy and did not wait for market forces or regulators to tell us that we needed to change. Our work to develop a strategic six-year plan was approved by the ASCAP Board of Directors, who understood the value in taking a long view and setting a new course of our own choosing. Many of you had some role in our strategic planning efforts. Now is the time that we begin the journey of executing our strategic plan in order to transform our business and innovate at a faster pace than ever before. Our future is exciting to me and, I hope, to all of you.

In the coming months, we will embark upon several new initiatives to turn ASCAP into an even more flexible, adaptive licensing and service organization that anticipates the needs of our constituents and provides them with best-in-class, innovative new tools and services. We have the most treasured and valuable repertory of musical compositions in the world. We will demonstrate to our publisher, songwriter, lyricist and composer members that we are the best at optimizing the value of their musical works at the lowest cost. We will show our licensees that we value them as partners and we understand the challenges of their business because their success is our success. And, we will explore ways in which we can create more value for everyone in the music licensing marketplace through collective licensing.

We will be doing a lot of things differently in the months to come, but we will stay true to the core values of ASCAP because those values are the reason that so many of us choose to work here. It is always so much fun to hear the stories of my colleagues at ASCAP, so many of whom are musicians or fanatical life-long music lovers. That love is what makes ASCAP unique and different. This is not just a job; it is a passion and a mission. I look forward to working with all of you to continue that mission while we build ASCAP into a new kind of organization for the future.

I would like to leave you with a promise. I know that change can be difficult, confusing and unsettling. My promise is to do my best to keep the lines of communication open so that we all understand our shared vision, challenges, direction and goals. Toward that end, we are planning an ASCAP Town Hall meeting with employees to take place in February or early March.

In closing, I especially want to thank Paul Williams and the ASCAP Board of Directors for their vote of confidence in me, and I want to thank all of you for your support as we work together to ensure the success of ASCAP’s next 100 years.

Beth

"ASCAP is an expansive, forward-looking and adaptive service organization that successfully built and grew the market for performance rights for songwriters and publishers in the United States. As CEO, I am excited about building upon our unique assets to offer new and innovative services to our members and our licensing partners. As new media platforms transform how people listen to music, it is critical that we evolve our own business model and update outdated music licensing laws to better reflect the reality of today’s music marketplace. I am honored to work on behalf of the world’s greatest music creators who call ASCAP home."
- ASCAP CEO Elizabeth Matthews

Press Release - Powersoft Joins The League of Legends Showdown

Press Release : Built for the 2002 FIFA World Cup, Seoul’s Sangam Stadium could scarcely have hosted a more unusual ‘World Final’ than when some of the best gamers on the planet assembled recently for the League of Legends showdown.

Based on the online game that has swept the globe (and particularly Korea), some 45,000 thronged to witness this online sport (or ‘e-game’) as the Star Horn Royal Club from China took on Samsung White, and fingers clicked furiously across a computer mouse.

And with an estimated further 40 million people watching around the world — either online, in cinemas or on the ESPN3 sports channel, production values were set high.

Seoul-based Rhino Sound Systems were brought in to design the sound reinforcement inside the bowl and they assembled a vast battalion of Powersoft amplifiers to power their new EAW Anya system (and KF740/KF730 speakers).

The system engineer was Gwon Seung Cheoul (also known as Mr. PAMAN), and not for the first time he had cause to thank the versatility of Powersoft’s advanced inherent control.

Gwon said that although this was a long way removed from being a rock concert the disciplines were the same as he strove to produce a powerful sound. After trying several simulations the model managed to remove reflections from the back wall, while KF740 delays ensured that the sound carried evenly to all parts of the stadium

The biggest challenge he faced was having the main tower position set behind the stage, and production requiring clean sightlines on the stage itself.

Mr. PAMAN designed and configured his amp racks back at the company warehouse, deploying 80 of the powerful K10 and 43 x K3. “I spent two weeks prepping the show which was an amazing size,” he said. “We used Powersoft’s DSP so I could control and monitor all the amplifiers from my laptop using the Armonía software.”

Rhino featured a 32-box Anya system, believing this to be the first worldwide deployment of two 16-element hangs — all controlled by dedicated Resolution 2 software, operating over Dante. This automatically configured the best performance parameters and conditions. A second laptop was used solely to control the EAW Resolution 2 software driving Anya. Subs comprised 20 each of EAW’s SB1002 and SB2001 (in an end fire set up).

Powersoft provided EAW Greybox-specific plug-ins for the Armonía software. “We drove the EAW MW12 and MW15 stage monitors using this plug-in loaded onto the Armonía and Powersoft DSP, and it sounded f***ing great!” reports the system tech.

He added that when Rhino first invested in the Powersoft brand it was because they liked the economy of the 1U rack size, combined with the tremendous power output. “It was just the perfect amplifier, with very low power consumption, which was a further bonus.” Now they are also aware of its far-reaching control.

At Sangam Stadium, all Powersoft amps received the audio signals from an EAW UX8800 controller on a combined network so everything could be controlled from FOH via the 11 UX8800 controllers.

The EAW subs were assigned to Powersoft’s K10s, and sounded no better than during a performance by the Imagine Dragons. Said Mr. PAMAN. “I always use the damping control function. In the outfield, running cables over 20 or 25 metres for example we would generally be losing power; but using the Powersoft damping control function the quality of the sound changed immediately and was really great. Driving the subwoofers the sound also changed enormously, it was much tighter and had more punch … and I loved it.”

In summary he said that the League of Legends World Finals had been the most challenging event he had ever designed a control network for. “But the success was due to the Powersoft technology — not only the external Powersoft amps, but also the Powersoft modules in Anya itself.”

Jeff Na, from DasanSR, Powersoft’s Korean distributors, was the sound director, and the event was also supported by James Bamlett, and Bernie Broderick from EAW’s Application Support Group. Others involved in the design included Dasan SR team leader, Kang Hyun Min and Will Taylor from 3G Live Productions.

Watch the official League of Legends Show video here: www.youtube.com/watch?v=8Y3t52hWIas

Click here to watch the DasanSR video on the build up: www.youtube.com/watch?v=0bhfmJ6Xudc 

Press Release - BB4 Studios Launches: World-Class Mixing & Mastering Facility Brings Innovative New Audio Resource to New York City

Press Release : It’s not easy to bring something new to the music production scene, but BB4 Studios has accomplished just that. Shorthand for “Brooklyn Born Brooklyn Bred”, this just-launched Williamsburg facility is providing producers, engineers, artists, and labels with an innovative audio resource.

BB4 has created a studio unique to New York City, executing an acoustically excellent environment that is optimal for both mixing and mastering. Designed by owner Rafael “Raf” Planten and Christos Tsantilis (P. Diddy, Mary J. Blige, Mobb Deep, Mos Def, Brandy, Big Pun, Queen Latifah, Patti LaBelle, Saigon), BB4 provides mixers, mastering engineers, producers and labels with an exciting option for perfecting projects. World-class recording capabilities for vocals and overdubs are also onsite.

An Advanced Audio Environment

Built from the ground up as a brand new studio on Williamsburg’s famed Bedford Avenue, BB4 channels the artistic energy of its surrounding neighborhood into its precisely tuned space. A multi-platinum  engineer, producer, quality-control expert, as well as an accomplished studio designer, Tsantilis focused his decades of audio experience into making BB4 a first-choice room for honing the best possible mixes and masters – accomplished via thoroughly modern workflows within a welcoming environment.

The goal with BB4’s design was straightforward: Make a neutral room with as flat a sweet spot as possible. Only the highest-grade acoustical treatments and wiring were specified, combined with a custom mastering-style console outfitted with elite dynamics, EQs, and effects gear, plus a huge collection of plugins.   

“Once upon a time, mix rooms and mastering suites were built to the same specs,” Tsantilis points out. “But at some point mix rooms had to get bigger, to accommodate the larger tracking consoles that were being brought in. The BB4 approach gets mixers back into a room that’s optimized for accuracy – this is a mastering-grade environment where they can mix. Having this purpose-built environment provides an extreme upgrade in your ability to hear the music, and make much more informed decisions.”

Equipping the Right Environment

Freelance producers, mixers, and mastering engineers alike will feel well-supported at BB4, which provides an assistant engineer for all sessions.  With the gear selection that’s on hand, audio professionals should feel immediately inspired to get to work on their sounds.

BB4’s sweet spot begins with a custom mastering-style console designed by renowned studio designer Ken Capton (Eminem, Kid Rock, Music Works NYC, Yessian Music New York). Avid Pro Tools 11 and SonicStudio’s SoundBladeHD serve as the mixing and mastering DAWs, respectively, connecting to the hardware and monitors via Prism Dream and Avid HD Omni converters.

Outboard is extensive without being overwhelming. Compressors include dual RAD 4K-CS SSL’s, Manley SLAM!, Tube-Tech CL 2A, Alan Smart C2, TK Audio BC1, and custom 1176. EQs include four channels of Vintech 473, API 553, Nightpro EQ3-D, and a Weiss Eq1-LP/DYN combo. An Orban Stereo Synthesizer model 245e and classic Yamaha Spx90 are on hand for outboard FX. A Manley 16x2 tube mixer is available for summing.

For tracking and overdub sessions, microphones include a Manley Reference, stereo Audio-Technica ATM450’s, and a Shure SM7B. Mic pre’s are populated by the likes of four Vintech 573’s, two API 512c’s, and a stereo Melcore AML-27. Hardware can also be swapped in and out at a visiting engineer’s request.

Available plugins include Eventide Anthology, Waves Diamond Bundle including Platinum, Restoration, and Transform Bundles, Sonnox Oxford Elite, SoundToys with Eleven, Altiverb XL, and Lexicon - PCM Native Total Plug-In Bundle.

All mixing and mastering decisions go through the meticulously planned monitoring system, which features a PMC ib2 passive 3-way system flanked by dual ADAM Sub12 subwoofers. Bryston 4bst and THX amps power the system, all calibrated by a White Instruments Room EQ.

The attention to detail in BB4’s high-grade dead soft annealed solid pure silver (4N) wiring – overseen by wiring guru Mike Donahower (Jungle City, Robert Clivilles, Five Towns College) — illustrates the extreme care taken to deliver the truest possible sound. “The wiring makes all the difference in the world – it definitely affects the sonic character, depth and dimension that you can hear in a stereo recording,” says Tsantilis. “We strictly employed Furutech and Oyaide connectors, which are optimized for music by cryogenic freezing: That process changes the molecular makeup of the metal for less distortion, noise and resistance.”  

Brooklyn and Beyond

While the emphasis is wholly on the music, BB4 is a comfortable place to work for hours at a stretch. A couch is behind the mix/master position in the main room, while a well-appointed lounge completes the experience for all clients and artists in attendance. The vibe is minimalist and stylish at the same time, deleting distractions while maximizing creative inspiration.

BB4 realizes Rafael Planten’s commitment to converging audio and art on a Brooklyn block that he loves deeply – he was literally born in the building whose ground floor the studio occupies. His room doesn’t just fill a need in New York City’s densely crowded studio scene, it creates a new category. That makes BB4 Studios bigger than just another business: it’s a way of contributing to the community, the local economy, and global music.

“Sound makes a difference in people’s feelings,” Planten says, summing it up. “If you’re hearing something good, it will feel good.”

For more information on BB4 Studios, visit http://www.bb4studios.com/.

Press Release - Dynaudio Professional’s New ‘AIR Control’ Software for Mac, PC and Windows-Based Tablets is Now Available

Press Release : AIR is a complete and networked solution for critical monitoring found in thousands of studios globally. Dynaudio Professional’s new AIR Control software gives complete editing, saving and preset-based recall of room adaptation DSP, precise timing and SPL calibration, bass management and monitor control in Air systems configurations spanning 2.0 to 7.1. AIR Control running on a Windows-based tablet Dynaudio Professional unveils a new AIR Control application for Mac and PC, allowing users to carry out advanced calibration and alignment of their AIR monitoring system. The software provides access to advanced tools and features inside AIR monitors and subwoofers including timing and SPL calibration and parametric EQs for each monitor. Air Control allows users to define and store custom setups and presets with selective parameter locking, and a special measurement mode provides EQ line signal out from selected monitors. Fred Speckeen, Global Business Manager for Dynaudio Professional “AIR Control will be available as a free download, and we are very excited to offer our current and future AIR users the advantages of this intuitive software that easily and intuitively unlocks all the power of their AIR monitor systems.” says Fred Speckeen, Global Business Manager for Dynaudio Professional. “AIR systems are an industry standard, and have been so for over a decade. It is chosen by ear by the world-leading film, music and broadcast production studios. AIR Control is designed to meet their accelerating project and workflow demands where minutely accurate adjustments and configurations must be easily made, saved and quickly recalled.” AIR Control replaces Dynaudio Professional’s original ‘TC PC-IP’ installer software that was developed for professional installers. The new AIR Control application design is easier to use and an even more efficient way to fine-tune a complete, digital AIR monitoring system. The new AIR Control runs on Mac, PC and Windows-based tablets.

Press Release - DiGiCo Releases SD App

Press Release: The DiGiCo SD App is compatible with all consoles in the SD Range and allows users to take advantage of both Apple and DiGiCo’s touch screen technology.

The advent of the DiGiCo SD App means that your iPad becomes a remote control surface and also an expansion of the control surface. This application takes the existing feature set and presents it in a new way to take advantage of the extra screen. This allows engineers to implement very specific functions dedicated for FOH or Monitors.

Aimed at installation and touring applications, the DiGiCo SD App includes a number of dedicated screens that open up the iPad surface to a selection of the consoles’ functionality. For example, there are eight macros available on the hardware buttons of an SD9, but by connecting the iPad via the DiGiCo SD App, a large number of user-defined buttons will be available; these can reside on the iPad screen, allowing for quick access, while the console remains clear to mix the show on.

“The SD App adds a new level of versatility to our SD consoles,” says DiGiCo’s David Webster. “It makes mixing a complex show or working with an extensive installation even easier than it was before.”

Press Release - Clear-Com’s New LINQ Product Line Connects Audio And Communications Systems Over IP Networks

Press Release : Clear-Com^® has introduced the new LINQ™ product line, providing the industry with the next step in intercom/audio linking technology, based on Clear-Com’s patented I.V.-Core technology. LINQ interfaces are compact devices that enable connection of two-wire partyline with call signaling and four-wire audio over LAN, WAN or Internet IP infrastructures.

LINQ is available in two-wire (LINQ-2W2) or four-wire (LINQ-4W2) options. The LINQ-2W2 is both Clear-Com and RTS TW compatible. The LINQ-4W2 can interconnect with devices, such as analog ports of any matrix intercom system, analog telephone circuits, two-way radio gateways and audio consoles. A maximum of six LINQ IP interfaces can be linked together in any 2- or 4-wire combination.

LINQ uses the OPUS high quality audio CODEC. The bitrate, bandwidth, and delay can be changed quickly and smoothly without introducing any distortion or discontinuity in the audio. As a low audio latency communication link, LINQ can be used for natural intercom conversation, networked music performances and for audio signals that are transported via different facilities (transmission synchronization).

The creation of virtual partylines within a linked group is an exclusive feature. Channels from any of the six devices in the network can be linked to create common virtual partylines. At least two channels must be associated to each other. LINQ utilizes a touch-friendly web-based user interface to configure, control and monitor any device within a linked group.

Stephen Sandford, Product Manager, Clear-Com, said, “Clear-Com continues to lead the field of connecting or extending intercom over IP. LINQ is a simple yet significant development that enables users to expand their remote communications quickly and easily.”

Press Release - Hosa Technology Pro Breakout Cables

Press Release : Hosa Technology, is pleased to introduce the latest line expansion to the Hosa Pro line of cables. The new Hosa Pro Breakouts make the process of interfacing consumer audio products with professional equipment easier than ever. With Hosa Pro Breakouts, any consumer audio product equipped with a stereo minijack output can seamlessly be interfaced with professional units sporting quarter-inch Tip/Sleeve, XLR, or even RCA connectors.

Hosa Pro Breakouts are available in three configurations. The 3.5 mm TRS (tip/ring/sleeve) to dual RCA option—identified as the HMR-000Y Series—is ideal for DJ mixers or home stereo systems. The 3.5 mm TRS to dual 1/4-inch TS (tip/sleeve) breakout—identified as the HMP-000Y Series—can be plugged into patch bays or a mixer’s phone inputs. The third category, the 3.5 mm TRS to dual XLR3M breakout—known as the HMX-000Y Series—is ideal for connecting into discrete channels on a professional mixer or similar interface.

As users of Hosa cable products have come to expect, the new Pro Breakouts line is manufactured from the finest materials. All three configurations utilize nickel-plated REAN connectors (a brand of Neutrik AG, the industry’s connectivity leader) for efficient signal transfer and durability. Equally notable, these cables sport 24 AWG Oxygen-Free Copper (OFC) conductors for enhanced signal clarity and 90% OFC spiral shields for a higher signal to noise ratio. These materials, combined with Hosa’s world-class workmanship, result in truly superior cable products designed to provide exceptional audio performance and years of trouble-free use.

Jose Gonzalez, Hosa Technology’s Product Manager, commented on the company’s new Pro Breakout cables, “The growth of portable audio products such as iPods, smartphones, and tablets has changed the requirements of live audio. Even in the most professional live audio and studio setups, people frequently need the ability to add a consumer media player into the mix. When this situation arises, they need to be able to count on the cable they’re about to patch in. Hosa Pro Breakouts make trusting one’s cable easy. All three configurations make the process of interfacing consumer audio products with professional gear quick and seamless.”

The HMR-000Y and HMP-000Y Series are available now and include their respective cables in 3-, 6-, and 10-foot lengths. The dual XLR3M HMX-00Y Series will be available January 2015, in 3-, 6-, 10-, and 15-foot lengths.

About Hosa Technology

Headquartered in Buena Park, CA, Hosa Technology, Inc. is the leading supplier of analog and digital connectivity solutions to the musical-instrument and professional-audio industries. Since the company’s inception in 1984, Hosa Technology’s consumer-driven inventory has expanded to include a full line of audio, video, and computer products. Enthusiasts and professionals alike rely upon Hosa Technology to deliver world-class performance and value both on the stage and in the studio. For more information about Hosa Technology, please visit www.hosatech.com.

Press Release - The Audio Engineering Society to Host 57th International Conference on the Future of Audio Entertainment Technology

Press Release: The Audio Engineering Society is set to host its 57^th International Conference on Friday, March 6 – Sunday, March 8, 2015, in the Hollywood neighborhood of Los Angeles, California, at the renowned TCL Chinese 6 Theatres in Hollywood, with hotel accommodations across the street at the historic Hollywood Roosevelt Hotel. With the participation of industry partner SMPTE – the Society of Motion and Television Engineers – and following on the heels of the highly-successful Sound for Picture program track at the recent AES137 International Convention in L.A., the 57^th Conference is perfectly positioned to set yet another milestone for the AES. With a direct focus on the Future of Audio Entertainment Technology, this conference will explore the latest issues facing audio professionals today in regards to cinema, television, online content and more, and is being co-chaired by Brian McCarty and Dr. Sean Olive.

Sound production for multi-media has evolved over a much different route than the more unified approach taken by the producers of visual assets, and this approach has left a streamlined production path for motion pictures but a complex and expensive production path for sound. Several dramatic changes are occurring in cinema exhibition, with “immersive sound” being the new buzzword. While Ultra High Definition Television (UHDTV) looks to be the next step in home entertainment, consumers are increasing their use of personal media devices, with headphones and portable audio looking to be a major segment of the entertainment technology future. This first-ever Future of Audio Entertainment Technology Conference brings together the best researchers, acousticians and engineers to address the current and future audio needs of the cinema, television and Internet (online) mediums.

Also of note at the AES 57^th Conference is the SMPTE report entitled B-Chain Frequency and Temporal Response Analysis of Theatres and Dubbing Stages in regards to current standards and practices regarding B-chain electroacoustic response and calibration (https://www.smpte.org/standards/reports). The paper was produced with extensive participation from AES members and will serve as a foundation for further necessary advancements in audio technology in the Sound for Picture arena.

Topics slated to be covered at the AES 57^th International Conference include:

• Acoustical design and performance of the modern motion picture theater
• Testing and alignment practices for cinemas
• Dialog intelligibility
• Playback of film as well as live event broadcasts in a cinema
• Immersive sound and psychoacoustics
• Reproduction of immersive sound in home theater applications
• Reproduction of multi-channel audio using lesser numbers of speaker locations
• Speech intelligibility and microphone design
• Production sound immersive audio recording
• Loudness control and OSHA/European Standards
• Lossless coding of immersive sound for low bandwidth channels
• Immersive sound using headphone technologies
• Loudspeaker performance from all-in-one television receivers and sound bars

30-year veteran Hollywood sound engineer Brian McCarty, co-chair of the conference, said “AES expertise has been responsible for major improvements in live sound, streamlining of game audio production, and advancements in music production. The AES has called this conference to bring together the traditional production communities of cinema and television with the ‘new media’ audio distribution channels to address current and future audio needs.”

AES Past President and 57^th Conference co-chair Dr. Sean Olive states, “This is the first international conference of its kind focused solely on audio applications, technology and research related to sound in cinema, television and multi-media. It’s exciting to be hosting this event in the entertainment capital of the world, where many audio-visual content creators, scientists and engineers live and are able to participate in this historic event.”

“SMPTE has been involved heavily in examining and exploring ways in which standards work can help to enhance the production, delivery and presentation of audio for moving images,” said Barbara Lange, SMPTE executive director. “We partnered with the AES at the AES137 International Convention to deliver compelling sessions addressing the future of audio engineering in both the cinema and television sectors. The Conference gives us another chance to work closely with the AES to offer industry members a fresh look at critical issues and advances in the realm of audio and visual entertainment technology.”

For further information on the Audio Engineering Society AES 57^th Conference visithttp://www.aes.org/conferences/57/.