Lauten Audio

Lauten Audio Welcomes New President of Sales & Marketing

noreply@blogger.com (BLoud) — Tue, 17 Sep 2019 20:25:00 +0000

FOR IMMEDIATE RELEASE

Lauten Audio Welcomes New President of Sales & Marketing

Trent Thompson to steer global sales, brand marketing, strategic partnerships, and more

San Jose, CA — September 17, 2019 — The Lauten Audio family is pleased to welcome Trent Thompson to the role of President of Sales and Marketing. Thompson comes to Lauten Audio directly from Moog Music, where he spent the last eight years leading product marketing and product management for more than 40 successful products, including the Sub 37, Mother-32, Matriarch, and Moog One.

“Trent and I met in 2007 when he was a Sales Engineer at Sweetwater Sound. Trent truly believed in what we were doing and played an important role in Lauten’s early success with our microphones. Nearly 12 years later, we are pleased to welcome Trent to the Lauten Audio family and excited about what the future holds,” said Brian Loudenslager, Lauten Audio’s founder.

Thompson’s new role will include overseeing Global Sales and Marketing for the Lauten Audio brand, as well as managing strategic partnerships, brand activations, artist relations, and sponsored activities.

Prior to his time at Moog Music and Sweetwater, Thompson spent eight years as a recording engineer, producer, and private studio owner in central Florida. He is also a Valedictorian graduate of Full Sail’s Recording Arts program.

ABOUT LAUTEN AUDIO

Lauten Audio is a family-owned and operated maker of original, inspiring microphones based in San Jose, CA. Each microphone is uniquely designed and crafted to capture the nuance, energy, and passion of each moment in a performance. Currently available products include the new Synergy Series and Series Black families of microphones, the flagship “Eden” tube microphone, and the award-winning “Atlantis” Multi-voicing® FET condenser microphone. Lauten Audio microphones and its diverse family of users can be found in professional studios, on stages, and in homes around the globe.

For more information visit http://www.lautenaudio.com or call 1-877-721-7018.

New “LS-208” Microphone for Broadcast, Live Sound, and Studio Recording

noreply@blogger.com (BLoud) — Wed, 28 Nov 2018 18:58:00 +0000

LS-208 with broadcast mount

San Jose, CA - November 27, 2018 – Today, Lauten Audio announced the LS-208 microphone aimed at the needs of live recording for spoken voice in broadcast, live sound reinforcement, and in the studio. The new microphone is the first in the company’s new “Synergy Series” line. The LS-208 is a front-address, high dynamic range, large diaphragm condenser microphone designed for recording voice in podcasting, radio and broadcast, and live instruments on stage for touring productions—as well as many studio recording environments. The microphone is constructed from top quality components found in many high-end studio condenser microphones, yet it is built and packaged to withstand the rigors of broadcast and touring. The LS-208 has a street price of $599.00 USD and is available now from dealers in the US and Canada through its distributor Audio Plus Services.

“Unlike any large diaphragm condenser microphones on the market today, the LS-208 offers radio broadcasters, voiceover talent, podcasters, and sound reinforcement engineers, studio-quality sound combined with exceptional noise rejection and dynamic-range capabilities for excellent results in any live environment,” says Lauten Audio founder Brian Loudenslager.

With the LS-208’s powerful off-axis rejection and internally shock mounted condenser element, it is also particularly well suited for recording voices and instruments in highly dynamic environments such as live on-stage, or in a studio live-room when many instruments are being recorded at once.

The LS-208 can handle sound pressure levels of 135dB without the need for internal or external pre-attenuation. This unique feature also allows for ultra-wide dynamic range. Highly unique for microphones of this type is the LS-208’s ability to capture the full human audio perception of 120dB of dynamic range. Many microphones are limited to 85dB of dynamic range after compensating for self-noise. The high-dynamic range gives engineers the ability to capture brilliant recordings of highly dynamic instruments in many environments and is especially useful for capturing horns, percussion, and guitar amps.

Includes many accessories

The new mic features independent, multi-stage, high and low-cut filters to help engineers balance recordings at the microphone and aid in successfully capturing a performance while reducing the need for mixing. The 2-stage low-cut (50 and 120Hz) filters reduce low-end rumble and proximity effect in voice applications. The 2-stage high-cut (8 & 10kHz) filters help tame bright instruments and high frequencies. The LS-208 features internally shock mounted condenser elements to help reduce mechanical shock and vibrations. The mic requires 48V phantom power, uses a Cardioid polar pattern, and features a JFET transistor circuit with a transformer-based balanced output.

The Lauten Audio LS-208 microphone comes equipped with a detachable spider shock mount, as well as a hard mount, both with adjustable elbows, and a foam windscreen. The microphone and all its accessories fit into the included hard case, perfect for touring.

For more information on the Lauten Audio LS-208 microphone, visit: http://www.lautenaudio.com

About Lauten Audio

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. Their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less hybrid tube-fet condenser, and the FC-387 “Atlantis” solid-state Multi-voicing® condenser from their Signature Series, and their entry-level “Series Black” large and small diaphragm microphones, The LA-320 tube microphone, LA-220 FET, and LA-120 pencil condensers. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in Silicon Valley, California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

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Michael Ashby & Lauten Audio - Sonic Secrets Behind Hip-Hop Sensation Cardi B’s ‘Bodak Yellow’

noreply@blogger.com (BLoud) — Mon, 25 Sep 2017 17:44:00 +0000

Engineer Michael Ashby chooses Lauten Audio’s “Eden” LT-386 Multi-voicing™ vacuum tube microphone for the smash #1 Billboard Hot 100 ‘Bodak Yellow’ by Cardi B

Michael Ashby with his Eden LT-386 microphone

San Jose, CA — September 25, 2017 — Engineer Michael Ashby recorded vocals for Hip Hop sensation Cardi B’s hit single “Bodak Yellow (Money Moves)” at Krematorium Studio in New York. The song, featuring beats by J-White DID IT (Anthony G. White), was released the summer of 2017 and is the highest charting single by a female rapper in nearly 20 years. Engineer Ashby chose his ‘go-to female vocal mic’ — the Lauten Audio Eden LT-386 — to record vocals for the song. Shortly after the release of ‘Bodak Yellow’ the song became a multi-week #1 R&B/Hip-Hop charting song and today hit #1 on the Hot 100 Billboard chart. The song is nominated for 3 BET Hip Hop Awards: Biggest Single of the Year, Best Impact Track, and Best Hip Hop Video — the Youtube video has over 170-Million views: https://youtu.be/PEGccV-NOm8

When it came to choosing a mic for the Cardi B session, Ashby recalls, “We wanted a microphone that would sit on top of the mix, not just the high-frequencies, but the low-end too. We found during the mixing process we wanted more dominance from her in the low-end. She doesn’t want to sound like Niki Minaj. So, when she came into the studio that day I asked if they wanted to switch to the 251 or just leave the Eden up. We decided to leave the Eden up, knowing I could just carve away what I didn’t want. That’s what I love about the Eden, everything’s there if you need it. In terms of comparing the best of the best, the Eden definitely takes it.”

Ashby first purchased his Eden in early 2016 and it has become a staple in the Krematorium Studio vocal booth. In an unsolicited review on Sweetwater’s website, Ashby wrote, “I call it my secret Sony C-800G killer because it delivers almost the same vibe as a C-800G recording, but so much smoother, from the mids all the way up!!! Paired with my Chandler Little Devil Pre with the ‘bright’ switch on, and you have a simply AMAZING MONSTER!!!” Having spent nearly 2 years with the mic, now Ashby says, “When tracking vocals all I have to do on the Neve 551 EQ is take 220hz and attenuate that down a bit, like 0.5 to 1dB, and the top-end and mid-range sits hella clean for my vocal applications. The Eden has this robust and crispy top-end, very modern, but still a smooth type of sound. It’s literally been the only mic that’s been up for months in a row.”

A post shared by ASHBY THE MIX ENGINEER (@ashbymix) on Dec 25, 2016 at 7:37am PST

Adding further details about Cardi’s “Money Moves” session, Ashby says, “It was about a 2-to-3 hour session and I could tell they were on a mission that day. Immediately, she started rehearsing the song, and then went into the vocal booth and said ‘I’m gonna work the Money Moves.’ According to Asbhy, the signal chain for Cardi B’s vocals were an Eden, using the ‘Forward’ Multi-voicing™ setting, Chandler Little Devil preamp, a touch of 80Hz roll-off on a Neve 551EQ, and an API 527 for compression.

Michael Ashby is a drummer who fell in love with audio recording after graduating high school. He is the owner of Krematorium Studio in Elmont, NY. He’s a graduate of the SAE Institute in NYC, and today is a respected next generation audio engineer who's engineered for multiple Grammy® nominated artists and producers. In addition to Cardi B, his credits include Melissa B, B Howard, BK Brasco, Josh X, Latoya Jackson, Anthony Xi, Fetty Wap, Exit 21 and many other top artists. For more about Michael Ashby visit: https://www.ashbymix.com and https://www.thekrematorium.com

About Lauten Audio

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. In addition to the Series Black, their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less tube condenser microphone, and the FC-387 “Atlantis” solid-state Multi-voicing™ large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

Lauten Audio

www.lautenaudio.com

Lauten Audio Press contact:

Paul J. de Benedictis

pauljdb@gmail.com (650)-303-2565

All trademarks are the property of their respective holders.

Engineer Darrell Thorp Chooses Loads of Lauten for Foo Fighters Concrete & Gold Album

noreply@blogger.com (BLoud) — Tue, 19 Sep 2017 20:46:00 +0000

Darrell Thorp in his private studio with his Series Black Microphones. Photo Credit: Derek McCoy

Seven-time Grammy winning engineer and mixer, Darrell Thorp, used Lauten Audio mics, including its flagship tube mic, Eden, on new Foo Fighters album “Concrete and Gold”

San Jose, CA — Sept 19, 2017 — Engineer Darrell Thorp recently recorded the Foo Fighters new album at EastWest Studios in Los Angeles and chose to use loads of Lauten Audio microphones, including the Atlantis, Eden, Clarion, and the new Series Black LA-120, LA-220, and LA-320. The new Foo Fighters album “Concrete and Gold” (Roswell Records/RCA Records) was released on September 15, its first single, “Run,” hit the top 10 on the Rock Airplay Billboard charts in June. “We had a massive setup for recording the band,” says Thorp, “part of the challenge was we had 4 drum kits set up at once, a bass station, vocals, keys with 2 keyboards and pianos, and over 20 guitar amps, some in the live room and some in Iso-booths — I was using a lot of Lauten Audio mics.”

Discussing how and where some of the different mics were used, he explains, “For a sonic clarity difference I was having all the background vocals recorded on the Lauten Audio Eden mic, it’s a bit of a sweeter sounding mic, and I was using the ‘Forward’ switch so they would always sound breathy, and open and airy, around the lead vocal.”

“On the song ‘Happy Ever After’ which is the quietest, most acoustic track on the record, Dave Grohl was playing this Harmony solid body acoustic guitar, which is super quiet, but it has a ‘sound’ — so I grabbed a Lauten Audio Atlantis mic and switched on the +10 dB gain switch — which is "expletive" genius!” exclaims Thorp. “I was barely rocking my mic pre, so I had plenty of level to Pro Tools and I was able to get a really good guitar sound. I was also using the Atlantis and LA-320 on guitar amps a lot, sometimes the LA-320 was on room guitar amps as well at about 15 to 20 feet from where the amps would sit in Studio One at EastWest — the room is huge and sounds amazing.”

The Series Black LA-220 mics were used for some of the main tom mics says Thorp, “They were amazing, they worked so well. I used the LA-220s on the Gretsch ‘George Lake’ kit with a 13-inch rack tom and a 16-inch floor tom.”

Thorp concludes, “I really do stand behind the Lauten Audio mics, I use the products a lot! I’m not just a face on an ad and a face on the website. We just did a Foo Fighters BBC Live session and I took an Eden for a mono overhead on the drums, which sounded great. I use the mics all the time when recording!”

Darrell Thorp is a seven-time Grammy® Award winning producer, mixer, and engineer (Foo Fighters, Radiohead, Switchfoot, Molotov, Beck), with over 20 years experience and many multi-platinum records on his discography. Thorp moved to Los Angles in 1997 after a 4-year service in the U.S. Navy and started interning at smaller studios, and eventually worked his way up to an Assistant Engineer at some of L.A.’s prestigious studios such as Track Record, Conway, and finally Ocean Way Recording. He recently had the pleasure of recording and mixing the new Foo Fighters album "Concrete and Gold," and also engineering the new Beck record "Colors".

About Lauten Audio

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. In addition to the Series Black, their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less tube condenser microphone, and the FC-387 “Atlantis” solid-state Multi-voicing™ large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

Lauten Audio

www.lautenaudio.com

Lauten Audio Press contact:

Paul J. de Benedictis

pauljdb@gmail.com (650)-303-2565

All trademarks are the property of their respective holders.

Engineer Daniel Sanint chooses Lauten Audio ‘Eden’ LT-386 for Ingrid Michaelson & Sara Bareilles Vocals

noreply@blogger.com (BLoud) — Mon, 05 Jun 2017 18:23:00 +0000

Chief Engineer at Flux Studios, Daniel Sanint, chose the Lauten Audio Eden LT-386 as the vocal microphone for Ingrid Michaelson’s new single “Miss America”, featuring Sara Bareilles

Daniel Sanint at Flux Studios with the Eden LT-386

San Jose, CA — June 5, 2017 — Engineer Daniel Sanint, recently recorded vocals for Ingrid Michaelson’s new single entitled “Miss America” at Flux Studios in New York City. The song, featuring Sara Bareilles, is on Michaelson’s new EP Alter Egos, released May 12, 2017. Sanint chose his ‘go-to female vocal mic’ — the Lauten Audio Eden — to record both Michaelson and Bareilles for the song.

"it works very, very well with female vocalists."

Sanint discovered Lauten Audio working with Fab Dupont, owner of Flux Studios. “I remember the first time that I tried the Eden,” says Sanint about the LT-386 tube condenser mic, “it was a vocal session that I did here at the studio with a female singer. My typical vocal chain is a Neve pre with some EQ, then I run through the LA-2A for a little bit of compression, that's how I print vocals. I try to not use too much EQ or compression while I'm recording. While recording her, I popped in the EQ, the singer is singing, I'm staring at the EQ and thinking 'I don't really have to do anything' — it sounded great, right off the bat without EQ, and without compression. Ever since then I've been using the Eden on a lot of sessions, mainly for female vocalists — it works very, very well with female vocalists."

"As soon as we popped the Eden on her next vocal it was such a huge difference! It just jumped out of the speakers right away. Kuffner was asking, 'What microphone is this?!'" "

The producer on the track "Miss America" was Chris Kuffner, Sanint says, "It was a pretty fast session, we got everything done in four or five hours." Sanint continues, “That was one of the reasons why, when Kuffner called, my first choice was to have just a couple microphones up including the Eden. The producer asked me to have a U47 for Ingrid. But knowing that the Eden has great top-end extension and great body, I chose it, as I typically don't even have to use EQ, the mic already has a great tone."

"For Ingrid, because the producer had asked me to use the U47, we started with the U47, we did 2 takes, and I had to stop and say, 'Hold on I need to try the Eden microphone’ — because the high-end wasn't there. As soon as we popped the Eden on her next vocal it was such a huge difference! It just jumped out of the speakers right away. Kuffner was asking, 'What microphone is this?!'"

"I know it's going to sound good regardless of the type of voice. "

Sanint continues, "The other reason I often choose the Eden is because I know it's going to sound good regardless of the type of voice. Also, on a lot of these sessions, the artist comes in and you don't even have time to set your compressor or swap microphones. The singers are super busy, they come in, do three or four takes and then they are out. The immediacy of having a microphone like the Eden that is well balanced, that you know is going to work on any type of voice, is super important for us."

Revealing details about the Michaelson session, Sanint adds, "Sara recorded first, to rough vocals of Ingrid's. Sara's voice is just ridiculous, her voice is amazing, it's very rich. Sara did about 5 takes top to bottom, with a few things she wanted to fix on the second chorus, and that was it. Sara was there for about 1 hour, half of which was recording. And Ingrid was the same, we did full takes with the Eden for both of them."

The vocal chain on the session was the same for both Sara and Ingrid, Sanint explains, "The Eden mic into a Chandler Limited LTD-1 — that's a 'Neve-esque' mic pre — then a touch of compression on the LA-2A. This is a soft song, there's no belting, it was very intimate, nice and close."

Sanint, starting as an intern at Flux Studios in 2009 worked his way up and has been the Chief Engineer and studio manager for the past 4 years. His credits include David Crosby, Moby, James Bay, Andre 3000, Robert Glasper, Brasstracks, Rubén Blades, and more. Sanint has a Masters in Music Business from New York University and a B.S. in Audio Production from Universidad de Los Andes, Colombia. Flux Studios: http://www.fluxstudios.net

Lauten Audio Press contact:
Paul J. de Benedictis
pauljdb@gmail.com (650)-303-2565

Sanint Photo Credit: PrinceRumi

Lauten Audio Signature Series Eden, Oceanus & Atlantis Microphones – User Review By Kevin Porée

noreply@blogger.com (BLoud) — Thu, 27 Apr 2017 17:26:00 +0000

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James Gadson Adds Lauten Audio 'Series Black' to his Studio after Lauten Founder Flubs Famous Introduction

noreply@blogger.com (BLoud) — Tue, 11 Apr 2017 16:23:00 +0000

Famed Drummer/Producer/Songwriter James Gadson & Lauten Audio’s Brian Loudenslager discuss discovery and acquisition of Lauten Audio’s ‘Series Black’ microphone line.

San Jose, CA — April 10, 2017 — Famed drummer — and producer and singer and songwriter — James Gadson, “one of the most recorded drummers in R&B history” per Modern Drummer magazine, and #32 on Rolling Stone magazine’s list of “Greatest Drummers” of all-time, recently acquired the entire Lauten Audio ‘Series Black’ line of microphones including the LA-320 large diaphragm vacuum tube condenser, the LA-220 FET condenser, and a pair of LA-120 small diaphragm FET condensers. One could literally fill an entire page listing credits for Gadson, but to name a small fraction of his credits, he has recorded and/or performed with Bill Withers, Marvin Gaye, The Jackson Five, Diana Ross, Gloria Gaynor, James Brown, Ray Charles, George Duke, Aretha Franklin, Herbie Hancock, and more recently for pop superstar Justin Timberlake as well as Beck.

"I am very excited about the Series Black microphones,” says Gadson. “They are not that expensive, but they are so great. The tracks that I have recorded came out so beautiful that I was elated! They are great microphones."

“Gadson’s comments on the ‘Series Black’ microphone line are spot-on with what I’ve heard from countless owners,” says Brian Loudenslager, Founder of Lauten Audio. “I hope it’s reassuring to current and future owners of our Series Black mics that a legend in the business is highly satisfied regardless of their price-point.”

It was late Friday evening on December 30th and Loudenslager had just finished dinner, enjoying the holidays, having stepped away from the daily routine of running his company, Lauten Audio. “I have
a distinct memory of the conversation as I accidently answered my cell, which I rarely do if I don’t recognize the number. Upon answering I didn’t catch the person’s name, but the caller was asking about the Series Black microphones and that someone had recommended them to him. Not in the working frame of mind I informed him that we don’t do any direct sales and recommended a few dealers in the L.A. area he should go to. It wasn’t until January 3rd while catching up on email that I saw and was reminded of an email from engineer Darrell Thorp informing me he had spoken to the one and only James Gadson and was sending him my way. I texted Darrell and told him “Kinda flubbed it with your buddy James Gadson…” After realizing my mistake I contacted Gadson and he informed me that he had gone to a local dealer and ordered the mics. As a former drummer myself, and knowing the plethora of records Gadson recorded on, it was one of those moments of total honor,” concludes Loudenslager.

“You simply can’t get a greater validation of a product line than having someone like James Gadson not only wanting to try them, but taking it upon himself to go to a local dealer and order them,” quips Loudenslager. “Though the younger generation today may not know the name James Gadson, I can guarantee every single producer, engineer or musician has heard Gadson on drums. Many of the beats and rhythms we hear today in modern hip-hop, R&B, and pop are the result of his writing and his original beats, sampled for other modern music mixes. Just check out a few classic selections like “Dancing Machine” by The Jackson Five, “I Will Survive” by Gloria Gaynor, “Let’s Get It On” by Marvin Gaye, and more recently Beck’s “Morning Phase,” Gadson has this magical and signature touch that comes through.”

James Gadson said, "I called my friend and engineer Darryl Thorp, who's a seven-time Grammy winner that I've worked with on a lot of different projects, and asked him about what he said in a magazine interview I had read where he mentioned the Lauten Audio Series Black microphones, and Darryl said, 'These are the real deal.’”

Gadson continues, “So I bought the LA-120 pencil mics to use as overheads on my drums. The mics are so true! The playback sounded just like my cymbals, I had never heard of pencil mics that sounded this good. When I record cymbal crashes now they sound just like I want them to sound. They sound magnificent, they sound so natural. I use the mics flat, I didn't have to put any EQ on them. Wow, I'm happy! And the mics look great, like a model stepping out of a magazine! (laughs) and they come in a beautiful box, they are very stylish, classy looking mics."

“After that I got the LA-220 condenser mic and used it as a vocal mic, and the vocal came out just wonderful! It's so warm. The track sounded just like I was singing it. The 220s are also great on the Toms," added Gadson. "Then I got the LA-320 tube mic, and that sounded great as a room mic. I plan to try it on vocals too."

About Lauten Audio

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. In addition to the Series Black, their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less tube condenser microphone, and the FC-387 “Atlantis” solid-state Multi-voicing™ large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

Lauten Audio
www.lautenaudio.com

Lauten Audio Press contact:
Paul J. de Benedictis
pauljdb@gmail.com (650)-303-2565

Lauten Audio Announces New Product Accessories

noreply@blogger.com (BLoud) — Tue, 17 Jan 2017 16:57:00 +0000

Lauten to offer a 10dB attenuator for the Series Black LA-120 microphones and premium quality suspension bands for their Signature Series microphone spider mounts

10dB Attenuators

Anaheim, CA – NAMM — January 17, 2017 – Today Lauten Audio has announced new accessories for their Series Black and Signature Series microphone products. First, a pair of 10dB attenuator Pad adapters for the Series Black LA-120 small diaphragm condenser microphones, and second, premium quality suspension mount bands for the Atlantis FC-387, Clarion FC-357 and Oceanus LT-381 Signature Series spider shock mounts.

LA-120 with pad installed

The Pads are sold as a pair and offer 10dB of attenuation. They install between the capsule and preamplifier of the microphone body. These offer the user additional versatility when using the LA-120’s on higher SPL sources like drums or guitar amplifiers. This brings the LA-120’s current max SPL handling from 130 to 140dB SPL, making them capable of handling just about any source a recordist can throw at them. The adapters are 2.7cm in length and when installed increase the length of the LA-120 to 18.4cm from its stock length of 15.9cm. Lauten expects the Pads to be available by the end of 1st quarter 2017 with an MSRP of $99, and street price of $59.

Premium Made in USA suspension bands

The shock mount bands are a premium quality optional upgrade for the Lauten Audio Atlantis FC-387, Clarion FC-357 and Oceanus LT-381 spider shock mounts. These bands are constructed from U.S.A. made ultra-high quality elastic cord featuring a heavy-duty nylon jacket resulting in maximum elasticity longevity and excellent vibration and noise transfer reduction. The bands are 22cm in length for the Atlantis and Clarion spider mounts, 29cm for the Oceanus spider mount and packaged as a pair. These custom bands are hand made in the USA and come with a 90-day guarantee from manufactured defects. The shock mount bands are sold separately from the microphones, as an optional upgrade and are user installable. They should be available immediately after the Winter NAMM show with an MSRP of $29.99, and street price of $19.99.

About Lauten Audio
Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. Their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less tube condenser microphone, the FC-387 “Atlantis” solid-state Multi-voicing™ large diaphragm condenser microphone as well as their new award-winning Series Black line. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

David Crosby Chooses Lauten Audio ‘Eden’ Microphone for Vocals

noreply@blogger.com (BLoud) — Tue, 25 Oct 2016 14:00:00 +0000

FOR IMMEDIATE RELEASE

David Crosby Chooses Lauten Audio ‘Eden’ Microphone for Vocals

Producer/Engineer Fab Dupont discusses recording David Crosby’s new album “Lighthouse” which features the Eden tube mic on lead vocals

San Jose, CA – (October 24, 2016) – Producer and engineer Fab Dupont recorded David Crosby’s new album “Lighthouse” (GroundUP Music/Verve Label Group) at Groove Masters, Jackson Browne’s private studio in Santa Monica, then mixed it at Dupont’s own Flux Studios in New York. The microphone choices were many, but the chosen were very few, with the Lauten Audio “Eden” tube microphone featured on Crosby’s lead vocals. The album was produced by multi-instrumentalist Michael League of Snarky Puppy fame and co-produced, recorded and mixed by Fab Dupont.

Dupont, commenting on the vocal mics used in the ‘Lighthouse’ recording sessions said, “There was the Eden, which is all the lead vocals, and all the lead harmonies were done with the Eden. The Eden is the sound of the vocals.” David Crosby added, “With the Eden mic, Fab Dupont was able to capture the best vocal sound I've ever had in my entire career.”

When asked how the lead vocal mic was chosen out of Groove Masters’ vast vintage mic selection, Dupont elaborated, “Basically what happened is David didn't know me, Michael brought me in, and so on the first day David sees the Eden and is like, ‘What's that?’ He says, ‘I record here all the time. There's microphones here I love. I want to use those,’ and I said, ‘Okay, cool, no problem. I'll put those up, but would you mind trying this one? Because I think you'd like it.’ He said, ‘Okay, sure, because, you know, why not?’ I asked the assistant, I said, ‘What's David's favorite mic here?’ and that's how the [Neumann] U 47came up. Then, I took the 47 that was his favorite 47 from all the vintage 47s in this 47 museum and then put the Eden up and recorded him singing into both, and then he picked the Eden. That's how the Eden became the microphone for the record.”

“David, who has no allegiance to anything, just immediately loved the Eden right away,” Dupont adds, “wanted one for himself immediately, and he has choice, you know? He can do whatever he wants. Yeah, there is something very special about that mic on vocals.”

Describing his sonic ideas as co-producer and engineer on the album, Dupont reveals, “I have a certain idea of how music should sound to make me happy—and Michael League and David Crosby had a very clear idea of what they wanted to do. Since they decided to not put any drums on the record that allowed me to do whatever I wanted. After going back and listening to David's old stuff and more recent stuff, my vision was to do something extremely pure, to focus on the lyrics and the picking on the guitars.” Lauten Audio’s Atlantis FC-387 microphones were also used to record acoustic guitars in combination with vintage microphones.

Dupont continues, “What I wanted to try and achieve is get all the good stuff from the old recordings, which is all those vocal blends and all that kind of warmth, like fuzzy tone, but without the inherent artifacts of older recording, which is this slightly distant sound. I wanted to capture the warmth and capture the blend that they had back in the day by everybody playing together. I wanted to capture something like that, but put it in a shell of super Hi-Fi HD gloss, in your face, ‘no recording’ kind of vibe. It's a difficult balance but I think we did it.”

Check out David Crosby’s new album “Lighthouse” at: http://www.davidcrosby.com
Lauten Audio’s flagship microphone Eden model LT-386 is assembled in the USA and features a modified version of the Company’s 31.25mm dual-diaphragm capsule, a custom wound, U.S. built output transformer, EF806s or equivalent pentode vacuum tube, Switchcraft® connectors through-out, nickel plated head, a semi-permanent shock mount, and Lauten’s new unique surface finish also done in the USA. Accessories included with the microphone include Lauten’s custom tube microphone cable with Switchcraft connectors, hard case and mount. The LT-386 has a list price of $3,999.00. (USD).

Lauten Audio
www.lautenaudio.com

Fab Dupont
www.fabulousfab.com

Lauten Audio Press contact:
Paul de Benedictis
pdbmusic@pacbell.net (650)-303-2565

David Crosby Photo Credit: Nikki Birch

All trademarks are the property of their respective holders.

Lauten Audio Expands 'Series Black' Line with Two New Condenser Microphones

noreply@blogger.com (BLoud) — Tue, 02 Aug 2016 16:57:00 +0000

Lauten adds LA-220 Solid-state vocal condenser and LA-120 small diaphragm instrument pair to the “Series Black” microphone line aimed at budding recordists

San Jose, CA – August 2nd, 2016 – Today, Lauten Audio announced two additions to its new line of microphones aimed at budding recordists, dubbed “Series Black.” The LA-220 ($249 est. street), is a professional, solid-state, large diaphragm true-condenser studio vocal microphone, while the LA-120 ($349 est. street), is a pair of professional, solid-state, small diaphragm FET instrument condensers. Inspired by classic designs, both new microphones give users access to great sounding, yet affordable, professional quality products. The 2 new Series Black microphone models will ship starting in August and Internationally in October.

At its core the LA-220 features a U.S. made ultra-low-noise JFET amplifier, a 1-inch pressure gradient, large diaphragm, and a true-condenser capsule with cardioid polar pattern. The new mic features independent 120 Hz low-cut and 12 kHz high-cut filters, a transformer balanced output, and includes a spider-style shock mount.

The LA-120 mic package comes as a pair, and features interchangeable 17mm pressure gradient condenser cardioid and omni-directional capsules, U.S. made ultra-low-noise JFET amplifiers, 50 and 150Hz low-cut filters, 10 and 15kHz high-cut filters, and a transformer balanced output. The dual mic package ships with a wooden box and hard mounts.

Both microphones are designed to give budding recordists an affordable entry into the world of professional sound recording. “We are giving developing recordists two excellent new microphone options that complement each other, as well as the LA-320 vacuum tube condenser mic that is already available, also in the Series Black line,” says Brian Loudenslager, Founder of Lauten Audio. He continues, “Our unique high and low cut filters offered on these mics have already garnered rave reviews from users and professional reviewers. These features take into consideration common problems in home, basement or bedroom recording environments and make achieving great recording results easy for anyone.” Both microphones feature two independent filters located on the microphone with easy to engage switches. If the room or source is boomy, or if there is low-end rumble from outside noise, recordists can turn on the low-cut filter and eliminate much of the problem. The high-cut filter can be used to roll-off high frequencies helping tame bright sources.

Both new mic packages feature high quality components often found in much more expensive microphones. “We have again utilized our years of experience to create what we believe to be the best value of any professional microphones on the market today. With the classic inspired designs, ultra-low-noise JFETs, built-in filters, and included accessories, these microphone are sure to quickly become a popular choice for any recordists on any budget.” adds Loudenslager.

The LA-220 has a manufacturer suggested retail price of $499 and an estimated street price of $249 and the LA-120 has a suggested retail price of $599 and an estimated street price of $349. They will be available in U.S. retailers starting in August and worldwide in October.

About Lauten Audio
Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. Their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less tube condenser microphone, and the FC-387 “Atlantis” solid-state Multi-voicing™ large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose, California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

###

Introducing the “Series Black” LA-320 Vacuum Tube Condenser Microphone

noreply@blogger.com (BLoud) — Thu, 21 Apr 2016 11:31:00 +0000

The LA-320 large diaphragm vacuum tube vocal microphone is the first in Lauten’s new “Series Black” line aimed at budding recordists

San Jose, CA - April 19th, 2016 – Today, Lauten Audio announced the LA-320 professional large diaphragm vacuum tube studio condenser vocal microphone, its first microphone in a new line dubbed “Series Black”. The LA-320 features a 1-inch pressure gradient true-condenser capsule, cardioid polar pattern, dual-triode vacuum tube, transformer balanced output, independent high and low cut filters, custom dedicated power supply, tube microphone cable, spider shock mount and hard case.

The microphone is designed to give budding recordists an affordable entry into the world of vacuum tube microphone sound. “With the LA-320 we are making available a fantastic professional level vacuum tube microphone that’s easy for developing recordists to use to make great recordings,” says Brian Loudenslager, Founder of Lauten Audio. He continues, “The high and low cut filters make solving common problems in home, basement or bedroom recording environments easy.” The microphone features two independent filters, available with easy to engage switches. “If the room or source is boomy, or there is low-end rumble from outside noise, turn on the low-cut filter and eliminate much of the problem. Or use the high-cut filter to roll-off frequencies above 12k and help tame a bright room with lots of reflections, or a bright source. What makes the LA-320 filter design even more useful is that the engineer can use both filters at the same time, resolving many problems before the recording even hits the hard drive,” adds Loudenslager.

Inside the LA-320 is a 1-inch pressure gradient true-condenser capsule and dual-triode vacuum tube inspired by what was used in classic German microphones. “Don’t be fooled by the affordability, the LA-320 features high quality components often found in much more expensive microphones. We have utilized our years of experience to create what we believe to be the best value of any large diaphragm vacuum tube microphone. I think any budding engineer will be more than pleased with the mic,” states Loudenslager. “With the classic inspired internal components, built-in filters, and included accessories, the LA-320 is sure to quickly become a popular choice for any recordist on any budget.”

The LA-320 has a suggested manufacturer retail price of $799 and an estimated street price of around $499. The new mic will be available in U.S. retailers starting April 2016, and worldwide later this year.

Lauten Audio "Atlantis" is the Microphone Behind the Grammy for "Best Jazz Vocal Album"

noreply@blogger.com (BLoud) — Mon, 07 Mar 2016 19:34:00 +0000

Engineer Todd Whitelock Captures Grammy Gold with Lauten Audio ‘Atlantis’ Mic

‘Best Jazz Vocal Album’ Grammy® goes to Cecile McLorin Salvant’s "For One to Love"

Todd Whitelock in Avatar's studio A

San Jose, CA – (March 7, 2016) – Engineer Todd Whitelock loves the Lauten Audio ‘Atlantis’ FC-387 microphone for recording vocals, it’s now his “go-to” female vocal mic. At Avatar Studios in New York last year he used the Atlantis to record vocals on the Grammy® Award-winning album "For One to Love" by Cecile McLorin Salvant which garnered the prestigious “Best Jazz Vocal Album” for 2016. The album category awards the Grammy to the Artist, Producer, and Engineer. The album was released on Mack Avenue Records. Whitelock has engineered albums for many of today’s most lauded artists including Josh Groban, Idina Menzel, Christian McBride, Brian Blade, Harry Connick Jr., Yo Yo Ma, as well as Chick Corea, Wynton Marsalis, and the Jazz at Lincoln Center Orchestra, to name just a select few.

For One To Love was recorded live in the studio with Aaron Diehl (piano), Paul Sikivie (bass), Lawrence Leathers (drums), and Cecile on vocals. “Each of these musicians are masters of their craft, their talents go well beyond their amazing musicality,” notes Whitelock. “Together they are a quartet, not just a trio backing vocals and they play in a rarefied zone of precision, intuition, and conviction that was just awesome to watch and hear—and record!”

“Of all the Grammys that I have been honored with, this one is special. I feel this one is

Cecile at Avatar studios singing into Atlantis microphone

personal and so deserving for the artist and her artistry as it’s Cecile’s first Grammy and producer Al Pryor’s as well. It’s an intimate record, a portrait actually, that puts it all out there for everyone to behold. Cecile is one of the most natural performers and artists that I have ever had the pleasure to record. She performs the music naturally, effortlessly, so I need to make sure it sounds natural and effortless. For One To Love was one of those perfect storms, the right artist singing the right music in front of the right microphone, in the right studio. She made the magic, I didn’t do anything but get out of her way.”

“I have to thank Fabrice Dupont for turning me on to the Lauten Audio ‘Atlantis’ microphone, which I used for both of Cecile's records,” says Whitelock. “We listened to all the famous ‘old tube mics’ on her voice before choosing Atlantis for its clarity, quietness, and dynamic range — it quickly became my go-to favorite for female voice.”

When he first tried the Atlantis mic on Cecile’s voice at Avatar Studios he was pleasantly surprised, “Besides Avatar’s incredible collection of microphones, I had a couple of my other favorites with me too. It was really about blindfold testing, putting all those mics up there and seeing what was most complimentary for her vocal and dynamic range, and to capture her real character, the essence of her performance. We all listened to playback and the Atlantis was a revelation! I chose the Atlantis, Al Pryor and Cécile both chose the Atlantis as their favorite. It was like ‘Oh my god! – Thank god I brought the Atlantis!’”

Whitelock says, “With the Atlantis I found I was not having to push Cecile into the balance, her voice just floated above the track with this really vivid picture of her voice, bigger than anything else that I had tried, she just filled the track, letting the music just wrap around her. That was everything for me. It was staggering.”

Check out a live session at KCRW from Cecile's previous album “Womanchild” which was nominated for a Grammy 2 years ago, Whitelock also recorded her vocals using the Atlantis mic: https://www.youtube.com/watch?v=9RsjZFG76Qk

“Actually, a lot of amazing singers have been on my Atlantis microphone,” he adds, “from Rene Flemming, to Rhiannon Giddons, Idina Menzel, to Audra McDonald. And in most of these cases I have to put up their favorite mics, but in the same blind/ playback tests the Lauten Audio Atlantis wins every time. And these singers have sung for years and years on what they think is their favorite microphone! The Atlantis makes my job much easier. It’s eliminated the guesswork. You bring in Lauten Audio mics and you know what you’re going to get. If it’s a new client they are going to be amazed, and if it’s an old client, that’s what they’re expecting to hear.”

The Atlantis FC-387 microphone was a collaborative effort between Lauten Audio, and New York engineer and producer Fab Dupont. Its Multi-voicing™ feature gives recordists three distinct timbre’s to choose from with just the flip of a switch. Originally designed for vocals, the Atlantis also shines on acoustic instruments of all types.

Lauten Audio
www.lautenaudio.com

Todd Whitelock
Allmusic.com credits

Review - Lauten Audio Eden LT-386 Large Diaphragm Multipattern Tube Condenser

noreply@blogger.com (BLoud) — Fri, 18 Dec 2015 19:24:00 +0000

The Eden LT-386

The first review of our new Eden LT-386 multi-voicing™ vacuum tube condenser microphone is out!

Found out why Rob Tavaglione of Pro Sound News said "...I can say that this LDC is the finest, most versatile one I have ever used."

Prosound Network: Lauten Audio Eden LT-386 Large Diaphragm Multipattern Tube Condenser

Producer Corrado Rustici Chooses Atlantis Mic for Italian Pop Star "Virginio"

noreply@blogger.com (BLoud) — Tue, 10 Nov 2015 14:00:00 +0000

Italian producer Corrado Rustici, together with engineer Michael Rosen, auditioned many top mics for recent sessions at Rosen's 'East Bay Recorders', but chose Lauten Audio's 'Atlantis' FC-387 for Italian pop singer Virginio's vocals.

Corrado Rustici and Michael Rosen at East Bay Recorders

Rustici has a body of work that surpasses 70-million in album sales, and although he is most well-known in Italy with his work on music from mega-stars such as Zucchero and Andrea Bocelli, he has made California his home-base for many years and has worked with British and US superstars such as Jeff Beck, Eric Clapton, Stevie Ray Vaughn, John Lee Hooker, and Stewart Copeland, to name a few. Most recently, during his production of new Italian breakout singer and songwriting star Virginio, Rustici booked the East Bay Recorders studio in Oakland and working with owner/engineer Michael Rosen recorded vocals for Virginio's new album for Universal Music Italy. When evaluating microphones to best bring out Virginio's pop-star voice, Rosen and Rustici auditioned a series of industry leading microphones as would any seasoned producer or engineer, after many models and trials they realized the best match was the 'Atlantis FC-387 - a mic originally designed especially for vocals.

Rustici is focusing on developing young artists such as Virginio these days, and loved what the Atlantis mic gave to the production, "I have been using Lauten Audio mics for about 2 years, I often choose them over a lot of other top microphones when I audition mics for a singer. On this session we tried about 6 different microphones and the Atlantis was the best match for Virginio's voice. The mic is very smooth with a nice top end, it gave his voice a lot of body."

Virgino's selfie during the session

The East Bay Recorders sessions have already paid-off with a single released entitled 'Hercules', that is in heavy radio airplay in Italy and is receiving incredible reviews. "A young, talented singer who firmly believes in the values of music, Virginio Simonelli is now ready to climb the charts," said journalist Cinzia Del Prete, upon hearing the new song.

After singing one of his original songs at Italy's most important music festival in 2006, the Sanremo Giovani, Virginio was signed to Universal Music Italy and released his first album. Since then, as a songwriter Virginio has collaborated with Italian star Elisa, and Gary Barlow (Take That), and his song 'Limpido' became a hit duet with Laura Pausini and Kylie Minogue, later followed with his own duet with Pausini on his song 'Dove Resto Solo Io'. Recently he's worked with songwriters Andy Marvel (Celin Dion), Dimitri Ehlirch (Moby), and Jesse Harris (Norah Jones). In 2011, Virginio was the winner of Italy's most popular singing contest TV show, 'Amici'.

Rosen, who has engineered for top artists, across many genres, including Todd Rundgren, Santana, Tesla, Joe Satriani, and Popa Roach, commented on the sessions and the Atlantis microphone, "I choose the Atlantis mic for this vocal because of its super clear and present top and strong body, it provided Virginio with the inspiration and the power that the track needed."

The Atlantis FC-387 microphone was a collaborative effort between Lauten Audio, and New York engineer and producer Fab Dupont. Its Multi-voicing' feature gives recordists three distinct timbre's to choose from with just the flip of a switch. Originally designed for vocals, the Atlantis also shines on acoustic instruments of all types.

Lauten Audio
www.lautenaudio.com

Corrado Rustici
www.corradorustici.com

Michael Rosen, East Bay Recorders
www.michaelsrosen.com

All trademarks are the property of their respective holders.

Darrell Thorp Becomes a Believer in Atlantis

noreply@blogger.com (BLoud) — Tue, 19 May 2015 14:28:00 +0000

Los Angeles, CA – May 18, 2015 – Seven-time Grammy® winning Engineer and Mixer, Darrell Thorp, recently acquired a pair of Lauten Audio’s Multi-voicing™ microphones, the Atlantis FC-387.

Recently picking up multiple Grammy’s for his work on Beck’s, “Morning Phase,” Thorp has built a solid foundation in the music industry, further adding to that foundation with his Atlantis microphones. Thorp and Lauten Audio’s founder, Brian Loudenslager, recently became acquainted after exchanging social media praise for each other. “I friended Darrell on Facebook; upon him accepting my request, he posted on my page stating, “Love your mics!” I replied simply, “Love your ears,” says Loudenslager, adding, “Of course I had to inquire and get more specifics as I wasn't aware Darrell was using our microphones”.

During a session in 2014, Thorp had a challenging vocal session with a female singer, Suzanne Santo from the band HoneyHoney, who had a very powerful and dynamic vocal. Thorp talked the producer into getting a demo of the Atlantis microphone so he could try it on a few things. “The producer wanted to try it on her vocal,” said Thorp. “We had tried other microphones without success. We put up the Atlantis and, BAM!, really airy and open,” says Thorp. “What really surprised us was how much the mic was smoothing out the 3k bump that was part of her tone. It smoothed the vocal into a more manageable place that I could handle better on the mix. And she loved the Atlantis as well,” added Thorp. He used the ‘Neutral’ setting on the Multi-voicing Atlantis mic, the other settings are ‘Gentle’ and ‘Forward’.

Thorp speaking at Grammy's

“It was truly an honor to have the intended design of the Atlantis validated by such a decorated engineer like Thorp”, says Loudenslager. Released in 2012, the Atlantis was a collaboration between engineer/producer Fab Dupont and Lauten Audio. Dupont wanted a modern vocal microphone, with multiple timbres that could tackle any vocal challenge, that idea became the Atlantis, model FC-387. On release of the Atlantis in 2012, Fab said, “I need a microphone that can be custom tailored for recording female vocalists, so that when they start belting on a chorus – my eyes don’t hurt!”

Since that initial demo of the Atlantis, Thorp added a pair to his own collection. “I’ve now used them on drums, vocals, background vocals, and guitars,” says Thorp. “I recently used Atlantis on snare; turned it to the ‘Forward’ setting, holy crap, the snare was really snappy and bright - perfect for the song. I like it on back-ground vocals in Omni mode.” In addition to having the Multi-voicing switch, Atlantis also features Cardioid, Figure-of-eight, and Omni-directional polar patterns, as well as a +10 gain, and -10dB pad.

“It’s been great in the mix,” Thorp told Loudenslager, “Man, I am a believer. You have a great product here!”

Lauten Audio
www.lautenaudio.com

Darrell Thorp
www.darrellthorp.com

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Lauten Audio to Reveal "Eden" a Multi-voicing Tube Microphone

noreply@blogger.com (BLoud) — Mon, 13 Apr 2015 14:15:00 +0000

Building on the success of the Atlantis, Lauten Audio announces "Eden," a vacuum tube Multi-voicing(tm) microphone at 2015 Musikmesse Trade Show in Frankfurt.

Frankfurt, Germany - April 13, 2015 - At the 2015 Prolight + Sound / Musikmesse in Frankfurt, Lauten Audio will, for the first time in public, reveal the model LT-386, nick named "Eden," a vacuum tube, Multi-voicing(tm), large-diaphragm condenser microphone. Eden features Lauten's proprietary "Multi-voicing(tm)" technology; a switch offering unique timbre settings, three different polar patterns, and an exclusive high-pass filter. Eden is for recordists seeking the most diverse and useful modern vacuum tube microphone. It offers a smooth and rich character reminiscent of the most sought after classics. Lauten will be showing the Eden microphone at Prolight + Sound / Musikmesse in Frankfurt, Germany, April 15-18, at booth A60B, in Hall 5.1. Eden is estimated to list for $3,999.00 (USD) and be available at dealers starting in June 2015.

Brian Loudenslager, Founder of Lauten Audio, reveals, "This was our greatest challenge yet. In preparation for and during development, I spent time learning to understand what people think is so special about vintage and vintage inspirations like the C12, 47, 251 etc. I spent many hours in the studio with industry veterans learning what they hear. Not that I haven't done this in the past; it's just that this time, rather than think what I could do differently, I was trying to imagine what I could do the same within our own microphone range and then expand upon it. Eden was designed as a result of these experiences. I've even surprised myself; the Eden is so smooth, with a sprinkle of that magic 'pick your adjective' you often hear described."

"I need to give a shout-out to several people including Grammy(r) winning Producer/Engineer, Jason Carmer, who lent us his studio and ears for many, many hours, as well as Mastering engineers Michael Romanowski and Piper Payne and everyone at Coast Recorders," adds Loudenslager.

Multiple switches located on each side and back of Eden allow the engineer to highly configure it. First is a polar pattern switch located on the microphone itself; which is not common for a modern vacuum tube microphone, giving recordists the option of choosing between a Cardioid, Omnidirectional or Figure-8 polar-pattern. It also features a unique high-pass filter; of course, this high-pass isn't like others. "I'm not revealing the per-octave's yet, if ever, but can say, it's unusual in a microphone," says Loudenslager. Lastly, Eden will feature a voicing switch that offers Forward, Neutral, and Gentle timbre options. "Without a doubt, adds Loudenslager, "Eden could arguably be the smoothest, most versatile, large diaphragm, vacuum tube vocal microphone ever."

As the Company did on its Atlantis model, once again Lauten Audio worked with engineer and producer Fab Dupont to help develop the sonic signature. "I wanted something that has all the benefits of a true vacuum tube transformer mic without the drawbacks, and Lauten Audio made that happen," says Dupont. Some of the many challenges Fab requested were a unique high-pass and a semi-permanent shock-mount. Dupont adds, "The high-pass switch in Eden gives you bass drum clean-up and vocal clean-up options. Imagine having a Lauten Atlantis with all its characteristics and adding the control and density of a tube and transformer design-that is Eden by Lauten Audio."

"Fab and I have evolved in our ability to understand each other and while this is a good thing, he also challenged us a great deal more," says Loudenslager. "In reality, Eden is a completely 'from-the-ground up' design with a much more vintage inspired design methodology. I started with a tube version of Atlantis, but in my opinion, we ended up with something quite different-this is our new flagship microphone."

Eden will be assembled in the USA and feature a modified version of Lauten Audio's 31.25mm dual-diaphragm capsule, a custom wound, U.S. built output transformer, EF86 or equivalent pentode vacuum tube, Switchcraft(r) connectors through-out, nickel plated head, a semi-permanent shock mount, and Lauten's new unique surface finish also done in the USA. Accessories included with the microphone will be Lauten's custom tube microphone cable with Switchcraft connectors, hard case and mount. Final specifications will be released prior to the product shipping which is estimated to be in June 2015, with a list price of $3,999.00. (USD)

About Lauten Audio

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. Their product line includes the award-winning "Oceanus" LT-381 transformer-less tube condenser microphone, the FC-357 "Clarion", and the FC-387 "Atlantis" solid-state Multi-voicing(tm) large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California. For more information visit http://www.lautenaudio.com or call 1-877-721-7018.

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

###

Hi-Res Photos download:

http://lautenaudio.com/pr-images/eden-lt-386-front.png

http://lautenaudio.com/pr-images/eden-lt-386-leftfacing.png

http://lautenaudio.com/pr-images/eden-lt-386-rightfacing.png

COLIN HAY'S "NEXT YEAR PEOPLE" FEELS THE MAGIC OF LAUTEN'S ATLANTIS VOCAL MICROPHONE

noreply@blogger.com (BLoud) — Wed, 11 Mar 2015 17:12:00 +0000

Los Angeles, CA (March 9th, 2015) –Grammy winning recording artist, Colin Hay applies

the magic of Lauten Audio’s Multi-voicing™, Atlantis studio microphone to his latest solo release, “Next Year People”.

Colin with one of his Atlantis microphones

Perhaps best known as a founding member of the 80’s Australian band, Men at Work, Hay has also had a very successful solo career since the early 2000’s. Hay’s newest album, “Next Year People,” was released on February 17th. Hay recently added a pair of Lauten Audio’s Atlantis, FC-387 Multi-voicing™, studio microphones to his studio. “I received a demo of the Atlantis in late 2013 and it sounded stellar. Shortly after I had ordered a new one, I asked to purchase and keep the demo unit as well.”

"I've recorded many different instruments with the Atlantis, and it's wonderful. Vocals, acoustic guitar, tres (Cuban stringed instrument), tablas, congas, acoustic bass, etcetera. It sounds great on everything," says Hay. Hay used his Atlantis on the latest album, and most notably on the title track, NEXT YEAR PEOPLE. Hay adds, “This is particularly relevant as it's primarily acoustic guitar and vocal, and both were recorded with the Atlantis.”

“I have been fortunate to know Colin for a handful of years now. I first saw his solo show a number of years ago in San Francisco. I was floored by the amazing timbre of his live voice as well as the extreme entertainment value he offers. I was laughing as much as I was listening,” says Brian Loudenslager of Lauten Audio; adding, “He has that type of live voice that can give you chills.”

The Atlantis FC-387 was a collaborative effort between Lauten Audio, and Fab Dupont. It’s a highly unique studio microphone in that is has a Multi-voicing™ feature giving recordists three distinct timbre’s to choose from with just the flip of a switch. “The Atlantis has really brought awareness to the Lauten Audio brand,” says Brian Loudenslager of Lauten Audio. “I hear over and over from new owners how much they appreciate the usability of the microphone.” Hay adds, “I'm using the Atlantis a lot these days. It sounds great on everything, very good on my voice and acoustic. I have one next to me at all times in the control room, and can fire it up on anything at any given moment.”

Colin Hay’s, Next Year People, is available from all major outlets and he is currently on tour in the U.S. For the latest tour stop visit www.colinhay.com.

Lauten Audio
www.lautenaudio.com

Colin Hay
www.colinhay.com

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Inspiration Begins Here - It all started with the Horizon

noreply@blogger.com (BLoud) — Mon, 29 Apr 2013 18:41:00 +0000

By Mike Terry

There is something special about a great, large diaphragm microphone that is hard to beat; when you start lining up your favorites, it becomes hard to live without certain ones. They hold up and deliver exactly where you expect, and when the time to mix arrives those tracks always sit just as intended.

Sure, there are many standout microphones; every engineer has a favorite preferred line-up., But what is the key element that makes up a truly great large diaphragm microphone?

Vintage U67

One specific characteristic responsible for separating good mic’s from great mic’s is their ability to produce depth. Capturing the source and maintaining the 3 dimensional field instantly gives a recording a bigger, fuller sound allowing the listener instant access to being mesmerized by this phenomenon. The classic Neumann, AKG, and Elam mics are well known for this quality and it is this reason they are so desirable.

U67 insides

I first discovered the Neumann U67 after using and understanding the characteristics of several other microphones such as: the U87, the 414, M49, and C-12’s. The first few listens of the 67 indicated it was a very nice microphone and was going to make a nice addition

Horizon in swivel mount

After listening back to tracks recorded with the U67, I discovered how wonderful this mic really was. Electric guitar tracks were first to get my attention, then drum overheads; even a tambourine that was recorded last minute was able to sit so perfectly in the mix it was uncanny. This mic allowed the character of the instrument to be represented without making everything sound like it was recorded with the same mic. It wasn't long before the U67 became my favorite mic. I could use it nearly everywhere and feel confident that I would get excellent results, even in the densest mixes.

Was this the perfect mic for all applications? In a way, yes. Once basic tracks are complete, recording layers of overdubs tend to go pretty quick. The band gets excited as they hear their song come together. The line to overdub gets longer, guitar’s are layered, tambourine’s over the chorus, shaker’s in the verses, high strung acoustic guitar in the bridge, layers of back ground vocals, it goes on and on.

Production Prototype #1 Pre-Horizon name

Running to the mic closet in search of the perfect mic, a different mic, is out of the question. The artist is waiting and ready to go. The performance is what matters now, and with the right mic you can record all of these parts quickly and with confidence. The U 67 was this mic for me when Brian and I began developing the first Lauten microphone; it seemed the perfect benchmark to reach.

Testing Lauten prototypes circa. 2004

If this new microphone can produce great depth, then all else will follow. We can swap out components and A/B a variety of components until we achieve the frequency characteristic we’re looking for. But, if the depth isn’t there, then we don’t have a mic. We found a way to achieve this kind of 3-dimensional depth in the Lauten Horizon microphone and now use that practice to achieve depth in all Lauten microphones.

We didn’t need to make it sound like a U67. In fact to this day, I don’t think we ever made a direct comparison, but the commonality is they both produce incredible depth and capture the sounds that we like to hear.

The shape of the Horizon was a critical design decision. Being an all-purpose mic required it to fit into difficult positions, such as a full drum kit, while remaining free from rogue drum sticks. Using it with the swivel mount allows it to fit easily into these places. Micing a snare drum is no trouble at all and usually a favorite for most owners of the Horizon. The shock mount is useful when space is not an issue - recording vocals for instance.

Horizon's in production

The close fitting grill helps to eliminate nearby reflections from directly entering the capsule. This also allows the capsule to be in incredibly close proximity to its source.

It is oftentimes difficult to maintain depth, tone and punch after many layers of overdubs. More added can sometimes collapse all that you have worked towards. Opening up the 3-dimensional sonic landscape is the key to giving your tracks the breathing room that they need.

The Horizon, along with the rest of the Lauten Microphone line were inspired by great microphones from time’s past. The intention has always been to build an original, modern microphone that will help others to record from their own inspiration.

Biggest Mixing Contest of ALL TIME

noreply@blogger.com (BLoud) — Mon, 22 Apr 2013 22:25:00 +0000

Puremix.net has teamed up Sweetwater and Dangerous Music to bring you the biggest mixing contest of all time (that we know of).

The 16 'best mix' winners will be awarded prizes, in order of merit, from a fantastic list of

Win one of these!

products (click link below for complete details) including one of our very own Lauten Audio Atlantis FC-387 or Torch ST-221s microphones courtesy of Audio Plus Services. Isn't that wonderful?

The competition started April 16th 2013, the deadline for mix submissions being June 1st 2013. All entries will be listened to by the pureMix.net team and the 16 winners will be picked by Fab Dupont on a basis of mixing skills, tone crafting, use of space, taste and creativity. All winners will be announced on stage at Sweetwater's GearFest 2013 on June 21st, on this page and via email.

Register here to get access to the stems, contest instructions and a free video of the recording session of the song. Have fun.

For complete details visit this link http://www.puremix.net/gearfestmixingcontest/

LAUTEN AUDIO PARTNERS WITH INTERNATIONAL CONSULTING & MARKETING GmbH

noreply@blogger.com (BLoud) — Wed, 03 Apr 2013 16:57:00 +0000

FOR IMMEDIATE RELEASE

LAUTEN AUDIO PARTNERS WITH INTERNATIONAL CONSULTING & MARKETING GmbH

Germany-based ICM will distribute Lauten Audio microphones in Germany and beyond

San Jose, CA, April 1^st, 2013 – Lauten Audio, a high-end microphone maker, has announced a new distribution agreement with Germany-based International Consulting & Marketing GmbH (ICM). ICM will serve as the sole distributor in Germany, Austria, Switzerland and 10 other European countries, for the California-based company’s professional microphone line, including their newly released Atlantis FC-387 multi-voicing condenser studio microphone. The entire Lauten Audio microphone line will be on display at the 2013 Prolight + Sound Musikmesse convention in Frankfurt, Germany in the ICM booth Hall-A 5.1 E47.

“We had read about Lauten Audio microphones at various times in the past and after a business friend contacted us to recommend and suggest that I consider distribution of Lauten Audio, we connected with Brian,” says Siegfried Acker, Managing Director at ICM. “We then talked and I was quite pleased and impressed by Brian’s profound knowledge of the international professional audio market. Brian and I were immediately in sync about our ideas and strategies to distribute Lauten Audio microphones in Europe.”

“We are very excited that ICM will be distributing for Lauten Audio in Germany as well as other European countries,” says Brian Loudenslager, founder of Lauten Audio. “Siegfried and the team at ICM are a well-established and mature company and have a ton of experience in the markets they serve. Our vision and expectations are very much in-line and we look forward to a new awakening for Lauten Audio in Germany and beyond.”

The Musikmesse and Prolight + Sound convention is held April 10-13, 2013 in Frankfurt, Germany, visit:

http://musik.messefrankfurt.com/frankfurt/en

About Lauten Audio:

First hitting the street in 2006, Lauten Audio microphones have carved a niche for recordists seeking professional microphones with an original and modern sound. Developed in conjunction with Grammy-nominated Producer and Engineer, Fab Dupont, the company recently released the Atlantis FC-387 multi-voicing studio microphone. The Atlantis is arguably the most talked about and unique new vocal microphone in years. Their “Oceanus” and “Torch” microphones made the “Best of” list of upper-class microphones by the Germany-based ‘Professional Audio Musik & Equipment’ magazine. All of Lauten Audio’s microphones have garnered exceptional reviews from both end-users and magazines around the world. Lauten Audio is located in San Jose, CA. For more information on Lauten Audio and its products please visit www.lautenaudio.com

About International Consulting & Marketing GmbH:

ICM specializes in a wide spectrum of tailor-made services for manufacturers in the audio post production, broadcast, music-recording, mastering & remastering, acoustical treatment, live sound and musical instruments including handling of complete export sales activities, selection of potential distribution partners, acquisition of new customers and distribution partners, and market analysis. From their central European warehouse, ICM provides full warehousing and shipping services. ICM operates from facilities located in Albstadt, Baden-Württemberg, Germany – in the heart of the Swabian Alb. For more information visit www.icm-consult.com

###

Press relations contact:

Paul de Benedictis

650-303-2565

pdbmusic@pacbell.net

RME Sessions @ AIR Studios

noreply@blogger.com (Anonymous) — Fri, 29 Mar 2013 18:57:00 +0000

The RME Sessions rewards one lucky unsigned band with a day of studio time at AIR Studios in London along with producer Tony Newton to record a song. This past November, Nick and the Sun Machine came to the studio and recorded their song "Mountain".

Lauten Audio microphones were selected to be used on a majority of the sources that day.

On Lead Vocals was a Lauten Atlantis FC-387, after auditioning the different voicing options they settled on the Neutral setting.

To capture the Acoustic Guitar, the Horizon was chosen. A pair of Horizons were also used as drum overheads.

Check out the Atlantis listening over the drummer's shoulder.

Watch the video for "Mountain"

A behind the scenes look the both the recording and contest:

For more pictures from the RME Sessions at AIR Studios click here.

Want to learn more about Lauten Audio microphones, head over to http://www.lautenaudio.com

Lauten Audio Atlantis Comparison Video

noreply@blogger.com (Anonymous) — Fri, 08 Mar 2013 03:43:00 +0000

It's always difficult to describe sounds with words. So instead of always trying to talk about how great the Atlantis sounds, we made a video that clearly demonstrates how it stacks up compared to a pair of classic studio microphone designs that have been used on countless hit records for the last 60+ years.

After hearing how's these three compare sonically, lets check out their prices :
Vintage Neumann U47 - upwards of $15,000
Vintage 251 variations - over $6,000
Lauten Audio Atlantis - just $1,499

The Atlantis is Lauten Audio's most versatile mic, it not only features the standard 3 polar patterns (Cardioid, Omni, and Figure-8) and a +10dB/0/-10dB gain switch, but it also has 3 unique voicing options: Neutral, Forward, and Gentle. At the flick of a switch you can change the tonal character of the mic to best compliment your source; making the Atlantis a great go-to mic for almost every application. For more information about the Atlantis, visit Lauten Audio at http://www.lautenaudio.com

Listen to these clips on Soundcloud : https://soundcloud.com/lautenaudio/sets/atlantis-comparison-male-pop-vocal

Mike Terry - The Sound City Years Interview

noreply@blogger.com (Anonymous) — Tue, 19 Feb 2013 14:04:00 +0000

Mike "MT" Terry

Dave Grohl just released Sound City, a fantastic film documenting the history of the famed Los Angeles recording studio and its incredible Neve console (which Dave Grohl purchased when Sound City Studios closed in 2011). Mike Terry (Eagles, Foo Fighters, Jessica Simpson), who helped design Lauten Audio's Horizon, Oceanus, Clarion and Torch microphones, worked his way from the ground up at Sound City early in his career. So we decided to ask him some questions about his time there and the impact it has had on the rest of his career.

When did you work at Sound City?
I started in February 1998 as a runner, and then began assisting in the spring of that same year. I left near the end of 2002.

How did you get the gig?
I was a runner at the Village Studios for nearly a year. One of the Village assistant engineers had a two-day engineering gig at Sound City in Studio A. He knew that I wanted to move up and was ready, but there wasn't room for me at the Village; he told me how great Sound City was and that it was right up my alley.

I called Sound City to ask around, and, of course they didn't have an opening right then, but to send a resume. I did and then kind of forgot about it. I picked up a short internship at Grand Master Studios and did a bit of moon lighting there while I continued working at the Village. A couple months later Shivaun, the manager at Sound City, called me in for an interview. It went well, she offered me the job and I accepted.

How many hours a week did you work; we hear runners and assistants rarely slept. Is this true?
(laughs) Quite a few hours indeed. I became a full time assistant engineer within a few months after starting and the hours really kicked in then. There was one particularly good week, thanks to a producer by the name of Matt Hyde. I logged 119 hours. Typically it was only 80-90 hours per week - not too bad. Most sessions would start between 10am and noon. I'd get there about an hour early to prepare and get tube gear warmed up. Sessions were only supposed to go 12 hours, but many pushed well beyond that. Shivaun was usually a softy when it came to charging overtime so it became the norm and was easy for clients to get away with it.

My rule of thumb was, if I didn’t leave for home by 5:15 in the morning, I would sleep on the couch in the studio. The morning rush hour was so bad after 5:15 that it would take too long to get home - I learned my lesson when I fell asleep sitting in traffic one morning. Fortunately, we were at a standstill, my foot slid off the brake and I woke just before bumping the car in front of me.

Matt Hyde’s projects were often on a tight schedule so we put in a lot of hours together and drank a lot of coffee. One night... actually morning around 5am we were calling it a day and he said, "alright" looking down at his watch "I think we should be back by 10, nah better do 9am." At that point, I decided to just sleep on the couch in the studio. Then he looked up and said "I guess that doesn't give us much time to sleep, wanna just go play golf?"

Mike in Sound City's Studio A circa 1999

Do you remember the strangest errand either you or someone else had to run?

When Krispy Kreme Donuts came to LA, everyone went berserk for them. One opened not too far from the studio. We sent a runner to get a dozen hot glazed donuts on opening day. He came back over two hours later. Everyone was giving him a hard time for taking so long. It turned out that there was a line all the way down the road and around the block forcing him to wait the whole time. Apparently there was even a band set up out front to keep everyone entertained. To say the least, the donuts were gone within moments of his return, meaning only one thing. (chuckles) Go for one more dozen please. Wait, better make it two!

Assistants’ duties these days are much different from back then, but are there things that you learned to do at Sound City that you ask your assistants to do today?
I think more than anything, I want them to stick around, stay quiet and be alert to what is happening in the session. If I have to go looking for the assistant to help move some mics, or change a patch, whatever, I’m going to do it myself. If that continues, then it’s time for a new assistant. Aside from that, it’s nice to keep the place tidy with mic cables organized and easy to reach. Leaving pencils, Sharpies and console tape in all of the places where they can be used is also good practice. Documentation is expected - don’t wait to be asked to do it. If someone has to ask, it’s probably too late.

The Neve in Studio A at Sound City Studios circa 1999

What do you think separated you from the others assistants?
A few months after I came to Sound City, Sylvia Massy decided to install Flying Faders on her Neve 8038 that was in Studio B. I knew how to operate them, I knew how the console worked, and I figured out where everything was on the patch bay. The other runners didn't know any of that. So when an assisting slot came up for grabs, it went to me. After that it was a matter of building trust with the clients and building the relationships that helped move me up.

When I was assisting, I always felt that I should try to work in as many rooms as possible, and whenever an opportunity would come up to fill in someplace new, I would jump on it. By the time I started first engineering, I was really comfortable working in many different rooms and with a variety of consoles, gear, and mics. I learned not to rely on any one specific room or particular piece of gear, though I certainly did find my favorites.

Once you moved up at Sound city, was there any advice you gave to the runner that came in behind you?
Always work the night shift. That way you could have a chance to get into a session. After dinner, most sessions go into a little bit of a slow-down and those on the inside are more willing to let those on the outside come in for a bit.

Recording Drums in Studio A's live room at Sound City circa 1999

Who did you work for there that made the biggest impact on you and in what way?
Frank Black and the Catholics would cut live to two-track records there. I assisted on the album "Dog in the Sand." To see these guys lay down a record completely live was incredible. After getting used to the overdub process that takes weeks on end, this raw approach was both refreshing and inspiring. Charles (Frank Black) would come in every day during the sessions with a new song that he wrote the night before after leaving the studio, and we would record it. That's serious dedication to the craft, listening to the muse when it speaks and doing the work that needs to be done when it’s called for. That type of thing made a big impression on me.

Some of these guys, the great ones anyway, work really hard at what they do. Often times the majority of their work is done in their own private environments. The work that is done in the studio is really just the tip of the ice berg.

I've always been impressed with the prolific as it's usually a sign of dedicated and unrelenting work mixed with incredible talent. Dave Grohl is one of them. Not only is he a cool genuine dude, he's really good at playing instruments, writing songs, telling stories - he's even a pretty decent ping pong player. He may say different, but I know for a fact that he puts in the time and works incredibly hard at what he does. Seeing these guys work so hard was really encouraging and I tried to do the same on my end.

Mike commanding Sound City's Neve and tape machine

Can you tell us which producers and/or engineers in your early years taught you the most?
There are several. Studio A was and has always been known as a great drum room. The majority of work done there at the time was drum recording. Then the project would leave for another studio to do their overdubs. Studio A was always booked, making it hard to get more than two weeks at a time. Because of that, I had the opportunity to be on sessions with so many great drummers and engineers that knew how to record them. Studio A for me was basically boot camp for drum recording. We recorded drums in just about every type of configuration imaginable.

I worked on several records with Matt Hyde. He came in mostly to get his drum tracks, two to three weeks at a time. One summer, maybe 1999, he had Studio A booked out for three months. I think we did two or three records during that stretch. It was with Matt that I learned and understood drum recording. He was willing to experiment as much as possible, try new mics and micing positions, that sort of thing.

Matt was really keyed into the importance of drum tuning and would always have Gersh from Drum Fetish keep them in tune. Gersh would tweak the snares and toms between takes, and do whatever was needed to keep the drums sounding consistent from one take to the next. Both Matt and Gersh were super cool about showing me what they were doing and how to do it. Often times a quarter turn on the lug of the snare, where the stick crosses the rim, does the trick.

Joe Barresi was also a regular. My god, that guy is the one who sets the bar for engineering in my book. Gain structure and getting the phase correct are the bare essentials I learned from Joe.

Start by getting the kick, snare and overheads in phase, use the phase button and move the mics around until they all sit properly. Then, add in the rest of the mics one at a time, checking the phase against the kick, snare and overheads; if it doesn't fit, then go move the mic until it does fit.

View from behind the drumset in Studio A at Sound City circa 1999

Same principle applies to micing guitar amps. Start with one mic (I use a Horizon to start), then add in others, checking the phase against the first. EQ for shape and flavor if you feel like it; otherwise, leave it alone. Drive it into a compressor if you feel the need, but remember to keep checking the phase to make sure everything is still sitting well.

Around 2001 Ross Robinson and Mike Fraser (Fraze) started coming in - first to record a band called Amen and then we did a Slipknot record. Nothing could have prepared me for the first session, I mean nothing! Ross produced Amen's first record a couple years prior. For their second record, they were looking to get an AC/DC type of drum sound.

Fraze did a lot of work with AC/DC and was the natural choice as engineer. Fraze and I showed up on the first day to get set up. We had never met before but hit it off immediately. We did a beautiful job with the drum setup in Studio A. When Ross came in a little later with the band, they were really confused as to why we would set the drums up in the big room. Ross began explaining that he needed everyone in the same room, all right up on top of each other in this big open room. He also added that we better tape the mics down or do whatever we needed to keep them in place, because Casey, the singer, would be jumping all over the drums during recording. Later that night, I found everything Ross said to be absolutely true.

By dinner time we had the drums setup in a 12 foot by 12 foot back room with 8 foot ceilings. It was basically an old office that we would typically use for guitar amps, allowing us to keep them isolated from the big drum room.

We had a reel of GP 9 loaded on the Studer 800. Ross was in the small room with the band and said to roll. We didn't know that he was going to be in the room during the recording. My experience up to that point was that the producer is always in the control room with us. We pressed record, and let the tape roll. They did three takes back to back; we never stopped the tape. Through the mics we could hear them putting their instruments down and leaving the room. Thirty seconds later Ross ran into the control room screaming for a razor blade. I pointed to the top of the Studer 800 and before I was up from my chair, he was at the tape machine rewinding to the middle of the reel - my guess was somewhere in the second take. He hit play, grabbed a grease pencil, dropped the gate and marked the tape as it passed by. Hitting fast forward, he went towards the end of the reel, played it again, and made another mark. I swear, without even double checking his marks, he had the tape on the cutting block with the razor blade slicing through, then manically pulled from the supply side until he found his first mark, another cut without listening, then he taped the two ends together.

He ultimately spliced the end of the third take to the end of the second take. He rewound and played from the beginning of the song and through the edit to the end. Not only was it a perfect edit but it also became the master take.

I learned to edit tape working with those two guys. The three of us worked together for the next few years. When Sound City wasn't available for one of the projects, Ross found a studio on the boardwalk in Venice Beach. I took a leave from Sound City to do that one. Both Ross and I lived in Venice and it was pretty great to have a studio right there. Fraze lived in Vancouver so he would stay in a hotel in the same area. After a while, we didn't want to go anywhere else, so I had to leave Sound City for good.

The Neve in Studio A at Sound City Studios circa 1999

Was there something besides the room and board that made Sound City such a mecca for recording great albums?
The Neve in Studio A and the tracking room was the real draw. Studio B became quite popular while I was there also because both rooms were regularly booked. There were the regulars, some of whom I mentioned earlier, who became quite comfortable there. I think it was a place that didn't look like much aesthetically speaking as it was pretty worn out, but once you did a project there, it became clear. It sounded good, it was affordable, the staff was nice, and if you were in the know, the Friday afternoon BBQs became quite popular too!

Interviewed on 2/14/2013 by Ben Lindell and Brian Loudenslager. Photos courtesy of Mike Terry.

For more information about Lauten Audio visit http://www.lautenaudio.com

For more information about Mike Terry visit http://www.miketerrysound.com

Lauten at Gearfest 2012

noreply@blogger.com (Anonymous) — Wed, 12 Dec 2012 03:40:00 +0000

Puremix.net just posted the trailer of Fab Dupont's presentation at Sweetwater's Gearfest 2012.

Fab brought some good old New York City rockers, the Liza Colby Sound, with him to demonstrate recording and mixing a band live in front of a packed house of over 300 attendees in Sweetwater's theater. Using the Lauten Audio Atlantis and Clarion, check out how Fab tracks a band :

To watch the complete tracking session head over to Puremix.net

For more information about Lauten Audio, visit http://www.lautenaudio.com

To purchase your own Lauten Audio microphone, head over to http://www.sweetwater.com

Cyrille Aimée Live at Sweetwater

noreply@blogger.com (Anonymous) — Fri, 09 Nov 2012 03:01:00 +0000

The incredibly talented Cyrille Aimée does an amazing rendition of Fortunate Son using Lauten Audio's Atlantis. Performed live at Sweetwater.

For more information about the Atlantis, visit http://www.lautenaudio.com/

To purchase an Atlantis for yourself, visit Sweetwater today!