Sonic Cookie

News at NAMM 2011//The Kemper Profiling Amplifier

noreply@blogger.com (Iryna) — Mon, 20 Dec 2010 17:00:00 +0000

Kemper GmbH announced today the new Kemper Profiling Amplifier to be unveiled at the NAMM Show 2011 in Los Angeles.

The Kemper Profiling Amplifier is an entirely new concept for guitar amplification in the digital domain. Following the radical idea that every guitar player should be able to bring his personal sound of the tube amp setup he owns into a versatile, comfortable and most important reproducible format: The Kemper Profiling Amplifier “learns” the sonic behavior of any guitar amplifier and offers exactly the tone and feel the player knows from his “real” amp. The times of struggling to “re-find” that magic mic position in front of the speaker are over. Now there will be a profile available of basically any sonic condition the tube amp setup can provide.

Of course not every guitar player owns a perfect studio environment or owns a number of classic tube amps. That is why the Kemper Profiling Amplifier comes stacked full with profiles of classic tube amps: the british, the californish, the germish … of course including the classic speaker cabinets which are a part of the profiling result.

The Kemper Profiling Amplifier comes as an extremely handsome lunchbox size device with all the professional connections for home, studio and on stage use. It is completed with a stomp box section, a master FX section and a set of unique, before impossible parameters for shaping the amp profiles further from classic architecture to modern. Of course a realistic power amp sagging which is normally only available at very high volume is also “a part of the stack”.

Come to NAMM 2011 – to get proof!This all may sound unbelievable, but it works. Kemper GmbH will prove this at NAMM. They indeed take it to 11, so to say! At booth #6900 in Hall A Kemper GmbH have a ready to go profiling setup installed, consisting of a very versatile high class tube amplifier with various classic tube amp architectures, connected to an isolation cab with a celestion vintage 30 speaker that is miked up with the standard SM 57. The guitar is connected to the tube amp via the Kemper Profiling Amplifier and the mic signal goes back into the mic input of the Profiling Amplifier. By the hit of a single button the profiling process starts and after 10- 20 seconds the guitar player can compare the profiled sound with the sound of the real tube amp. That’s it. Simple as that! Amazing!

Pricing and availability
The retail price for the Kemper Profiling Amplifier is not defined yet, availability is expected to be “N.A.M.M.” – Not available maybe May.

Further Information:Kemper GmbH
Koenigswall 16-18
45657 Recklinghausen
Germany
www.kemper-amp.com

LAWO’S DIGITAL RECORDING// A-HA’S FIRST (AND LAST) LIVE DVD

noreply@blogger.com (Iryna) — Fri, 17 Dec 2010 21:10:00 +0000

The last notes of A-Ha’s 25-year career have been recorded for a special DVD release by long-time Lawo customer Cinevideogroup, using the mc²66 console in its flagship mobile production vehicle, OB14. Ironically, although it is A-Ha’s farewell concert, it is their first-ever live DVD.

The final four shows of the “Ending on a High Note” tour were played in the band’s home town of Oslo at the famous Spektrum venue. Leading broadcast facilities company Cinevideogroup was called in by film-makers Serpent Productions and director Matt Askem to provide a 10-camera HD recording of the event, complete with digital audio, for future release.

Inside the sound control room of the state-of-the-art OB14 were British sound engineer Toby Alington, well known for his work on the BRIT Awards and MTV Europe Awards, and Huub Lelieveld, Cinevideogroup’s senior audio engineer. Alington has responsibility for the final 5.1 mix of the project, while Lelieveld was responsible for the multitrack recording in Oslo.

Under their fingertips was the 56-fader Lawo mc²66 console, one of four in the Cinevideogroup’s mobile fleet, connected through MADI fibre optic lines to remote Lawo preamps on the stage some 50 metres away from the truck. By using fibre optic and local PA power for the Lawo stagebox, Lelieveld removed the need for an active splitter, thus giving him clean capture of the signal from band and crowd microphones.

The live performances were recorded to a Merging Technologies 128-channel Pyramix multitrack system, connected via MADI, with a redundant PC with RME MADI cards running Reaper, just in case. “There is no room for error in this process,” comments Lelieveld. “If we make a mistake with the music recording, then the video will be useless.”

Lelieveld created a temporary stereo mix for Alington and the video editors on what he called “my console of choice.” He expressed a strong preference for the mc²66 over other leading designs, especially when the going gets tough. “This is really the only console where you can change everything while you’re live. It is completely flexible, which means there is no need to set everything up beforehand, even when one is recording for a live TV broadcast. Whatever changes, the Lawo mc²66 can adapt to it perfectly, and the sound quality remains really excellent.”

His words are echoed by Toby Alington, who is a newcomer to Lawo console design. “I found it to be a very clean-sounding desk, perfect for our purpose, and I was impressed by its very logical layout. All digital desks are laid out completely differently - it’s not like the days of analogue! Some surfaces are deeply unfriendly while others are a joy to work with. Some consoles have almost everything on the centre panel, whereas the mc²66 offers a good ergonomic balance, with the right amount of knobs on each channel, so the visual feedback is very good. Also, I had the advantage of Huub, who knows it inside out!”

In the Spektrum, copper multicores were run to the roof catwalk so that Sennheiser MKH-416 microphones could be suspended over the crowd to capture audience reaction. Crowd and band microphone inputs totaled 64 channels, but, according to Lelieveld, that’s hardly a stretch for the 28-8-24 fader mc²66 which offers easy extension.

“As long as I’ve been using the console, I’ve never reached the limit. I think we have enough DSP for 150 channels, but the wonderful thing about the I/O system is that it is fully modular, so you can add what you need. I have done DVD recordings with 140+ inputs and, for these larger projects, we just add extra inputs.”

Cinevideogroup now has four OBVs carrying Lawo mc²66 digital audio consoles, the first of which was installed five years ago. OB14 is its largest vehicle, designed for big music events and sports productions. All onboard routing is handled by a Lawo Nova 73 HD which offers 96 kHz operation.

Toby Alington will complete the surround sound mix for the A-Ha DVD at Richmond Studios Post-Production in London.

About Lawo

Lawo is a manufacturer of digital audio networking systems and consoles for a wide range of applications from small to large scale audio production in television and radio, post production, and live sound. Established in the 1970s, the company’s manufacturing center is located in the Rhine valley town of Rastatt, Germany. For additional information on all Lawo products, visit the company online at HYPERLINK "http://www.lawo.ca" www.lawo.ca

AES//Convention dates announced for 2011

noreply@blogger.com (Iryna) — Fri, 17 Dec 2010 18:19:00 +0000

New York’s Jacob Javits Center will host the 131^st AES Convention

MAY 13 – 16, LONDON / OCTOBER 20 – 23, NYC

Audio Engineering Society Executive Director Roger Furness has announced that the 130th AES Convention will be held in the Novotel London West Convention Centre, Friday, May 13 – Monday, May 16. The 131^st Convention is confirmed for NYC’s Jacob Javits Center, Thursday, October 20 thru Sunday, Oct. 23.

“Extraordinarily positive attendee and exhibitor feedback confirmed the success of our 129^th Convention in San Francisco this past November,” Furness said. “We received high marks on all levels, technical, social and organizational. A palpable sense of optimism permeated the entire event.

“Our Convention Committees have already begun the year-long process of developing both these major 2011 events. The call for papers has been posted for the London Convention, and NY Convention Chair Jim Anderson meets this week with our Committee here to begin plans for October,” Furness adds.

“Fortunately, many of our long-time Chairs have returned to the fold. The benefit of their skills and knowledge in insuring an outstanding convention experience is incalculable. We are confident that 2011will bring the professional audio industry continued growth,” Furness concludes. “We wish our members, attendees and exhibitors a happy and healthy holiday and a peaceful and prosperous New Year.

Midas XL8//Paul Weller tour

noreply@blogger.com (Iryna) — Fri, 17 Dec 2010 18:12:00 +0000

Paul Weller’s tour across the UK and Ireland saw a Midas XL8 FOH, supplied by Canegreen/SSE, earn new fans in the shape of Andrew Jones, Weller’s FOH engineer of over 20 years, and tech support Mike Savage who used the same console for support acts The Bees, The Rifles and Cow.

Jones, a long standing Midas fan, was won over by the XL8 after initial trials with other brands of digital console left him yearning for the Midas sound. “The XL8 was deemed too expensive at the time,” he says “so I went back to the XL4. But for this tour, I really pushed for the XL8 to achieve that audio quality and the flexibility of digital along with faders at my fingertips.”

With no previous files to install, Jones’s first task was to build the entire show from scratch for an artist who draws on an extensive repertoire for his sets where, according to Jones, no two shows are ever the same. But the basic show with 20 or so scenes was ready to go pretty quickly, and his final set up encompassed some 45 scenes.

Savage, who has completed in-house training at Midas, helped with the initial set up. Utilising the XL8’s flexible modular system, they decided on three DL431 splitter units to create a total of 72 available channels plus an isolated split to allow for any outside broadcast or recording system requirements. A single DL451 I/O box with AES input and output cards on stage allowed transmission of digital or analogue signals to and from stage.

Two DL451 I/O boxes FOH, one set up with AES and two input cards and one with AES and two output cards, were housed in the outboard effects rack to facilitate ease of cable patching in the units, while a separate PA Drive Rack housed the processing. Just two AES cables were needed to link the two racks together.

Separate show files were used for each of the bands, with each song having its own scene within the show, containing its various different settings and MIDI changes for the external effects. “We really expect a lot from this or any desk when it comes down to the automation side of things,” says Savage,” and the XL8 managed all these tasks with ease.”

Stand out features for Jones and Savage included the POP(ulation) and VCA groups, “A fabulous feature that makes moving round a large channel list simple,” says Savage, while both engineers used the XL8’s on board FX and dynamics to full effect, praising the variety of compressors, the simplicity of the gates, the convenience and flexibility of being able to scope these in each scene and, of course, the great Midas sound.

“It sounds like a Midas with extra added Midas icing on top,” says Jones. “The EQ is the finest I have used; faultless, superb.”

Jones’ final verdict? “I will find it difficult to return to another console. The sound, the ease of the layout and the feel of the controls smacks of the quality I would expect, and then some. Having driven the Rolls it would be hard to step back into the Ford.”

CEDAR Cambridge//audio forensic standard in Poland

noreply@blogger.com (Iryna) — Fri, 17 Dec 2010 18:08:00 +0000

CEDAR Audio's flagship speech enhancement system, CEDAR Cambridge, has

been adopted by the Polish Government Crime Laboratories as the standard tool

for audio forensic investigation, and each of the country's seven crime labs

(located in Warsaw, Gdansk, Olsztyn, Lublin, Katowice, Wroclaw and Poznan) has

a fully specified CEDAR Cambridge system for processing criminal and

surveillance recordings.

Why CEDAR Cambridge?

By standardising on CEDAR Cambridge, the Polish law enforcement crime

laboratories not only have access to the latest forensic audio capabilities, but can

also ensure that investigators are able to use familiar technology no matter

where in the country they are working.

The purchase of the systems was supported by EEA Grant PL0487, "Creation of

the forensic teams supporting law enforcement agencies and judiciary in the area

of combating crime" in partnership with the Norwegian National Police

Directorate. The purpose of the Project is to enhance the efficiency of the Polish

police by creating seven forensic expert teams for combating crime, with the

overall objective of increasing national security and the security of the Schengen

Area.

The seven CEDAR Cambridge systems were specified and installed by CEDAR's

Polish Dealer, DAVE, which managed the standardisation of audio and video

forensics systems across the whole country.

About CEDAR Forensic

CEDAR Forensic is committed to supporting the law enforcement and intelligence

communities. It supplies numerous noise reduction systems for live surveillance

and monitoring, as well as advanced computer-based systems, desktop

processors and rackmount modules that have been installed in police, counter-

terrorism, drug enforcement and air traffic control laboratories worldwide.

Working together with Cambridge University, CEDAR has an on-going policy of

continuous research and product development designed to increase its customers'

ability to extract meaningful information from badly contaminated audio, and thus

improve the accuracy, reliability and productivity of monitoring, transcription and

audio forensic investigation.

For further information:

DAVE s.c.

ul. Dobra 28

00-344 Warsaw

Poland

t: +48 22 826 4912

e: dave@dave.pl

w: www.dave.pl

Sale and Training News//Rational Acoustics

noreply@blogger.com (Iryna) — Fri, 17 Dec 2010 18:06:00 +0000

From Friday, December 17th through Friday December, 31st Rational Acoustics will be offering 10% off of EVERYTHING in the Rational Acoustics Online Store. If it’s in the store... it’s on sale. This means all mics, audio I-O interfaces, cables, books, accessories and even Smaart v.7 new license packages.

And if that’s not festive enough, RA will also be offeringFREE domestic UPS Ground Shipping for any order over $100 within the continental United States (sorry Alaska and Hawaii).So if audio gear is on your list for Christmas this year, take advantage of these savings and stock up before the end of the year because come January 1, 2011 the sale will be over.

Training News:

Edmonton, Canada on January 4-6, 2011. The instructor for this class will be Arthur Skudra. Interested attendees can click HERE for complete class details and registration instructions. Or you can contact SF Marketing directly at 1-800 363-8855 or smaart@sfm.ca.

The next classes of the New Year will be in Mexico City on January 24-26, 2011 and in Guadalajara on January 31 – Feb 1, 2011. These classes will be hosted and taught, in Spanish, by our South America Distributor Sonotribe, with Salvador Castaneda as the instructor. Interested attendees can click HERE for complete Mexico City class details or HERE for complete Guadalajara class details. Or you can contact SonoTribe directly at +52-55-3617-6018 or smaart@sonotribe.com.

On Jan 27-28, 2011 RA's newest distributor, ModsArt will be holding their first class just outside of Rome, Italy. This class will be taught by Jamie Anderson, with Italian translation provided by Davide Lombardi of ModsArt. Interested attendees can click HERE for more information and online registration or contact ModsArt directly atdavide@modsart.it.

SurgeSound, RA's South Africa Distributor will be hosting a Smaart class on Feb 7-9, 2011 in Johannesburg. This class will be taught by Jamie Anderson. Interested attendees can click HERE for more information or contact SurgeSound directly at info@surgesound.co.za or +27-11-462-4659.

February 22-24, 2011 in Seattle, WA. at Advanced Broadcast Solutions. This class is being organized and taught by Rational Acoustics and will feature Jamie Anderson as the class instructor. Interested attendees can click HERE for class details and can register for the class online or by calling Barb Mattson at 1-860-928-7828.

P.S. Thank you Rational Acoustics for providing the following news for our blog.I hope some of you will be able to attend the training sessions-the one in Rome looks tempting...

Photo Bash//You and your audio gear

noreply@blogger.com (Iryna) — Thu, 16 Dec 2010 18:14:00 +0000

Boys and girls,men and women! Does your love to your gear go as far as naming each piece of your equipment?Or do you just look awesome next to that 48 Channel mixer?It's time to brag and show the world that you are here,you're into audio and your damn proud of it. Send us a pic of you at work,a quick tag line and we will post it on our blog.
Let's light up the holidays with our smiling faces!

You can send your photos to info@primesoundpro.com

Midas @ 2010 Nobel Peace Prize concert

noreply@blogger.com (Iryna) — Thu, 16 Dec 2010 17:46:00 +0000

The 2010 Nobel Peace Prize Concert took place at the Oslo Spektrum in December, with the live show and broadcast once again handled by a sophisticated network of Midas digital consoles. Norwegian audio company AVAB-CAC deployed two Midas XL8 live performance systems together with two PRO6s and one PRO9 live audio systems, extensively utilising the AES50 networking to maximum effect.

The setup was similar to the 2009 event, with three stages facilitating the rapid changeovers required for the live televised event.

FOH duties were handled by two XL8s, one taking care of the 72-piece Norwegian Radio Orchestra, leaving the second console free for visiting engineers to mix their own artists, and for MCs Denzel Washington and Anne Hathaway. This year’s stellar lineup included Herbie Hancock, Barry Manilow, Florence and the Machine, Jamiroquai, AR Rahman, Robyn and violinist Joshua Bell.

To interface with the many audio sources, AVAB-CAC employed 192 channels of Midas DL431 active mic splitter, plus a number of Midas DL451 and DL351 modular I/O devices, totalling nearly 400 inputs, all of which were accessible to all five consoles via the AES50 network. The DL431 splitters also provided pristine audio feeds to the NRK TV trucks for simultaneous TV broadcast.

Stage sound was provided by two PRO6s and a PRO9, one for each of the three stages, supplying numerous in-ear mixes for bands and orchestra, as well as to the multiple floor monitors across all three stages. As well as mixing monitors for its own stage, the PRO6s and PRO9 were also used to create multiple stem mixes of its performance, which could then be accessed from the combined network by the other consoles. This was essential during the grand finale, when all the performers, plus the orchestra and a choir, spread across all three stages, needing to keep in time and in tune for the final number.

“The Midas systems were flawless, allowing the show to run smoothly and sound great!” says AVAB-CAC project manager Geir Ostensjo. “The Midas network again proved to be easy to deploy, flexible and reliable, one of the major requirements of this show.”
This year’s prize was awarded to Chinese human rights activist Liu Xiabo, who became the fourth person to receive the prize while imprisoned or detained.

TC Electronic// update for PolyTune iPhone app and massive price drop for 3 days

noreply@blogger.com (Iryna) — Thu, 16 Dec 2010 17:40:00 +0000

A new version of TC Electronic’s groundbreaking PolyTune app is now available for download.

The new version 1.1 software makes the PolyTune app fully compatible with iPhone 4 as well as the iOS 4 operating system. It also features full Retina display support for the ultimate viewing experience when tuning.

Further, a brand new Color Blind feature has been included, allowing users to switch out the green/red colors with yellow/blue.

Finally, the overall graphics has been improved, and the app now has a new, very appealing icon that will stand out on any iPhone home screen.

$0.99 for 3 days
Obviously, version 1.1 is a free update for existing PolyTune app users, but to celebrate this new version, TC Electronic will be lowering the price for new users to just $0.99 for 3 days, from December 16, 2010, to midnight December 19, 2010. Normally, the PolyTune app is priced at $9.99, but after the three-day special offer, the regular price will be dropped by 50% to $4.99.

PolyTune iPhone app online:
tcelectronic.com/polytune-iphone-app

NEW RELEASE//Entry-Level Melodyne

noreply@blogger.com (Iryna) — Thu, 16 Dec 2010 17:32:00 +0000

Celemony is pleased to announce that Melodyne essential is available now from dealers and the Celemony web shop. At a special introductory price of US$ 69, valid until the end of the year only (thereafter US$ 99), Melodyne essential constitutes an especially affordable point of entry into the world of Melodyne. Despite that, it comes with many of the features that have made the superlative Melodyne editor so popular: from direct plug-in operation to modern 64-bit support and the macros that make the task of correcting vocals particularly simple.

Melodyne essential lays the emphasis upon the most important Melodyne functions and is therefore swift and simple to operate. Recordings of lead vocals, monophonic instruments, or drums and percussion are divided up into notes the pitch, position in time, and length of which the user can modify on a piano-roll graphic display. In this way, subtle corrections can be made, or the melody and rhythm altered, in an intuitive fashion. If desired, the tried-and-tested Melodyne macros for pitch and timing correction can be employed. Notes can be moved and copied at will, which – among other things – makes it possible to add additional voices and chords to melodic material or breaks to rhythmic material.

"We believe you actually have to experience Melodyne to understand its pioneering nature and how rewarding the possibilities it affords really are," comments Celemony MD Anselm Roessler on the latest addition to the Melodyne range. "Whereas Melodyne essential was previously only available in hardware bundles, we are pleased to be able to offer the considerably improved new version of the program as a normal retail product. The attractive price will make it possible for still more people to get to know and learn to use Melodyne."

Melodyne essential operates from the same technological base as Melodyne editor. That means optimal sound quality, a user-friendly interface, modern 64-bit support and silky-smooth operation, whether it's running in stand-alone mode or as a VST, AU, or RTAS plug-in in compatible DAWs. All editions in the Melodyne editor family are compatible with one another and easily upgraded. Documents created by any one edition can be opened in any other and edited using the functions and tools the latter provides.

Melodyne essential is supplied with a video tutorial that makes getting started easy. The tutorial, user interface and handbook of Melodyne essential are available in English, French, German, Japanese and Spanish. At www.celemony.com, you will find videos in English on all the topics covered in the user handbook as well as additional tutorials.

Users of older versions of Melodyne essential can update to the new version for US$ 29. If their Melodyne essential came as part of a Digidesign bundle and was registered and activated after the 1st June 2009, or as part of an E-mu bundle and was registered and activated after the 1st June 2010, users can even update to the new version of Melodyne essential free of charge.

For further information, images, films and text, visit www.celemony.com

OFFICIAL RELEASES//STUDER® A800 MULTICHANNEL TAPE RECORDER PLUG-IN FOR UAD-2 PLATFORM

noreply@blogger.com (Iryna) — Thu, 16 Dec 2010 17:29:00 +0000

The Classic Sound of the Legendary Studer A800 and Four 2” Analog

Tape Formulas, Now Available to UAD-2 Powered Plug-Ins Users on Mac

and PC

Universal Audio, a manufacturer of high-quality audio hardware and award-winning UAD-2
Powered Plug-ins for Mac and PC, announced the release of the
groundbreaking Studer® A800 Multichannel Tape Recorder plug-in for the
UAD-2 platform.

For more than three decades, artists and engineers alike have been
drawn to the warm sound, solid punchy low-end, and overall presence of
the Studer A800 Multichannel Tape Recorder — by far the most popular
professional 2” multitrack tape machine ever made.

Modeled by UA’s world-renowned DSP engineers with help from AES
magnetic recording expert Jay McKnight over a 12-month period, the
Studer A800 Multichannel Tape Recorder plug-in for UAD-2 is the first
and only product of its kind. This plug-in faithfully models the
entire tape path and circuit electronics of the hardware, plus the
sounds of four distinct tape formulas.

"This is one of those products we’ve been working toward for a very
long time,” said Matt Ward, President of Universal Audio. "Recording
engineers have been pining for the magical sound of 2” analog tape on
Mac and PC for years. Now, with help from Studer, independent magnetic
tape experts, and our own team of DSP wizards, we can offer the true
sound of analog recording on this legendary tape machine.”

“The Studer legacy, including its premier analog tape machine the
A800, is something we take great pride in,” commented Michael
MacDonald, Harman Professional Executive Vice President of Marketing
and Sales. “So it was with caution that we selected a partner to
develop a plug-in emulation. Put simply, it had to live up to the
Studer name. With their renowned DSP engineers and the stunning sound
of this plug-in, Universal Audio has exceeded our high expectations.
We look forward to further collaborations.”

Available for purchase via UA’s Online Store, the Studer A800
Multichannel Tape Recorder plug-in sells for $349.
Studer A800 Multichannel Tape Recorder Plug-In features include:
• Studer-endorsed, UA-modeled emulation of the world’s most popular
Multichannel Tape Recorder
• Provides the warm, natural sound and punchy low-end response of 2”
analog tape from clean, to saturated, to clipped
• Provides painstakingly accurate A800 electronic path and magnetic
tape model, including Input, Sync and Repro paths
• Features four of the most popular Tape Formulas and Calibration Levels

Watch the trailer video for the Studer A800 plug-in via UA’s YouTube Channel at
http://www.youtube.com/watch?v=gszni4TOATo

More information on the Studer A800 plug-in can be found at
http://www.uaudio.com/products/software/studer-a800/index.html

The Studer® A800 Multichannel Tape Recorder plug-in is available as
part of the new UAD Software v5.8.0 release. In addition to the Studer
A800 plug-in, v5.8.0 includes the Solid State Logic-authenticated SSL®
E Series Channel Strip and SSL® G Series Bus Compressor plug-ins, as
well as highly anticipated 64-Bit Mac OS support and additional
performance enhancements for all UAD-2 users on the Windows platform.

UAD Software v5.8.0 is available as a FREE download for Mac and PC
users worldwide at
http://www.uaudio.com/support/uad/downloads/index.html

About Universal Audio Inc.

Founded in 1999 by Bill Putnam Jr. and based in Scotts Valley,

California, Universal Audio is best known for its vintage analog

reproductions and advanced Digital Signal Processing technology,

including the award-winning UAD Powered Plug-Ins Platform. The company

is focused on merging the best of classic analog and modern digital

technology. UA is devoted to this endeavor, following its rich

recording heritage and motto, “Analog Ears. Digital Minds.”

www.uaudio.com

About Harman

HARMAN (www.harman.com) designs, manufactures and markets a wide range

of audio and infotainment solutions for the automotive, consumer and

professional markets – supported by 15 leading brands including AKG®,

Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The

Company is admired by audiophiles across multiple generations and

supports leading professional entertainers and the venues where they

perform. More than 20 million automobiles on the road today are

equipped with HARMAN audio and infotainment systems. HARMAN has a

workforce of about 11,000 people across the Americas, Europe and Asia,

and reported sales of $3.2 billion for the last twelve months ended

March 31, 2010. The Company’s shares are traded on the New York Stock

Exchange under the symbol NYSE:HAR.

All visual and aural references to Studer products and use of Studer

trademarks are made with written permission from Harman International

Industries, Inc. Any references to 3rd party tape formulations are

used solely for identification, and do not imply an endorsement by,

nor affiliation with, any tape manufacturer.

Khaliq-O-Vision Employs Portico II Channel Strip on New Michael Jackson Album

noreply@blogger.com (Iryna) — Thu, 16 Dec 2010 17:16:00 +0000

Grammy Award-winning engineer and mixer Khaliq Glover, also known as Khaliq-O-Vision, used the Rupert Neve Designs Portico II Channel Strip during overdub and mixing sessions for the first posthumous collection of Michael Jackson songs. Khaliq worked alongside producer Teddy Riley to complete tracks for the album of previously unreleased material, “Michael,” which is being released December 14 by Sony Music Entertainment.

The Portico II is a 2U self-powered channel module incorporating a fully featured mic preamplifier, 4-band EQ, compressor-limiter, “Texture” control and level metering, that together offer users boundless creative possibilities. For Khaliq, it has made a strong first impression: “This box is absolutely awesome; it’s my new secret weapon. Even something simple like an SM57 or 58 running through this baby sounds like a completely different type of microphone; it adds serious character. And if you’ve got a high-end microphone, it’s really amazing.”

One of the final overdub sessions for the project involved Orianthi, the Australian guitarist who had been rehearsing with Jackson for the This Is It tour prior to his untimely death. The guitarist was recorded using a Royer R-121 ribbon microphone through the Portico II alongside a Shure SM57 into a vintage Neve 1073 module. “Royer mics sound amazing on guitar anyway,” Khaliq says, “but the Portico II Channel really dialed it in. We didn’t have to use a lot of anything, but the compression and the EQ really set her guitar right where it needed to be in the track, dynamically and tonally.”

The Portico II can make a big difference to a track with only minimal adjustment of the controls, comments Khaliq. “I tried the compressor on several different things, and tried it versus plug-ins. Sometimes with plug-ins you have to really push and turn them up to 10 dB of gain before you hear something that’s acceptable. You don’t have to do a whole lot on any section of the Portico II channel to get something that really fits in perfectly.”

According to Khaliq, the Portico II Channel Strip’s Texture control, which is combined with switchable Silk modes, is a favorite feature of the unit and was especially useful on the sessions. The continuously variable control allows the user to fine-tune the negative feedback on the output transformer and adjust the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs.

The compressor section also came in handy, says Khaliq. “I tried it on several different things, and re-recorded some tracks through it.” Although the album’s track listing has not been announced, Khaliq reports that some of the more recent songs required additional overdubs, which he recorded using the Portico II module. “There’s a lot of material, and different songs needed different levels of work,” he explains, noting, for example, “Paulhino da Costa came in and put some percussion on.”

Glover has worked with some of the biggest names in the industry during nearly 30 years in the business, including Prince, Herbie Hancock, Justin Timberlake, Marcus Miller, Jermaine Jackson, Donna Summer, Kenny Rogers, Jeffrey Osborne, and many others. The new Michael Jackson album completes a circle for Khaliq, who worked as an engineer on the original recording sessions in 1985 for “We Are the World,” which was written and performed by Jackson with Lionel Richie and Stevie Wonder.

As Khaliq observes, life doesn’t get much better: “I’m working with super-producer Teddy Riley, who is the second most successful producer with Michael Jackson after Quincy Jones. And Michael Jackson is the most successful artist in the history of the world. So I’m extremely lucky.”

Owned by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently
focusing his talents on creating further innovative analogue solutions to the issues facing the modern recording engineer.

For further information on Rupert Neve Designs please visit www.rupertneve.com.

The Digital Gameplan//CAS Seminar

noreply@blogger.com (Iryna) — Thu, 16 Dec 2010 00:25:00 +0000

Excellence in Audio//the 26th TEC Awards Nominees

noreply@blogger.com (Iryna) — Tue, 26 Oct 2010 18:58:00 +0000

If you don't know what TEC is... well-I actually just found out about them too.

"Founded in 1985, the Technical Excellence & Creativity Awards is the foremost program recognizing the achievements of audio professionals. Presented annually by the TEC Foundation for Excellence in Audio, the TEC Awards recognizes the individuals, companies and technical innovations behind the sound of recordings, live performances, films, television, video games, and other media."

This years awards will be held at the NAMM show on January 14th,2011. The nominees for technical achievement is an impressive list of some great gear. Check it out-no disappointment here!

ANCILLARY EQUIPMENT

Crown XLS series power amplifiers: The XLS series power amplifiers define the standard for live sound systems with excellent performance, technology and affordability. This high-performance line consists of four models, each providing enormous power and flexibility thanks to the intergraded PureBand™ Crossover System and Peak™ Limiters—and weighing in at only 11 pounds or less—provide the ultimate in lightweight portability.JBL Professional MSC 1 Monitor System Controller: In a desktop form factor, the JBL MSC1 Monitor System Controller offers essential source selection and speaker switching features found in professional mixing consoles. JBL’s advanced RMC™ Room Mode Correction technology in the MSC1 identifies low frequency room problems and tunes speakers for greater accuracy in any room.
Rational Acoustics Smaart v.7 analysis software: Smaart ® is the most straightforward and widely-used software for real-time sound system measurement, analysis and optimization. Now owned and operated by Rational Acoustics LLC, Smaart v.7 is a completely new code base developed from the ground up, resulting in dramatic improvements in all areas of the program, from its fundamental architecture through to the details of the control interface.
RealTraps MegaTraps bass traps: RealTraps MegaTraps are highly effective bass traps meant for corner placement. Although their front surface is nearly three feet wide, the solid color makes them barely noticeable in most rooms. MegaTraps are built using RealTraps' proprietary limp-mass membrane, installed behind the front fabric for maximum absorption at bass frequencies.

Shure SRH840 pro Monitoring Headphones: Designed for pro audio engineers and musicians, SRH840 Professional Monitoring Headphones are optimized for studio recording and critical listening. A precisely tailored frequency response and 40mm neodymium dynamic drivers combine with total comfort and durability to provide the ultimate listening experience. The replaceable cable and included set of replacement ear pads insure a lifetime of use.
TC Electronic PolyTune tuner: PolyTune™ is the world's first polyphonic tuner, and a game-changing total tuning turnaround. Simply strum all strings on your guitar or bass at once, and it will immediately tell you which strings need tuning. Other features include a +/- 0.5 cent chromatic tuner, selectable needle and stream mode, dropped tuning mode, ambient light sensing for ultimate visibility and much more.

DIGITAL CONVERTER TECHNOLOGY

Apogee Electronics Apogee ONE: ONE is a pocket-sized USB microphone and music interface featuring the award-winning sound quality that made Apogee Electronics famous. Designed to work easily with Apple's GarageBand, Logic, Final Cut or any Core Audio-compliant application, ONE lets you create professional recordings anywhere.

Focusrite Saffire PRO 24 DSP: The Focusrite Saffire PRO 24 DSP is a 16 in/8 out FireWire audio interface, tailor-made for the modern home studio environment. Saffire PRO 24 DSP includes VRM, a virtual reference monitoring technology that lets users hear mixes in different environments, through different speakers, all just using headphones.

Metric Halo LIO-8 AD-DA: The LIO-8 is Metric Halo’s third-generation A/D/A converter and processing interface. Featuring best-in-world converter quality with professional digital and computer interfacing and analog domain level control for both input and output, the LIO-8 provides no-compromise audio conversion and interfacing for every application.MOTU UltraLite-mk3 Hybrid: The UltraLite-mk3 Hybrid audio interface connects via FireWire or hi-speed USB2 connectivity to a Mac or PC computer and delivers professional audio quality at samples rates up to 192 kHz and plenty of I/O, including two mic/instrument inputs, six line-level analog inputs, ten channels of analog output, stereo S/PDIF and a stereo headphone output.

PreSonus FireStudio Mobile: The FireStudio™ Mobile portable FireWire interface delivers -126 dBu EIN and 118 dB dynamic range. Features include six line and two mic/instrument inputs with Class-A XMAX™ preamps, true 48V phantom power, S/PDIF, MIDI, zero-latency cue mixer, and rugged metal chassis. PreSonus Studio One™ Artist DAW is included.RME M Series AD converters: The RME M-32 AD offers reference-quality 32-channel AD conversion to MADI and ADAT formats. The fully symmetrical analog circuit design guarantees excellent S/N and THD specs up to 192 kHz, and a real-world signal-to-noise ratio of 116 dBA on all channels. Also available is the M-16 AD, a 16-channel version with identical specs.

RECORDING DEVICES (HARDWARE RECORDERS)

Marantz Professional PMD661: Based on the innovative design of the popular PMD660, the rugged and robust Marantz PMD661 incorporates a wide range of technical advances and convenience features that help it excel in virtually any application. Big enough to accommodate dual XLR microphones and light enough for handheld use, the PMD661 offers exceptional recording quality in literally any location.
Olympus LS-11: Owning an Olympus LS-11 digital recorder is like carrying around a state-of-the-art recording studio in your pocket. Equipped with two condenser mics, built-in speakers for immediate playback and 8GB of internal memory, the LS-11 captures and plays back PCM audio with better than CD quality.
Roland R-05: This handheld digital recorder provides pristine, uncompressed stereo recording directly to SD cards with up to 24-bit/96kHz resolution and an extended battery life of over 16 hours of recording time. With the R-05's enhanced recording and editing features, specified regions of audio can be looped and the playback speed can be adjusted without causing a change in pitch. The R-05 can also simultaneously record WAV and MP3 files.
Sony PCM-M10: This 96 kHz/24-bit recorder with built-in condenser stereo microphones, 4 GB of internal flash memory and a Micro SD/Memory Stick slot also features a high-speed USB port for uploading/downloading its native WAV or MP3 format recorded files. Key features include a built-in speaker, cross-memory recording, digital pitch control, digital limiter, low-cut filter, track mark functions, a 5 second pre recording buffer and A-B repeat capability.
Tascam HS-P82: This 8-track field recorder for music, television and film production has eight high-quality preamps with standard XLR inputs to record up to 192kHz/24-bit audio with timecode. Dual Compact Flash slots provide recording with backup and no moving parts for rugged reliability. A stereo mix can be recorded in addition to the eight individual channels, for a total of 10-channel capture. A TFT color touchscreen offers simple operation.
Zoom R16: Combining the functions of a recorder, interface and DAW controller, the R16 is the total music production solution. This 16-track recorder, with simultaneous recording on eight tracks, provides onboard studio, mastering and guitar effects to sweeten your tracks. It’s never been easier to create professional multi-track recordings anywhere.

MICROPHONE PREAMPLIFIER TECHNOLOGY

Electrodyne 501: This discrete transistor, transformer-coupled preamp/active DI uses classic 1969/1970 design technology from Electrodyne factory notes and high-performance components identical to the originals. The active DI presents an almost immeasurable load to sensitive instrument outputs, for accurately capturing the instrument's true tone and can interact with the mic input transformer for maximum tone options.
Focusrite OctoPre MkII Dynamic: With eight channels of Focusrite microphone pre-amplification, eight VCA-based Red 3-derived compressors and built-in 24-bit/96 kHz digital inputs and outputs, OctoPre MkII Dynamic is Focusrite’s feature-rich expansion upgrade for any digital audio workstation. It’s equally an ideal expansion for any analog or digital console or hard disk recorder.

Grace Design m103: The m103 is a high fidelity channel strip that boasts Grace Design's world-famous mic preamp followed by a powerful, silky-smooth equalizer and an open, musical optical compressor. This is the new standard input choice for engineers and musicians who require stellar audio quality matched with powerful features and flexible I/O.

Rupert Neve Designs 5017: Comprised of a rugged, portable chassis with world-class Portico mic preamplifier, compressor and DI circuitry as well as two channel operation (one mic/one DI), Variphase, Silk, and DI/mic blending capabilities, the Portico 5017 is an innovative and powerful tool for recording or live performance.
SPL Frontliner: The Frontliner merges preamp, de-esser, EQ and compressor functions. Its key feature is a modular design with individual I/Os for independent insertion of each processor. Thus the Frontliner is not reduced to being just a front-end device, as DAW-based studios can integrate Frontliner's high-grade analog processing at any stage of the production process.

True Systems PT2-500: Our PT2-500 precision mic/instrument preamp provides traditional true ultra-resolution musicality combined with serious analog depth and warmth. Totally balanced rail-to-rail design utilizes 0.1% resistors and new-technology semiconductors to provide exceptional headroom, transient response, CMRR and EMI rejection. FET DI offers dramatic sonic performance, with in and thru jacks for flexible connectivity.

MICROPHONE TECHNOLOGY/SOUND REINFORCEMENT

AKG C 747 V11: The C747 V11 is based on the C747, the so called “pencil microphone“ first built in 1987. This new version was carefully redesigned to better cope with specific installed sound issues: immune to RF interference; speech optimized frequency range; enhanced hypercardioid polar pattern; high SPL capability; and premium microphone performance for a wide variety of applications.
Audio-Technica AT4081: The new AT4081 Bidirectional Active Ribbon Microphone achieves the coveted ribbon microphone sound while solving the problems of fragility and low output that have historically plagued ribbon mics. The low-profile mic offers onboard phantom-powered active electronics, providing stable impedance and higher output for maximum compatibility with a wide range of preamps.
Earthworks PM40T Touring PianoMic: The New PM40T PianoMic™ is designed for touring pianists. It provides excellent sound quality, more gain before feedback and high rejection of sounds coming from outside the piano. It offers superb performance with the piano lid either up or down. The PM40T easily breaks apart into two sections that fit in its airline regulation carry-on case.

Heil Sound PR 28: The PR 28 is a premier drum mic designed for toms, snares, bongo and many other applications. The tight cardioid pattern with a wide frequency response and stellar rear rejection makes the PR 28 suitable for many other applications. The PR 28 has a frequency response of 55 Hz to 18 kHz (+3 dB rise @ 3,500 Hz). Rear rejection is -35dB at 180-degrees off-axis. It can handle 148 dB SPLs.

Neumann KMS 104 plus: The KMS 104 plus is a cardioid handheld condenser vocal mic offering an extremely transparent sound for optimal intelligibility of the lyrics. The KMS 104 plus offers the reliability and excellence of Neumann's popular KMS 104, but in a version optimized for the requirements of female voices in the rock and pop field.

Shure Beta 27: The Beta 27 side-address condenser microphone is precision engineered for professional sound reinforcement and project studio recording applications. Its flat frequency response and low self-noise provide unerring performance in demanding environments. A tight supercardioid pattern ensures high gain-before-feedback and maximum isolation from other sound sources.

MICROPHONE TECHNOLOGY/RECORDING

Audio-Technica AT4050ST: The AT4050ST stereo condenser features independent cardioid and figure-8 elements in a Mid-Side arrangement with switch-selectable internal matrixing. The microphone offers sound recordists the choice of selecting a left-right stereo output (wide 127-degrees or narrow 90-degrees) via the mic’s internal matrixing system or choosing discrete Mid-Side signals for later manipulation.

DPA 5100: The DPA 5100 surround microphone is perfect for recording 5.1 projects, or for capturing surround ambience for HDTV, all with stunning sound quality. Requiring no additional processing, the 5100 can be camera or mic stand mounted, suspended or handheld. The robustly built 5100 is weather resilient, lightweight, compact and portable.
Josephson C715: The Josephson C715 provides a new tool for engineers to make superb recordings in the studio. The large single-diaphragm capsule, entirely made by Josephson in California, can be mechanically switched from cardioid to omni, and the special metal foam basket creates minimal reflections for the cleanest possible sound.
Neumann TLM 102: The TLM 102 condenser microphone offers a reduced overall size with a newly developed large-diaphragm cardioid capsule with a stated maximum sound pressure level of 144 dB for recording percussion, drums, amps and other loud sound sources. A slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. The TLM 102 is available in black and nickel finishes.
Royer SF-24V: The SF-24V is a superb stereophonic ribbon microphone employing vacuum tube buffer stages and 1.8-micron ribbons for maximum headroom and ultra-fast transient response. The fixed Blumlein configuration offers a well balanced stereo image. The microphone system includes a shockmount, power supply, cables and carrying case. Telefunken Elektroakustik R-F-T AR-51: Telefunken Elektroakustik created the R-F-T Series of microphones as an affordable solution to deliver amazing tone for an affordable price. For the AR-51 we used the amplifier electronics from our C-12/ELA M 251 E recreations, married them to an offshore capsule to create a great tool for any indoor recording application.

WIRELESS TECHNOLOGY

AKG Wireless iPhone App: Want to check your wireless system from your iPhone? With the AKG Wireless iPhone App, you can monitor and control an AKG wireless system from your iPhone or iPod Touch via Wi-Fi. The app is the fastest and easiest way to check the wireless connection between a transmitter and receiver on stage. It actually lets you check and detect radio shadow areas directly on the stage.

Audio-Technica 3000 Series "b": Audio-Technica’s redesigned 3000 Series wireless systems offer rock-solid, richly detailed high-fidelity sound & intuitive operation. New features include simplified selection of up to 1001 UHF frequencies, increased system reliability, and illuminated transmitter screens for clear reads on dark stages.(Note:if you go to the AT website you can rebate 30$ on this product-yipee. Offer expires at the end of December.)

Lectrosonics SMV Series Transmitters: To meet the demand for both extended operating range and extended battery life, the “V” series SM “Super Mini” transmitters offer selectable output power of 50, 100 or 250 mW. Digital Hybrid Wireless® technology ensures crystal-clear audio with no compander artifacts. The super-small size delights performers and costume designers alike.

Sabine SWM6000: The SWM 6000 series is the latest generation of license free wireless systems developed by Sabine Inc. Using the 915MHz ISM band, the SWM 6000 series offers 34 channels of simultaneous use. Features also include: Re-chargeable battery system, on-board FBX Feedback Exterminator, compression and EQ, built in RF scanner and serial control.
Sennheiser G3 500 Series: Sennheiser's 500 G3 wireless offers a handheld mic (SKM 500 G3), which may be fitted with a variety of capsules, and a bodypack (SK 500 G3) that accommodates several clip-on or head-worn mics and the ci1 instrument cable. The 500 G3 systems operate in one of six UHF frequency ranges between 516 and 865 MHz with 1,680 possible transmission frequencies.

Shure PSM900 Personal Monitor System: The PSM900 offers a combination of superb audio quality, robust RF performance, and category-leading features for demanding pro applications. All new, patent-pending CueMode lets the sound engineer to monitor different stage mixes with the touch of a button. Precision front-end RF filtering significantly reduces dropouts from RF interference, and the enhanced digital stereo encoder provides excellent stereo separation and audio clarity.

SOUND REINFORCEMENT LOUDSPEAKER TECHNOLOGY

Bag End IDS12-I: The IDS12-I is a self-powered and self-Infra processed low frequency loudspeaker designed for sound reinforcement and foreground music installation. The small 12-inch system module is designed to be incorporated into multiple driver arrays where customizing the array size and location provides a powerful tool to proportionally scale the low frequency array to the room.

EAW KF740: The KF740 delivers premium, high-output, 3-way performance in a compact and easy-to-use package that's optimized for the widest range of touring and installation applications. The symmetrical design, large horn and spaced woofers provide exceptional pattern control while EAW Focusing and EAW Resolution software further enhance system performance.

Electro-Voice ZXA1: Electro-Voice has added to the award-winning ZX loudspeaker family with the new ZXA1—the self-powered version of the best-selling ZX1 compact, two-way loudspeaker. At 19 pounds—over 25% lighter than the closest competitor—and 800 watts, ZXA1 offers an unprecedented power-to- weight ratio.

JBL VERTEC VT4886/VT4883 Subcompact Line Array: JBL’s VERTEC VT4886 subcompact line array and VT4883 cardioid-arrayable subwoofer deliver predictable coverage and high output in a small package. VT4886 offers the highest power density in its class with ten voice coils per box, and is suitable for use in a broad range of suspended-array, ground-based and fill speaker applications.

QSC Audio K Series: QSC K-Series is a range of powered, sound reinforcement loudspeakers using efficient Class-D power amplification. The series includes 8-inch, 10-inch and 12-inch two-way models and a dual 12-inch subwoofer. Two-way models use DMT (Directivity Matched Transition) to match woofer and waveguides directivity for superb power response and off-axis coverage.

RCF TTL55-A: The flagship TTL55-A is a high-power, three-way, active line array system that's scalable from a few modules to full touring rigs. Each has 3,500 watts of networked, DSP-controlled amplification driving six neodymium transducers—dual 12-inch woofers in a clamshell configuration, flanked by a 10-inch midrange and three 1.5-inch HF drivers—for 143dB max SPLs.

STUDIO MONITOR TECHNOLOGY

ADAM S3X-H: ADAM SX-Series monitors feature the X-ART tweeter, which provides 4dB higher efficiency and 3dB more SPL than its predecessor, plus an expanded frequency response of 32Hz to 50 kHz. The S3X-H uses a 4-inch HexaCone midrange driver and two 7-inch Hexacone woofers that produce a deep, tight bass within the same frequency and radiation pattern.

ATC SCM25A: The ATC SCM25A features a 1-inch HF driver, 3-inch proprietary mid-dome, and 7-inch woofer. The integrated tri-amplifier provides 150W to the woofer, 60W to the mid-dome, and 25W to the soft dome tweeter. Also included is a foam port plug to reduce low frequency output in small listening/control rooms.
Blue Sky SAT 8/SUB 212: This three way, tri-amplified, 300-Watt, compact mid-field monitor has an 8-inch, high-excursion hemispherical woofer, an ultra-low distortion 4-inch hemispherical mid driver, and a 1-inch dual ring radiator tweeter with integral waveguide, for superior off-axis response. The SUB 212 is a dual 12-inch, 400-Watt subwoofer with 2.1 bass management electronics matched to the SAT 8.
Dynaudio BM5A MkII: The BM 5A MKII imparts all of the quality and power that you’ve come to expect from Dynaudio Acoustics and have been re-engineered to take near-field monitoring to new levels of performance. New features include our handmade drivers that offer the best in quality and accuracy, a high-resolution soft dome tweeter, louder, more accurate bass and custom designed dual amps.
Focal Professional CMS 40: The CMS 40 is the most compact and most affordable monitor of the Focal Professional range. It is designed for the Home Studios as well as Broadcast and Post-Production environments.
Genelec 8260A: The new 8260A DSP three-way system represents Genelec’s cutting-edge innovations in all technology domains. The MDC™ coaxial MF/HF breakthrough solution combines, for the first time, a coaxial driver within Genelec DCW™ waveguide, as well as advanced electronics featuring AutoCal™, Genelec’s proprietary automated room calibration system. The unique 8260A is capable of outstanding, consistent performance in challenging acoustic conditions.

MUSICAL INSTRUMENT TECHNOLOGY/HARDWARE

Dave Smith Instruments Mopho Keyboard: Mopho Keyboard offers the sound and versatility of a classic, real analog synthesizer in a compact, programmable, and—perhaps best of all—affordable package. Features include Curtis filter, 16x4 step sequencer, a wealth of modulation possibilities, full-size pitch and mod wheels, and full-size, semi-weighted key action with aftertouch.
Korg Stage Vintage Piano: Korg’s Stage Vintage Piano offers 36 of the most coveted vintage keyboard sounds, including a collection of rich acoustic pianos, all recreated with exacting detail. Modeled classic effect pedals and studio processing give these sounds their original luster. The tube-driven (12AX7) Valve Reactor circuit adds warmth and realism to period-accurate amplifier models.
Moog Taurus 3 Bass Pedals: The new Moog Taurus 3 Bass Pedals faithfully recreate the sound of the legendary Taurus I. Starting with an in-depth analysis of the original circuitry, Moog added modern amenities such as MIDI and USB. The final result is a work of art with powerful bass that can knock down a small building.
Nord Electro 3: The Electro 3 combines the legacy of the original Electro and the know-how that has shaped Nord’s other acclaimed keyboards. The Electro 3 features stunningly recreated classic organs, exquisite pianos, full access to Nord’s ever expanding Sample Library, and a thoughtfully designed top panel that provides deep access to parameters and effects.

Novation Launchpad: With a multi-color 64-button grid and dedicated scene launch buttons, Launchpad is purpose-built for triggering and manipulating clips in Live, but also offers a totally new way of controlling Ableton Live’s mixer. Launchpad's buttons can be used to sketch out beats with drum racks, and they can be assigned to other functions in Live using Ableton's "Learn" mode.
Yamaha CP Series CP1: The no-compromise CP1 is a premium instrument with a commitment to both tradition and innovation. Combining the unique Spectral Component Modeling (SCM) tone generation system and a new NW-Stage wooden key action, the CP1 is designed to meet the demands of top professionals. This combination of touch and tone make the CP1 the most expressive stage piano that has ever been created.

MUSICAL INSTRUMENT TECHNOLOGY / SOFTWARE

Ableton Max For Live: Co-developed by Ableton and Cycling '74, Max for Live puts the power and potential of Max/MSP inside Live. The program lets users create instruments, effects and extensions, build completely unique synths and effects, create algorithmic composition tools, or fuse Live and controller hardware into radical, new music machines.
Celemony Melodyne Editor: Melodyne Editor is the first Celemony product to offer the revolutionary Direct Note Access (DNA) technology. This makes possible what had previously been considered impossible: access to individual notes in polyphonic audio material. Melodyne Editor is the first choice for the optimization of lead vocals, too. Under Mac OS and Windows, it operates as a plug-in and in standalone application.
IK Multimedia AmpliTube 3: IK Multimedia’s AmpliTube 3 raises the standard of sound variety, realism and creative power as the industry’s leading guitar and bass tone software. Experience rich, lush and expressive analog-modeled warmth, with over 160 precisely modeled pieces of vintage and modern gear available in one package. AmpliTube 3 is the ultimate tone gear collection for the player/producer/engineer.
Line 6 POD Farm 2: POD Farm 2 Platinum adds industry-standard POD® tone to any DAW by delivering 78 modern and vintage guitar amps, 28 bass amps, 97 stompboxes and studio effects, while featuring enhanced routing and flexibility, multiple signal chains, full MIDI support, MIDI Learn and new POD Farm Elements.

Native Instruments Maschine: Maschine is a next-generation groove production system for both studio and live use, which brings the legacy of classic drum machines into the modern technological environment. It consists of a software with advanced real-time sequencing, sampling and effect processing features, combined with a seamlessly integrated performance controller hardware.
Spectrasonics Trilian Total Bass Module: Spectrasonics' Trilian Total Bass Module is a virtual instrument software plug-in featuring hundreds of Acoustic, Electric and Synth basses. Trilian combines expressive, real-time performance for acoustic and electric basses, and cutting-edge synth bass tones, with powerful editing and extraordinary sound quality with its 34 GB library of extremely detailed sampled instruments.

SIGNAL PROCESSING TECHNOLOGY/HARDWARE

Bricasti Design System 1: Bricasti Design has followed the success of their highly acclaimed Model 7 Stereo Reverb Processor with the System One, which is comprised of an M7M (an exact duplicate of the Model 7 with reduced front panel controls) combined with the M10 Remote Console and all the necessary cabling and interconnects.
Dangerous Music Bax EQ: The Bax EQ is a dedicated stereo shelving equalizer with a 21st century mastering aesthetic. Built to satisfy the demands of a professional studio community searching for a broad-stroke sculpting tool with a unique sonic signature, the Dangerous design team took inspiration from the classic Baxandall shelving curves of the 60’s and 70’s. The result is pure emotive expression with audiophile accuracy.
Endless Analog CLASP: CLASP is the world’s first and only professional audio hardware that lets users record on real analog tape with digital speed. CLASP provides sample-accurate tape synchronization with zero-latency analog monitoring while delivering a true Analog front-end recording solution for Pro Tools and other DAWs.
Lexicon PCM92: The Lexicon PCM92 utilizes the latest DSP technology and a collection of Lexicon algorithms to offer the ultimate audio processor for live sound and studio applications. The PCM92 delivers 28 mono and stereo reverbs, delays, and modulation effects and a comprehensive collection of over 1,200 presets from our immense library of sounds.TC Electronic System 6000 Mk II: Launched in 2000, the acclaimed original System 6000 established itself as the standard for stereo and multichannel reverb and signal processing. System 6000 MkII now features an internal hardware upgrade, brushed aluminum front with reinforced chassis, the LM5D Loudness Radar Meter allowing conformity to the new loudness and true-peak measurement standards and one additional software license of your choice.
Universal Audio UAD-2 Solo/Laptop: The UAD-2 SOLO/Laptop is a convenient DSP accelerator card that provides a significant processing boost for those who mix music on Mac and PC laptops. Better still, it gives users access to Universal Audio's entire library of award-winning UAD Powered Plug-Ins.

SIGNAL PROCESSING TECHNOLOGY/SOFTWARE

CEDAR DNS One: CEDAR’s DNS One makes no compromises in sound quality and offers the same Academy Award-winning performance as its illustrious siblings. With a GUI that allows users to control hundreds of channels of DNS (hardware and software) from a single Pro Tools host, it is supremely flexible and effective.
iZotope Alloy: Alloy provides six key sound shaping effects. Add iZotope Alloy to your tracks and buses and bring them to life with six processors designed to give character to every element of your mix. Alloy’s six modules offer everything you need to be a master mixer. The huge selection of MacroPresets customize Alloy’s screen to show you just the sliders and meters you need, giving you powerful preset signal chains with simple controls.
Lexicon PCM Native Reverb Bundle: The Lexicon PCM Native Reverb Plug-In Bundle is a software offering of Lexicon’s award-winning hardware algorithms. Seven groundbreaking reverb plug-ins—including Chamber, Concert Hall, Hall, Plate, Random Hall, Room and Vintage Plate—plus hundreds of brilliantly-crafted studio presets make the PCM Bundle the ultimate tool for creating immaculate, world-class mixes.
Sonnox Restore Suite: Sonnox Restore is a suite of three plug-ins designed for highly accurate audio restoration. A combination of the plug-ins’ advanced algorithms, intuitive graphical interfaces and novel features allow fast and extremely effective removal of pops, clicks, crackles, hum, buzzes and background noise from virtually any impaired audio recording.
Universal Audio Manley Massive Passive Plug-in: The Manley Massive Passive EQ plug-ins for the UAD-2 platform represent UA’s most ambitious and detailed hardware EQ model to date. The 2-channel, 4-band Manley Massive Passive tube EQ combines design strengths from console, parametric, graphic, and Pultec EQs—delivering a warm, musical sound that UA has captured for DAW users.
Waves Vocal Rider: Instead of manually riding a console fader, Vocal Rider does it for you. All you need to do is set the target range of the vocal level in relation to the rest of the mix. Then, Vocal Rider compensates for all deviations from the target, intelligently raising or lowering the vocal volume, instantly.

WORKSTATION TECHNOLOGY

Ableton Live 8: Ableton Live is a program for music composition, songwriting, recording, production, remixing and live performance. Live's nonlinear, intuitive flow, alongside powerful real-time editing and flexible performance options, make it a unique studio and live performance tool. Live 8 includes a new groove engine, revamped warping, live looping, new effects, crossfades in the Arrangement View and a reworked MIDI editor.

Apple Logic Studio: Logic Studio—featuring Logic Pro 9, MainStage2, and Soundtrack Pro 3—provides a complete set of professional music applications for writing, recording, editing, mixing and performing. Logic Studio is the largest collection of instruments, effects, and loops offered in a single box and offers new features like Flex Time, Amp Designer, Pedalboard, Loopback and Playback.
Cakewalk SONAR 8.5 Producer: SONAR 8.5 Producer gives you what you need for recording, composing, editing, mixing, and mastering. Get innovations that matter, from exclusive features to ignite creativity and perfect your tracks, to groundbreaking technologies that always keep you in control, all backed by the industry’s leading 64-bit audio quality.
Harrison Mixbus: Harrison Mixbus is a virtual "analog console" integrated into a full-featured DAW. Mixbus is unique among DAWs because it incorporates Harrison's renowned mixing technologies, a striking knob-per-function interface, and collaboration with the open-source community. Designed for both professional and semi-pro users, Mixbus is an unsurpassed value in today's competitive DAW market.
PreSonus Studio One Pro version 1.5: Based on an elegant, single-window GUI and featuring an integrated mastering suite, this 64-bit professional DAW lets you work faster than you thought possible. Load and save audio clips, MIDI files, effects, videos, and VIs by drag-and-drop. Mix, master, burn CDs and DVDs, and upload to the Web —all within Studio One. Sony Creative Software Sound Forge Pro 10: Sound Forge™ Pro 10 is the ultimate production suite for audio recording and mastering, sound design, restoration, and Red Book CD creation. New features in Sound Forge Pro 10 include integrated disc-at-once CD burning, mastering effects and dithering tools by iZotope, the Zplane élastique Pro timestretch algorithm, and more.

SOUND REINFORCEMENT CONSOLE TECHNOLOGY

Allen & Heath iLive-R72/iDR-16 3U MixRack: The iLive-R72 19-inch rack mountable Control Surface and iDR-16 3U MixRack provide a space saving, lightweight digital live mixing system, bringing the same power, sonic performance, and flexibility of the larger touring iLive systems to a portable format. The MixRack provides 16 inputs and eight outputs but includes processing for up to 64 channels, 32 mixes and eight stereo effects.
Avid VENUE SC48: VENUE SC48 is the most affordable and portable VENUE system, combining all I/O, digital signal processing, and tactile control into a single console. The console features studio-quality sound, Pro Tools plug-in support, seamless integration with Pro Tools LE systems, complete show file portability and offers innovative new workflows that streamline the mixing process.
DiGiCo SD8-24: The compact SD8-24 has a fixed architecture powered by Stealth Digital Processing™ giving 60 Flexichannels, 24 Flexibusses, 12 matrix, dual solo buses and master bus. Coupled with onboard effects and graphic EQs, plus remote stagerack and local I/O—it's all controlled via a large 15-inch touchscreen for fast control.
Innovason Eclipse: Powerful, compact and completely configurable, Eclipse enables users to mix up to 104 inputs simultaneously into 48 mix buses and can manage up to 320 outputs. Unique to Innovason is the fully integrated 64-track digital recorder M.A.R.S., the SmartPanel, Multi-Mix Memories and full control and management of Neumann’s Solution-D Series digital microphones.
Soundcraft Si1: The Si1is just 48 inches in width, fitting into space-restricted areas such as theatres, small venues, and houses of worship. As standard, the Si1 has 32 mic inputs mapped on 16 faders, and with four dedicated stereo line channels, four dedicated FX returns from the four stereo Lexicon FX processors.
Yamaha M7CL-48ES: The Yamaha M7CL48-ES digital console includes a built-in EtherSound interface, eight Omni Ins, eight Omni Outs, three MY card slots, and supports up to three Yamaha SB168-ES stage boxes enabling mixing of up to 48 mono, four stereo inputs to 16 mix buses, eight matrix outs, and stereo and mono outputs.

SMALL FORMAT CONSOLE TECHNOLOGY

Audient Zen: The Zen console is a thoroughly modern, yet classic analog mixing console combining DAW I/O integration with moving fader automation, transport control and the sonically pure signal path you would expect from Audient. Zen brings high-resolution mixing technology to the forefront of the modern studio environment.
Avid MC Control Version 2: MC Control v2 is the flagship of the Avid Artist Series and delivers deep, integrated tactile control of audio and video applications via the open EUCON™ Ethernet control protocol, while its touch-screen interface allows for customization to enhance any workflow in a slimline design for easy studio integration and portability.
Mackie Onyx-i Series: Onyx-i FireWire Production Mixers combine a powerful FW interface with the hands-on control of an analog mixer. Compatible with all major DAWs including Pro Tools M-Powered 8, Onyx-i mixers offer proven analog features like Onyx mic preamps, Perkins EQ and pre/post assignable aux sends, all of which can be flexibly routed via integrated FireWire.
PreSonus StudioLive 24.4.2: Easy to use, compact, and flawlessly integrated with state-of-the-art software, the StudioLive 24.4.2 digital mixer is a powerful creative environment for live events, installations, and project studios. It features 24 channels with Class-A preamps, a FireWire interface, extensive signal processing, 10 auxes, four subgroups, extensive metering, setting save/recall and more.
Solid State Logic X-Desk: X-Desk is a compact SSL mixing desk that delivers the very highest quality analog hub for professional project studios. It is a 20-input SSL SuperAnalogue™ summing mixer with comprehensive artist & studio monitoring with dim/cut buttons, aux sends, channel and master bus inserts and accurate level metering.
Sound Devices 552: Sound Devices 552 Portable Production Mixer is a powerful, compact audio mixer with an integrated recorder. Using the best analog and digital technologies, the 552 gives professionals a superb sounding, lightweight and power-efficient mixer that is equally at home in simple run-and-gun applications or in complex multi-input, multi-output production setups.

LARGE FORMAT CONSOLE TECHNOLOGY

Calrec Artemis: Calrec’s Artemis is based on the award-winning Apollo and utilizes the same technologies such as Bluefin2 and Hydra2. Bluefin2 provides up to 640 channel processing paths, while Hydra2 provides an integrated 8192² cross-point router. Artemis’ unique control surface provides instant visual feedback and the flexibility to reconfigure the entire desk in seconds.
Fairlight EVO: Fairlight’s reputation for innovation and quality has taken another giant step forward with the launch of EVO, a fully self-contained system aimed at film, video and music production and post production facilities. EVO is the ideal platform for integrated recording, editing, mixing and video.
Lawo mc²66 MKII: The Lawo mc²66 MKII offers 8000x8000 crosspoints and a fully integrated and redundantly designable control system. The production console offers a completely redundant signal path—from stage box through the DSP channel to the output. It includes OLED displays, FC4/second layer operation, touchscreens, GUI operation and integration of external devices.
Solid State Logic Duality SE: Duality SE is a classic SSL console for today’s production workflow. It allows producers and engineers to harness the clear sonic advantages of SSL SuperAnalogue™ mic pre’s, processing and summing, with the unique tone of the SSL VHD system within a console that features advanced DAW integration and control.
StageTec Crescendo: Designed for the live and broadcast markets where space for a mixing console is often a luxury, Crescendo is a compact yet fully loaded multiformat digital console that's a breeze to operate. It offers unsurpassed visual feedback, flexibility in console architecture and pristine workmanship. Coupled with Nexus, the powerful digital audio router, the Crescendo is a true workhorse.
Studer Vista 9: Building on the acclaimed and proven Vista digital mixing platform, the Studer Vista 9 combines advanced ergonomic design with complete system flexibility, pristine audio quality and groundbreaking new features, supplementing the acclaimed Vistonics™ interface with radical and innovative TFT-based metering, FaderGlow™ and numerous other innovations.

How To//The secrets of the 788T

noreply@blogger.com (Iryna) — Tue, 26 Oct 2010 16:20:00 +0000

I personally own and adore this recorder.It does take a bit of time to figure things out and as with every product in which a ton of options are squished into a small size there is some akwardness in terms of use. But once you finik... and finik some more,this will be one of your best friends(yes,my social life is indeed ruled by electronics-it's sad,i know).

Below are some educational and plenty interesting videos on the product.Behold-the 788T!

Sound Devices Multi-Track Production Sound (part 1) from Sound Devices on Vimeo.

Sound Devices Multi-Track Production Sound (part 2) from Sound Devices on Vimeo.

Gear News//Two Channel Recording Wireless Transmitter

noreply@blogger.com (Iryna) — Mon, 25 Oct 2010 22:41:00 +0000

I am not too sure how I missed the launch of this fabulous piece of equipment,because now I know what I want for Christmas.This past September Zaxcom came up with something beyond fantastic "a new recording wireless transmitter that supports two microphone inputs and independent transmission of two isolated audio channels". The numerous options that this opens up for any location mixer simply bugles my mind. Below is all of the info I could find:

TRX900LTS (LTS), a new recording wireless transmitter that supports two microphone inputs and independent transmission of two isolated audio channels, all on a single RF carrier signal. This revolutionary new product will allow for the first time ever audio professionals in the television broadcasting, live event, sporting, and theater markets to transmit a stereo image wirelessly from talent via a single body pack. Available in October 2010, the LTS’ unique dual-microphone input greatly enhances the production of 5.1 surround sound.

“Our new LTS two-channel recording wireless transmitter is ideal for any type of wireless audio production where a stereo image, with its clear right/left perception of audio, will enhance the sound track,” said Glenn Sanders, Zaxcom's president. “As a lightweight bodypack with no heat generation and a six-hour run time on just one AA lithium battery, the LTS is likely to be very popular with both production staff and talent alike. Users even have the option of switching the LTS to single-channel transmission, ensuring flexible production options no matter what audio needs our customers face.”

Incorporating the key functionality of Zaxcom’s patented wireless-recording technologies, the LTS records timecode-stamped, two-channel, back-up audio directly within the body pack to eliminate the risk of audio loss due to interference or signal drop out. With 100-percent digital audio wireless transmission and no intermodulation, the LTS provides superior audio quality that rivals that of a hardwired connection. Each unit also features an internal SMPTE timecode reader/generator. The LTS provides up to 96 hours of recording time, and is supported by the ZaxNet remote control network for easy adjustments on-the-fly.

The TRX900LTS is also fully compatible with ZaxNet, Zaxcom’s new 2.4-GHz RF network that enables the distribution of remote control signals, timecode, IFB audio, and metadata. With ZaxNet, LTS users can remotely control gain settings and replay audio via a timecode reference giving production sound mixers the ability to replay and remix audio, creating a virtual multi-track playback and re-record system.

Two studio quality internal microphone preamps
Built-in 2.4 GHz receiver, receives timecode and remote control signals from ZaxNet via the IFB100
Two channel digital modulation wireless transmitter
Compander free superb audio quality that rivals a mic cable
Two channel 96 hour internal backup recording with timecode stamp
Internal SMTPE timecode reader / generator
Digital drop-out protection
Up to 6 hours of run time on a single AA lithium battery
Graphic LCD display
Talent friendly small, rugged and lightweight nylon composite case
No heat generation from bodypack
Two channels per RF carrier with no inter-modulation - up to 50 transmitters, in the same frequency block, can be used together

More on Internal Recording
The TRX900LTS' 96 hour, 24 bit internal recording is perfect for those times when there's a lack of available frequencies or when drop-outs cannot be tolerated. The audio is timecode referenced, recorded on and played back from a removable MicroSD memory card that can be used in any standard SD card reader.

Audio can be recorded, played back and timecode referenced either manually or through remote control commands from the IFB100 transmitter.
The audio is automatically recorded full bandwidth as a .ZAX file. The included ZaxConvert file transfer software (available for both MAC and PC) utilizes sample rate conversion to obtain the sample rate and bit depth of choice when files are imported to your computer. There are two timecode stamped file types to choose from: BWF (Broadcast Wave Format) or MP3 (MPEG-1 Audio Layer 3). MP3 files are great for quickly transferring files over the internet to a transcription house.

Any number of versions of the same recording can be made from a single file.

Transmitter
RF Power output	10 / 25 / 50 mW - Software selectable
RF Modulation	proprietary digital method
RF Frequency Range	518.0 to 872.0 MHz (blocks are 20 to 36 MHz wide)
RF Frequency Step	100 KHz
RF Bandwidth	US Mode: 200 KHz
Channel Separation	500 KHz (700 KHz recommended)
Antenna Connector	50-ohm SSMA female
Emission Designator	180 KV2E
FCC Part	74.861

Transmitter Audio
Dynamic Range	106 dB
Distortion	0.001%
Frequency Response	Mode 0: 20 Hz to 16 kHz
	T&M Model: 0.2 Hz to 16 kHz
Highpass Filter	Off or 30 to 220 Hz, step: 10 (6 dB per octave)
System Group Delay	Mono mode: 3.6 ms Stereo mode: 6 ms
Mic Power	3.3 VDC
Mic Connector	3-pin micro-LEMO
Input Range	-60 to -30 dBu
Impedance	4.7 k ohms
ADC Bit-depth	24 bits
ADC Sampling-rate	48 kHz

Timecode Reader / Generator
Clock Accuracy	1.54 PPM (1 frame out in 6 hours)
Timecode Type	SMPTE
Timecode Frame-rates	23.98, 24, 25, 29.97NDF, 29.97DF, 30NDF, 30DF

Recording (optional)
Media	MicroSD card (Flash memory)
File Format	.ZAX
Recording Time	96 hours (16 GB card)

2.4 GHz ZaxNet Receiver
RF Frequency Range	2.403 to 2.475 GHz
RF Modulation	Digital Spread Spectrum
RF Frequency Step	0.001 GHz (1 MHz )
RF Bandwidth	1 MHz
Channel Separation	2 MHz
Sensitivity	-96 dBm

Physical
Weight	3.1 oz. within battery
Dimensions (H x W x D)	2.4" x 2.4" x .65"
Internal Power (Battery)	Up to 6 hours @ 50 mW (one lithium or NiMH AA battery)
Display	Graphic LCD panel

The LTS is available for purchase at a list price of $1,995. More about Zaxcom's full line of audio systems is available at www.zaxcom.com.

It is absolutely impossible to have a bad recording with these-placement nor RF drops are no longer an issue. Now if only the price was less revolutionary....

The Price for Talent//Industry Favors 101

noreply@blogger.com (Iryna) — Mon, 04 Oct 2010 19:47:00 +0000

Ah,the entertainment industry. The creature that demands favors and paying your dues. But how do these dues and favors relate to paying rent and building your career?Is there a relation at all?
We all have been promised glory and unimaginable heaps of work in the future,if only we donate our time and equipment for something that amounts to less than minimum wage. Every project is special,with special needs,unique circumstances,unbelievable potential and a great crew that believes in it. Now all they need is you. The reality that lurks behind the shiny promises of greatness,is that the only person who believes in anything is the director,the only people who have a chance of making money on the project after the matter of fact are the actors(if they were bright enough to sign a contract) and the only type of work you will be referred to afterwards will be in the same pay-scale. Which is nothing really.
So how does one pay their dues without turning into a charitable organization?Why,with a plan of course.

First of,know why you are paying these dues at all-are you green in the industry,new to the town or are you trying to impress that great producer?
If "green" is your status,the first steps are to take a deep breath and put the eagerness to a healthy level with a huge dose of realism. Let the realization of being screwed over wash over you in the very beginning and then do the best job you possibly can. Important note,is to never take the entire workload on yourself. Ever. Even if you think you can handle it. Because:
A. The worst thing you can do is get burnt out early on in the game.
B. Letting production think that they are doing you a favor by allowing you to be present on this project, will lead to an intense workload and demands that even the slaves of the Ancient Rome would protest against.
Plan where you are trying to get and what kind of projects you need to do to get there. Example: When you grow up,you want to be a sound mixer->you will probably need to go through being an assistant,possibly boom op afterwards and then a mixer. Once you feel like you have the chops,buy a small package that will not put a dent in your food budget.At this point one complete freebie is recommended for you to test your set up and your chops. Congratulations, you can now move to low-budgets but be careful not stick around for too long. Words of wisdom- donating your kit is a very silly thing to do.If production had the budget to rent the camera package,they should have planned for a sound package.
My sincere condolences to those of us in post-the amount of time we are asked to donate to polish a t**d is quite sinful.My advice is to go the internship route,rather than try to freelance your way into a paying gig(Note: if your internship consists of just brining coffee and doing food runs,you are basically like a waitor/ess who really wants to be an actor/ess and dreams of being discovered by a producer in the restaurant. There is one tiny difference-they have a better chance of making it and,unlike you, they are paying their rent). You will learn a lot more from a good mentor,make contacts with people who are actually paying and save a lot of mental health by not trying to suddenly figure out the dynamics of the sound team/client relationship. Make sure that your mentor has a clear understanding of what it is you are trying to learn,achieve and move on to. Remember not to lose grasp on reality and hold on to the "being screwed-over" feeling.

New-to-the city category,is usually also expected to go through the cleansing fire of favors and low-budgets. Same points apply as to the complete newbies,but depending on your experience you should dip your feet in the low-budgets right away,and omit the step of the free-be territory. Still getting screwed,but at least the rent is paid for. Know what is the rate you should be getting paid and make sure you let people know what it is.It is important to make sure that the producers understand that they are getting a one-time only discount.Of course any future work with the above-mentioned producers will depend solely on them liking you and the work that you did.So bring out the chops and put your charming face on.

Trying to impress that special someone?You only need to impress them once.If they say they are still confused after sampling your work-they are full of it. First of,people whose hands touch money in this industry are rarely,if not never in the position of having no budget for sound. They might have their own special project on the go,but it will only be one. Secondly,people who work on serious projects know the importance and value of good sound,thus will make sure their sound team is a happy and fed one.

Remember what you you are aiming for and move towards that goal. Getting stuck in the wrong lane is never fun,but understanding the steps that are needed and protecting yourself from abuse will ensure that you are on the right track. Best of luck and a Very Happy Monday!

Sound health in 8 steps//Julian Treasure for TED

noreply@blogger.com (Iryna) — Tue, 28 Sep 2010 07:08:00 +0000

The Hindus say, "Nada brahma," one translation of which is, "The world is sound." And, in a way, that's true, because everything is vibrating. In fact, all of you as you sit here right now are vibrating. Every part of your body is vibrating at different frequencies. So you are, in fact, a chord, each of you an individual chord. One definition of health may be that that chord is in complete harmony.Your ears can't hear that chord. They can actually hear amazing things. Your ears can hear 10 octaves. Incidentally, we see just one octave. Your ears are always on. You have no earlids. They work even when you sleep. The smallest sound you can perceive moves your eardrum just four atomic diameters. The loudest sound you can hear is a trillion times more powerful than that.
Ears are made not for hearing, but for listening.Listening is an active skill. Whereas hearing is passive, listening is something that we have to work at. It's a relationship with sound. And yet it's a skill that none of us are taught. For example, have you ever considered that there are listening positions, places you can listen from? Here are two of them. Reductive listening is listening "for." It reduces everything down to what's relevant, and it discards everything that's not relevant. Men typically listen reductively. So he's saying, "I've got this problem." He's saying, "Here's your solution. Thanks very much. Next." That's the way we talk, right guys?
Expansive listening, on the other hand, is listening "with," not listening "for." It's got no destination in mind. It's just enjoying the journey. Women typically listen expansively. If you look at these two, eye contact, facing each other, possibly both talking at the same time. (Laughter) Men, if you get nothing else out of this talk, practice expansive listening,and you can transform your relationships.
The trouble with listening is that so much of what we hear is noise, surrounding us all the time. Noise like this, according to the European Union, is reducing the health and the quality of life of 25 percent of the population of Europe. Two percent of the population of Europe -- that's 16 million people -- are having their sleep devastated by noise like that. Noise kills 200,000 people a year in Europe.It's a really big problem.
Now, when you were little, if you had noise, and you didn't want to hear it, you'd stick your fingers in your ears and hum. These days, you can do a similar thing, it just looks a bit cooler. It looks a bit like this. The trouble with widespread headphone use is it brings three really big health issues. The first really big health issue is a word that Murray Schafer coined: "schizophonia." It's a dislocation between what you see and what you hear. So, we're inviting into our lives the voices of people who are not present with us. I think there's something deeply unhealthy about living all the time in schizophonia.
The second problem that comes with headphone abuse is compression. We squash music to fit it into our pocket. and there is a cost attached to this.Listen to this. This is an uncompressed piece of music. (Music) And now the same piece of music with 98 percent of the data removed. (Music) I do hope that some of you at least can hear the difference between those two. There is a cost of compression. It makes you tired and irritable to have to make up all of that data. You're having to imagine it. It's not good for you in the long run.
The third problem with headphones is this: deafness -- noise-induced hearing disorder. 10 million Americans already have this for one reason or another, but really worryingly, 16 percent,roughly one in six, of American teenagers suffer from noise-induced hearing disorder as a result of headphone abuse. One study at an American university found that 61 percent of college freshmen had damaged hearing as a result of headphone abuse. We may be raising an entire generation of deaf people. Now that's a really serious problem.
I'll give you three quick tips to protect your ears, and pass these on to your children, please. professional hearing protectors are great; I use them all the time.If you're going to use headphones, buy the best ones you can afford, because quality means you don't have to have it so loud. If you can't hear somebody talking to you in a loud voice, it's too loud. And thirdly, if you're in bad sound, it's fine to put your fingers in your ears or just move away from it. Protect you ears in that way.
Let's move away from bad sound and look at some friends that I urge you to seek out. WWB: Wind, water, birds -- stochastic natural sounds composed of lots of individual random events, all of it very healthy, all of it sound that we evolved to over the years. Seek those sounds out; they're good for you, and so it this. Silence is beautiful. The Elizabethans described language as decorated silence. I urge you to move away from silence with intention and to design soundscapes just like works of art. Have a foreground, a background, all in beautiful proportion. It's fun to get into designing with sound.If you can't do it yourself, get a professional to do it for you. Sound design is the future, and I think it's the way we're going to change the way the world sounds.
I'm going to just run quickly through eight modalities, eight ways sound can improve health.First, ultrasound: we're very familiar with it from physical therapy. It's also now being used to treat cancer. Lithotripsy -- saving thousands of people a year from the scalpel by pulverizing stones with high-intensity sound. Sound healing is a wonderful modality. It's been around for thousands of years. I do urge you to explore this. There are great things being done there, treating now autism, dementia and other conditions. And music, of course. Just listening to music is good for you, if it's music that's made with good intention, made with love, generally. Devotional music, good. Mozart, good.There are all sorts of types of music that are very healthy.
And four modalities where you need to take some action and get involved. First of all, listen consciously. I hope that that after this talk you'll be doing that. It's a whole new dimension to your life, and it's wonderful to have that dimension.Secondly, get in touch with making some sound.Create sound. The voice is the instrument we all play, and yet how many of us are trained in using our voice? Get trained. Learn to sing. Learn to play an instrument. Musicians have bigger brains -- it's true. You can do this is groups as well. It's a fantastic antidote to schizophonia, to make music and sound in a group of people, whichever style you enjoy particularly. And let's take a stewarding role for the sound around us. Protect your ears? Yes, absolutely. Design soundscapes to be beautiful around you at home and at work. And let's start to speak up when people are assailing us with the noise that I played you early on.
So I'm going to leave you with seven things you can do right now to improve your health with sound. My vision is of a world that sounds beautiful, and if we all start doing these things, we will take a very big step in that direction. So I urge you to take that path.
I'm leaving you with a little more birdsong, which is very good for you. I wish you sound health.

Collaboration in Film//The New Approach

noreply@blogger.com (Iryna) — Sat, 11 Sep 2010 19:17:00 +0000

Collaboration.No matter how the concept makes you feel,we all do it at various points in our careers. But rather than having a favor shoved into our equipment,is it possible for collaboration to be not only beneficial but gratifying as well?Historically the sound department has always been last to jump on the bandwagon of the ever changing face of the entertainment industry(what else can you expect,if even major equipment changes happen every 10 years for us,unlike cameras that become absolute every six months). Perhaps now,when online collaboration communities are emerging all over the internet,is the time to become much more proactive in finding the projects that "YOU",my dear reader,want. It's time to feel good about helping out!

Here is a list of websites that make it possible to shop around for interesting projects,while also solidifying your online/offline presence in the industry. Some of the sites offer rewards and or/compensation.

Boolaka-this site allows both talent and crew to create together. It is a bit lacking in intuition,with hidden options scattered through out. The profile was quite easy to create. Bonus points for being able to link your RSS feeds to the profile. Once you register,you may network with others on the site,see what projects are in need of help,watch and discuss finished products and so forth.It is implied that the work you do is not necessarily volunteered,thus it is project dependent.
wreckAmovie-the entire concept of collaboration is based on Karma(not kidding,you actually get Karma points). What's fun about this site is that the talent there is very active, with some great people involved from every country imaginable on this planet. Working with talented people+getting actual Karma points?I am in!
FiveSprockets-"your virtual production studio". Collaboration from story development to marketing and distribution. The site also features a job board,and tools to promote yourself and your project.The funny part is that there is a note that you have to be at least 13 years old to use the service,which seems like a silly attempt to keep the site more serious(somehow I don't see eight year-olds attempting to write a treatment).The design somewhat resembles an office outlook page once you get to your profile.
TalentHouse-"is a platform providing opportunities to the world’s creative community – a place to participate in unique projects with artists and brands, collaborate, gain recognition and compensation." The site is not specific to films alone,but rather a collaboration space for all sort of art,design and music projects. Once you pick a project and submit your initial work on it,if chosen,you will continue on to collaborate with the creator of the idea and possibly get a reward.
Unusuals-a very quirky website meant more for showcasing your work rather than collaboration. Each posted project can be linked to the profiles of those who worked on it. Thus you are able to create networks between crew-members.The features help you not only maintain established professional relationships but also do some serious networking for future projects. One can also design an online business card and use the profile page as a personal URL.To be fairly honest it is hard to believe that a site this cute can have a serious purpose,but they are definitely trying hard to prove otherwise.

That Ugly Ugly Word-"Networking"//Part 2//List of sites

noreply@blogger.com (Iryna) — Fri, 10 Sep 2010 16:33:00 +0000

Yesterday we have laid down some basic rules of the game.If you are still wandering why you should involve yourself with social media networking,consider this-many professionals are predicting that in the near future social networking sites will replace job boards.So whether you want it or not,it's time to not only move with the times,but make a strong claim to the changing scene of job hunting.
While doing research for today's post,I stumbled upon an immense list of sites,most of which are irrelevant to our professions. But there are some that are slowly building momentum and are quite helpful.

LinkedIn-the for runner of professional social networking sites. Although not specific to our industry,not only can you find a lot of people from the industry on the site,there are also an immense amount of specific groups you can join for the extra kick of networking. You can tell though that this site is not meant for those of us who have audio and video files to show,as opposed to pretty spreadsheets-you can only link to those.Regardless ,you better join the tide of more than 60 million people who are already on there.
NextCat-you can tell they know what they are talking about by just reading the motto-"It's all about who you know"."True"-I say as I quickly put in my registration info. This site is specific to the entertainment industry. The one thing that catches my eye is that you can tell the market they tried to grab first where models and actors.But there are actually quite a bit of sound people now joining the ranks. The media control options are quite enjoyable-one can post audio,video files right on the profile,and even start a blog-Oh Boy!
SHWBIZ-ah,this is a strange one. But great if you like completely random networking. Once you create your profile,you can see what everyone on the site is doing and chat with those whose posts intrigued you. Great way to meet people you never would otherwise,but will you be able to catch a great big fish in the algorithm of all things random?
FilmContact-now this site just screams "Indusry". Why?While because you have to pay for the various membership options in order to get to the enticing services they offer. Let me rephrase that-"very enticing". Not only can one network,but you can promote yourself in various ways and......(drumroll).... put yourself as interested crew on a posted project. That is as targeted as social networking can get. The full set of features will set you back 133 $ and one can only hope that that is the price for the year.
Crewster-another site that is all about the crew. The site is based on recommendations and is used as a tool for crewing up on any given project.An interactive availability calendar is a very useful feature,if you actually remember to use it. Great site,and unlike some-FREE.
NING-bizarre name/great concept. For a fee one can create a social networking site. The effect this can have on your career depends on how you work it. But suddenly world domination is one step closer. For those of us who don't want to bother,you can search through the social networks that have already been created by someone else and join those.A quick search discovered a group for professionals in the audio-visual industry.
Meetup-this is not a social networking site per se. But what it does is connect you to groups of people that do actually meet regularly. There are a few entertainment industry groups on the site already,but if you can not find what you like-start your own group. Some meet ups are free to join,some require a small donation.In order to create and manage a group the website does charge for a yearly fee. Might I add that there is a group in LA called the "Sound for Visual Media"?One might even say,that it is quite awesome.

There you go. The world is your oyster. There for the picking and cracking. The truth is,there are numerous tools for you to succeed,but there is one constant required-you actually using them.So make yourself a cup of joe,poor a glass of beer,sit your rear on a comfortable plushy object of choice,grab the keyboard and network away....

That Ugly Ugly Word-"Networking"//Part 1

noreply@blogger.com (Iryna) — Thu, 09 Sep 2010 17:45:00 +0000

Social Media Networking. What at first seemed to be the secret password among the hustlers of the industry has slowly morphed into a mystical and ever attractive concept that some of us attempt to utilize in our careers. Sometimes successfully.But mostly are futile attempts get lost in the great big black void of the "lost connections" section of the internet universe.So here are a few pointers and lists of sites that should be of interest.
First of all,think of online networking in the same terms as dating. Once you look at it in those terms,a few basic guidelines will (hopefully) form:
1. Know what you want and know how to ask for it. Writing to everyone you can find on linked in "Hi,how are you?Lets connect" with a cute "smiley face" is pointless,unless of course you were going after relationships that will go no further than an online add(if you are lucky). Not having a plan,will bring predictable results-none. Know what you want to achieve from networking,who you need to contact,how many people you need to befriend to get to that person,what you want to sell yourself as.
2.No spamming! And by that I mean specifically no "copy and paste" messages.We are all alike in one thing-our desire to not only feel that we are special but have this assumption supported by those around us. Court your person of interest by having at least one paragraph describe their awesomeness and why your world will change,if they get back to you. Which leads me into the danger zone of the second rule...
3. Desperation repels. Yes,yes. Half of you have been repelled,and the other half-"for cryin' out loud,snap out of it!"Be ware of sounding desperate by the means of too much flattery,being too persistent,too aggressive. What's even trickier is that some people,who are genuinely passionate about what they do,might come across as trying too hard to sell themselves.
So what's the solution?Moderation. Foremost,remember that this is all about business,and this implies a certain degree of composure and distance. Secondly-be curt. Being able to say a lot with few words(while still keeping the grammar in tact) is a great skill and also minimizes your chances of saying something stupid. Thirdly-ask a friend to read your letter and give you feedback. Compare if the impression you were hoping for is what others feel from your communication. Adjust accordingly.
4. Stay focused. Having the time to send out a hundred emails in one sitting,does not mean you should do so. Actually lets nip this in the bud right this second-don't do it,ever. Why?Let's say the stars were aligned,and eighty people wrote you back and all of them want to either hear more sweet nothings about themselves,or talk on the phone some time this week,or have a lunch date,or skype about the weather. Suddenly you have 80 connections you are trying to turn into meaningful relationships. Ever tried dating 80 people at the same time,in hopes of finding "The One"?See where I am going with this?
5. Business only please. People on business related networking sites are not on there to find peeps to drink beer with and most importantly-they are not looking for a date. Keep your cool and stay professional-there are certain things in life that should be separated and never combined. Your failed romantic online escapade might one day cost you a job.It has definitely been known to happen. Too many times.

Stay tuned for part two,with the list of professional networking sites.

Woody Norris talks about his invention-Extremely Directional Sound

noreply@blogger.com (Iryna) — Wed, 08 Sep 2010 23:12:00 +0000

Woody Norris invents amazing things | Video on TED.com

"I became an inventor by accident. I was out of the air force in 1956. No, no, that's not true: I went in in 1956, came out in 1959, was working at the University of Washington, and I came up with an idea, from reading a magazine article, for a new kind of a phonograph tone arm. Now, that was before cassette tapes, CDs, DVDs -- any of the cool stuff we've got now. And it was an arm that, instead of hinging and pivoting as it went across the record,went straight: a radial, linear tracking tone arm. And it was the hardest invention I ever made, but it got me started, and I got really lucky after that.

And without giving you too much of a tirade, I want to talk to you about an invention I brought with me today: my 44th invention. No, that's not true either.Golly, I'm just totally losing it. My 44th patent; about the 15th invention. I call this hypersonic sound. I'm going to play it for you in a couple minutes, but I want to make an analogy before I do to this. I usually show this hypersonic sound and people will say, That's really cool, but what's it good for? And I say, What is the light bulb good for? Sound, light: I'm going to draw the analogy. When Edison invented the light bulb, pretty much looked like this.Hasn't changed that much. Light came out of it in every direction. Before the light bulb was invented,people had figured out how to put a reflector behind it, focus it a little bit; put lenses in front of it,focus it a little bit better. Ultimately we figured out how to make things like lasers that were totally focused.

Now, think about where the world would be today if we had the light bulb, but you couldn't focus light; if when you turned one on it just went wherever it wanted to. That's the way loudspeakers pretty much are. You turn on the loudspeaker, and after almost 80 years of having those gadgets, the sound just kind of goes where it wants. Even when you're standing in front of a megaphone, it's pretty much every direction. A little bit of differential, but not much. If the light bulb was the way the speaker is,and you couldn't focus or sharpen the edges or define it, we wouldn't have that, or movies in general, or computers, or TV sets, or CDs, or DVDs -- and just go down the list of what the importance is of being able to focus light.

Now, after almost 80 years of having sound, I thought it was about time that we figure out a way to put sound where you want to. I have a couple of units. That guy there was made for a demo I did yesterday early in the day for a big car maker in Detroit who wants to put them in a car -- small version, over your head -- so that you can actually get binaural sound in a car. What if I could aim sound the way I aim light?

I got this waterfall I recorded in my back yard. Now, you're not going to hear a thing unless it hits you.Maybe if I hit the side wall it will bounce around the room. (Applause) The sound is being made right next to your ears. Is that cool? (Applause) Because I have some limited time, I'll cut it off for a second,and tell you about how it works and what it's good for.

Course, like light it's great to be able to put sound to highlight a clothing rack, or the cornflakes, or the toothpaste, or a talking plaque in a movie theater lobby. Sony's got an idea -- Sony's our biggest customers right now. They tried this back in the '60s and were too smart, and so they gave up. But they want to use it -- seriously. There's a mix an inventor has to have. You have to be kind of smart, and though I did not graduate from college doesn't mean I'm stupid, because you cannot be stupid and do very much in the world today. Too many other smart people out there. So. I just happened to get my education in a little different way. I'm not at all against education. I think it's wonderful; I think sometimes people, when they get educated, lose it:they get so smart they're unwilling to look at things that they know better than. And we're living in a great time right now, because almost everything's being explored anew. I have this little slogan that I use a lot, which is: virtually nothing -- and I mean this honestly -- has been invented yet. We're just starting. We're just starting to really discover the laws of nature and science and physics. And this is, I hope, a little piece of it.

Sony's got this vision back -- to get myself on track -- that when you stand in the checkout line in the supermarket, you're going to watch a new TV channel. They know that when you watch TV at home, because there are so many choices you can change channels, miss their commercials. 151 million people every day stand in the line at the supermarket. Now, they've tried this a couple years ago and it failed, because the checker gets tired of hearing the same message every 20 minutes, and reaches out, turns off the sound. And, you know, if the sound isn't there, the sale typically isn't made.For instance, like, when you're on an airplane, they show the movie, you get to watch it for free; when you want to hear the sound, you pay. And so ABC and Sony have devised this new thing where when you step in the line in the supermarket -- initially it'll be Safeways; it is Safeways: they're trying this in three parts of the country right now -- you'll be watching TV.

And hopefully they'll be sensitive that they don't want to offend you with just one more outlet. But what's great about it, from the tests that have been done, is, if you don't want to hear it, you take about one step to the side and you don't hear it. So, we create silence as much as we create sound. ATMs that talk to you; nobody else hears it. Sit in bed, two in the morning, watch TV; your spouse, or someone, is next to you, asleep; doesn't hear it, doesn't wake up. We're also working on noise canceling things like snoring, noise from automobiles.

I have been really lucky with this technology: all of a sudden as it is ready, the world is ready to accept it. They have literally beat a path to our door. We've been selling it since about last September, October,and it's been immensely gratifying. If you're interested in what it costs -- I'm not selling them today -- but this unit, with the electronics and everything, if you buy one, is around a thousand bucks. We expect by this time next year, it'll be hundreds, a few hundred bucks, to buy it. It's not any more pricey than regular electronics.

Now, when I played it for you you didn't hear the thunderous bass. This unit that I played goes from about 200 hertz to above the range of hearing. It's actually emitting ultrasound -- low-level ultrasound -- that's about 100,000 vibrations per second. And the sound that you're hearing, unlike a regular speaker on which all the sound is made on the face, is made out in front of it, in the air. The air is not linear, as we've always been taught. You turn up the volume just a little bit -- I'm talking about a little over 80 decibels -- and all of a sudden the air begins to corrupt signals you propagate. Here's why: the speed of sound is not a constant. It's fairly slow. It changes with temperature and with barometric pressure.

Now, imagine, if you will, without getting too technical, I'm making a little sine wave here in the air. Well, if I turn up the amplitude too much, I'm having an effect on the pressure, which means during the making of that sine wave, the speed at which it is propagating is shifting. All of audio as we know it is an attempt to be more and more perfectly linear. Linearity means higher quality sound.Hypersonic sound is exactly the opposite: it's 100 percent based on non-linearity. An effect happens in the air, it's a corrupting effect of the sound -- the ultrasound in this case -- that's emitted, but it's so predictable that you can produce very precise audio out of that effect.

Now, the question is, where's the sound made?Instead of being made on the face of the cone, it's made at literally billions of little independent points along this narrow column in the air, and so when I aim it towards you, what you hear is made right next to your ears. I said we can shorten the column,we can spread it out to cover the couch. I can put it so that one ear hears one speaker, the other ear hears the other. That's true binaural sound. When you listen to stereo on your home system, your both ears hear both speakers. Turn on the left speaker sometime and notice you're hearing it also in your right ear. So, the stage is more restricted -- the sound stage that's supposed to spread out in front of you. Because the sound is made in the air along this column, it does not follow the inverse square law, which says it drops off about two thirds every time you double the distance: 6dB every time you go from one meter, for instance, to two meters. That means you go to a rock concert or a symphony, and the guy in the front row gets the same level as the guy in the back row, now, all of a sudden. Isn't that terrific?

So, we've been, as I say, very successful, very lucky, in having companies catch the vision of this,from cars -- car makers who want to put a stereo system in the front for the kids, and a separate system in the back -- oh, no, the kids aren't driving today. (Laughter) I was seeing if you were listening.Actually, I haven't had breakfast yet. A stereo system in the front for mom and dad, and maybe there's a little DVD player in the back for the kids,and the parents don't want to be bothered with that,or their rap music or whatever. So, again, this idea of being able to put sound anywhere you want to is really starting to catch on. It also works for transmitting and communicating data. It also works five times better underwater.

We've got the military -- have just deployed some of these into Iraq, where you can put fake troop movements quarter of a mile away on a hillside.(Laughter) Or you can whisper in the ear of a supposed terrorist some Biblical verse. (Laughter)I'm serious. And they have these infrared devices that can look at their countenance, and see a fraction of a degree kelvin in temperature shift from 100 yards away when they play this thing. And so, another way of hopefully determining who's friendly and who isn't. We make a version with this which puts out 155 decibels. Pain is 120. So it allows you to go nearly a mile away and communicate with people, and there can be a public beach just off to the side, and they don't even know it's turned on.We sell those to the military presently for about 70,000 dollars, and they're buying them as fast as we can make them. We put it on a turret with a camera, so that when they shoot at you, you're over there, and it's there.

I have a bunch of other inventions. I invented a plasma antenna, to shift gears. Looked up at the ceiling of my office one day -- I was working on a ground-penetrating radar project -- and my physicist CEO came in and said, "We have a real problem. We're using very short wavelengths.We've got a problem with the antenna ringing.When you run very short wavelengths, like a tuning fork the antenna resonates, and there's more energy coming out of the antenna than there is the backscatter from the ground that we're trying to analyze, taking too much processing." I says, "Why don't we make an antenna that only exists when you want it? Turn it on; turn it off. That's a fluorescent tube refined." I just sold that for a million and a half dollars, cash. I took it back to the Pentagon after it got declassified, when the patent issued, and told the people back there about it, and they laughed, and then I took them back a demo and they bought. (Laughter)

Any of you ever wore a Jabber headphone -- the little cell headphones? That's my invention. I sold that for seven million dollars. Big mistake: it just sold for 80 million dollars two years ago. I actually drew that up on a little crummy Mac computer in my attic at my house, and one of the many designs which they have now is still the same design I drew way back when.

So, I've been really lucky as an inventor. I'm the happiest guy you're ever going to meet. And my dad died before he realized anybody in the family would maybe, hopefully, make something out of themselves. You've been a great audience. I know I've jumped all over the place. I usually figure out what my talk is when I get up in front of a group.

Let me give you, in the last minute, one more quick demo of this guy, for those of you that haven't heard it. Can never tell if it's on. If you haven't heard it, raise your hand. Getting it over there? Get the cameraman. Yeah, there you go. I've got a Coke can opening that's right in your head that's really cool. Thank you once again. Appreciate it very much."

LAPPG-a meet up for those of us who thrive in post

noreply@blogger.com (Iryna) — Wed, 08 Sep 2010 18:33:00 +0000

"The Los Angeles Post Production Group (LAPPG) is a member driven organization for anyone with an interest or passion for film finishing and the post-production process. It is an opportunity to have questions answered, advice given, stories and tips shared and lessons learned. This supportive community inspires its members to excel in the finishing process of all forms of digital content. The LAPPG is an open membership group and its members dictate what is of interest.

Unlike many user groups, the LAPPG is not platform specific and discusses all aspects of post production, from color correcting to red camera workflow, to the latest rotoscoping tools and techniques. A special emphasis is placed on audio post production, as this seems to be an area that is not well represented in other groups and communities.

In this ever-changing technology based industry, the LAPPG enhances its members’ understanding and abilities in post finishing and broadens their overall knowledge and skills. Our core competency is post-production but we will not be limited to those skills. We share techniques, tools, and best practices for telling great stories. We also promote member collaboration by sharing our work in a supportive environment and creating opportunities for our members to flourish.

The LAPPG meets the 2nd Wednesday of every month at 7:00pm. We respectfully request a voluntary $5 donation at the door. The Founder and Moderator for this group is Woody Woodhall, CAS, President of Allied Post Audio, an award-winning audio post house for film, television, commercials and multimedia.

Questions and reservations for LAPPG can be sent to: rsvp@lappg.com."

I have visitted these meetings on several occasions and each was wanderful.Every time there are great guests and always something new to learn.Woody and his wife Wendy have made this group a great success!Check them out at http://lappg.com/

New Book:Audio Production and Post-Production by Woody Woodhall

noreply@blogger.com (Iryna) — Wed, 08 Sep 2010 18:30:00 +0000

Just got a copy of the book I helped with additional materials on.Woody Woodhall did an amazing job of describing the audio process from production through post.A great read for all those who want to join the ranks of audio-gurus,or producers,who want to finally understand why we "hold for sound")))Congrats,Woody!

Get a copy of yours at http://www.jblearning.com/catalog/9780763790714/

Sound Personnel Meetup in LA!

noreply@blogger.com (Iryna) — Wed, 08 Sep 2010 18:26:00 +0000

A place for all those involved in sound for film,TV,games-both location and post-to mingle,brag,vent and have fun.It's time to put our headphones down,step away from the equipment and cables,come out of the dark and...relax!

We had a lovely meetup yesterday at the Covell in Hollywood,which is a great spot if you like wine and nibbles.Next meet up will happen at the Biergarten.Don't miss the opportunity to enjoy a cool delicious pint of beer while meeting some incredible people from the world of Sound!

You can join our community at http://www.meetup.com/Sound-for-Visual-Media/