NAMM 2018: PMC partners with Capitol Studios to demo Hi-Res audio

NAMM 2018: PMC partners with Capitol Studios to demo Hi-Res audio

Monitor manufacturer PMC is collaborating with Capitol Studios and Universal Music Group at NAMM 2018 to promote Hi-Res Audio.

The demo room on PMC’s NAMM booth (16117) will be used to play back audio created in this format. There will also be presentations from high profile producers and engineers who will discuss the benefits of Hi-Res Audio and the impact it will have on consumers who can now access a premium listening experience and enjoy music as its creators intended it to be heard.

The main technology driver behind Hi-Res Audio is MQA (Master Quality Authenticated), which claims to bring higher quality sound to consumers without sacrificing portability and ease of streaming.

Universal Music Group recently announced a collaboration with MQA to advance the cause of hi-res on-demand streaming and is now making part of its massive catalogue of master recordings available in the Hi-Res format.

Warner Music Group and Sony Music are also supporting MQA, as are the Recording Industry Association of America and music platforms such as Pandora, Napster and HD Tracks.

Maurice Patist, PMC USA's president of sales and marketing, said: “We are delighted to be collaborating with Universal Music to promote Hi-Res Audio – a format that will help move studio quality sound into the mainstream. PMC’s award-winning MB3S-XBD-A monitors and new result6 monitors in a 5.1 configuration will be used for the demonstrations to highlight the exceptional audio quality delivered by Hi-Res Audio, especially when it is played back through professional recording studio loudspeakers that are renowned for their clarity, transparency, unparalleled bass and sheer power across the entire frequency range.”

 Art Kelm (pictured), VP and chief engineer at Capitol Studios in Los Angeles, added: “We create Hi-Res Audio using PMC monitors on a daily basis at Capitol Studios and this is a great opportunity for us to showcase the format using professional monitors that can truly deliver the sound quality we want to promote. At the recent CES show in Las Vegas, we showed the public the quality difference between Hi-Res Audio and the lower sample rate formats. At NAMM we hope to convince music creators to join us in adopting the Hi-Res Audio format by letting them hear the difference on PMC monitors. These loudspeakers are already used by many of the world’s top recording facilities, artists and producers who create content for Universal Music Group’s catalogue and we are thrilled to have this opportunity to work with the company.”

 At NAMM, PMC is also partnering with the Producer & Engineers Wing of the Recording Academy, which has created Technical Guidelines and a white paper dealing with the production of Hi-Res Audio, which can be found here.

Alongside its Hi-Res Audio demonstrations, PMC will also be hosting on-booth presentations from internationally acclaimed producers including Al Schmitt, who has won 22 GRAMMY® Awards – most recently in 2012 for Paul McCartney's Kisses on the Bottom.

At 2pm on Saturday January 27, Schmitt and his longtime partner Steve Genewick will deliver a talk about The Art of Recording A Big Band, an educational and inspirational behind-the-scenes film that was shot at Capitol Studios over two days during a recording session by Al Schmitt featuring Chris Walden's Grammy Awards-nominated 18-piece jazz big band.

To highlight its recently introduced result6 compact nearfield reference monitor, PMC, in conjunction with its sales partner RSPE Audio Solutions, will be setting up the ‘ideal project studio’ on its booth. This will feature result6 monitors and show them working in collaboration with other equipment that is best suited to the project studio environment.

 

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ZRTV makes further investment in Jünger Audio digital processing

ZRTV makes further investment in Jünger Audio digital processing

Leading Chinese TV broadcaster Zhejiang Radio and TV Group (ZRTG) has extended its relationship with Jünger Audio by equipping its new Zhejiang International TV Centre with a range of loudness control and audio processing solutions from the German manufacturer.

Owned by the local Government, ZRTV delivers over 450 broadcast hours a day via its 12 television channels and eight radio channels. Since 2011 ZRTV has been successfully using Jünger Audio products to ensure the quality of its broadcasts, particularly those such as the popular music show Sing! China that are transmitted in 5.1 surround sound.

For this reason, Jünger Audio products were a natural choice for ZRTV’s new 42-storey TV Centre in Hangzhou, which houses several TV studios along with additional studios for music and film production.

Among the units supplied by Jünger Audio are five D*AP8 MAP EDITION surround monitoring audio processors; a D*AP8 TAP EDITION television audio processor and a D*AP4 VAP EDITION two channel voice audio processor – all of which incorporate a collection of adaptive processing algorithms and employ the industry standard Ember+ remote protocol that allows integration with an increasingly wide range of compatible equipment.

These have been installed in the centre’s post production studio 1, 5.1 surround sound, final mixing room, dialogue recording studio, audition studio and in two large television studios.

Mr. Wu Xiao Dong, director of the audio department at ZRTV, said: “Jünger Audio is one of the few manufactures that supports all Dolby codec hardware solutions, along with specific voice processing and auto up/down mix features. The real benefit these units bring to our productions is the ability to tackle Dolby E encoding, Dolby metadata emulation, loudness and vocal voice processing.

“We are gradually moving forward with Dolby Atmos surround sound productions, so we have also invested in Jünger Audio’s J*AF LM by Flux – a software plug-in version of the company’s Level Magic loudness management algorithm that is specifically aimed at Digital Audio Workstation users,” he added. “This codec is ideal for ZRTV’s post production departments because it offers real-time and offline measurement and correction and supports all audio formats including Dolby Atmos.”

In addition to the D*AP and J*AF products installed at its new TV Centre, ZRTG has also ordered several D*AP8 MAP, D*AP TAP and D*AP VAP processors for its new OB vehicle, which is currently under construction in Europe. 

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Studio closures due to planned development are a ‘terrible, silent loss of heritage’

Studio closures due to planned development are a 'terrible, silent loss of heritage'

Alchemy studio owner Kenny Jones has told AMI that studio closures taking place due to planned development are a "terrible silent loss of heritage that has gone almost completely un-noticed".

Jones words came after winning a legal fight fight to stop developers from digging a basement close to his facility.

As reported by the Ham & High, the Alchemy Studio owner Kenny Jones (who as worked with Robbie Williams, Bjork, The Smiths and Oasis) argued that the building work would drive his studio out of business.

Jones has owned the studio for the past 13 years taking it over from his friend, the producer Adrian Sherwood at the end of 2004.

"I’ve had to learn a great deal about planning, planning permission and how to try and defend against the seemingly unstoppable onslaught of developers and their close association with council planning departments," continued Jones, speaking to AMI

"I am deeply humbled and grateful to all the many musicians and friends of the studio that have offered help and given of their time and support to try and prevent losing the studio. It is remarkable that the loss of an established business such as mine is of no relevance to planning! It is an indicator perhaps as to why so very many (almost all) of London’s studios in which I used to work as a freelancer have now gone to be replaced by housing."

On Monday Jones told a publicly-attended meeting at Haringey’s planning sub-committee that proposed “building work will force the closure of a successful business.”

Jones cited Air Studio's successful bid to stop a basement development in October 2017 after a two-year legal battle.

Three out of six councillors voted to reject the bid at the planning sub-committee on Monday night.

"We have won what is probably only the first battle in the war against this obvious over development that would have forced closure of a studio that has been making albums and recording both local and international musicians for nearly 40 years. It is the unique and quiet location of the old victorian building that has enabled it to continue for so many years," added Jones.

"I know very well that the developers will not give up, too much money is at stake. There will be an appeal and I will be starting an online petition in support of Alchemy to at least give the Haringey planners pause for thought before making a final decision that I will not be able to challenge. I have worked with a number of quite well known artists over the years and know that many will be able to lend their support."

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KORG just released a bunch of new stuff – here’s what’s what

Call it KORGmas. Okay, probably don’t call it that. But KORG just released a mess of gear for musicians. Here’s all of it in one place – and what to know. KORG Gadget for Nintendo Switch Available: Spring 2018 Price: Unknown What’s it for: Get a production studio on your Nintendo Gadget – which means […]

The post KORG just released a bunch of new stuff – here’s what’s what appeared first on CDM Create Digital Music.

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KV2 Audio and Apex Acoustics join forces at PLASA Focus Glasgow

KV2 Audio and Apex Acoustics join forces at PLASA Focus Glasgow

KV2 Audio has used PLASA Focus Glasgow, currently taking place at the Scottish Event Campus (SEC), to announce the appointment of Apex Acoustics Sound Services as its main dealer in Scotland.

Based in Dundee and with wide ranging expertise and a strong emphasis on theatre, KV2 believes Apex  to be the perfect partner to build on the progress it has made over the past few years south of the border.

The initial meeting between the two companies took place at the same show this time last year.

Having experienced great results with KV2 products on several shows, including Mamma Mia!, sound designer Bobby Aitken suggested that Apex Acoustics director Paul Smith give KV2 products a listen and a demonstration day was scheduled.

“The KV2 brand fits nicely into our portfolio with the added advantage - they sound great,” said Smith.

Falkirk Town Hall were the first beneficiary of the new partnership having taken delivery of a complete KV2 System installed by Apex. Having attended the main PLASA Show in London with Smith, Ross McDonald and Gary Laing from Falkirk Town Hall were able to listen to KV2 Audio’s ESR 2.15 System - again, a system being used extensively in West End, UK Touring and Broadway Theatre.

“The KV2 System is the perfect system for our venue,” explained McDonald. “It provides great quality audio to every seat in the house. Whether it is a rock gig, a theatre performance or classical music our ESR215’s and ES2.6 subs are always up to the job!”

(Pictured L-R: Tom Weldon, UK Sales KV2 Audio, Scott, Sean, Paul Smith of APEX Acoustics, Jonathan Reece, Director KV2 Audio)

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Record producer and engineer Lauren Deakin Davies shares her pro audio experience

Record producer and engineer Lauren Deakin Davies shares her pro audio experience

22 year old Lauren Deakin Davies is a self employed, self taught record producer and engineer with her own studio and portable studio for OB’s. She has produced nine Albums, six as a sole producer (two of which are award-winning), produced over 25 EP's and produced or written over 200 commercially released tracks.

Gaining popularity on BBC Radio 2 and 6 Music since 2013, she also bagged the NMG award for Producer of the Year in 2017.

Here, AMI sits down with Deakin Davies to find out how she has been getting on in the pro audio industry since getting her big break.

How did you get into the industry?

I got into the industry the way a lot of people have done, which is through playing and writing music and more specifically being in a band that was doing alright when I was younger, and who were recording a lot. I seem to have quite a strong love for music technology and so when I was in the studio it seemed to come more naturally to me to be doing the engineering side of things. I think you have to be a special breed of person to want to sit in front of the computer listening to the same section of music over and over again but for some reason, that's me!

What are some of your credits?

I had a minor but inspiring (for me) role on Laura Marling's project Reversal of the Muse, I recently produced the whole of Kate Dimbleby's solo vocal acapella album, Songbirds, which comprised entirely of vocal loops and have worked with folk pioneer Peggy Seeger on the Armistice Pals charity project, recording her in her home.

What was your favourite project and why?

I thoroughly enjoyed working with Kate Dimbleby because it was a completely new type of project for me. I had never taken on something like this before that wasn't a conventional recording and so we completely threw the rule book out, which is something I tend to do anyway when I'm recording in my studio, but we really went to town on trying different sounds and samples and I'm so happy with the results.

I don't know if I can call it my favourite project; in reality most of the projects I work on are my favourite because they are always slightly different and you get to work with such diverse artists. I feel really lucky that I've been able to work with some of my best friends as well on these recording projects, which means that being in the studio is always a massive laugh!

What is your favourite item of audio gear and why?

I primarily don't use outboard gear and use a lot of inbox stuff partly to do with the size of my studio and also I think it can be more versatile with the style of production that I do. I really love my UAD quad Apollo and also have the Digigrid iox systems as well which is Waves compatible, so I have so many plugins. I guess my favourite things in my studio are interfaces!

What industry professional inspired you the most to do what you do?

My main inspiration for getting into music technology was my innate nerdiness and just 'hearing' things in the music. I'd be lying if I said there was a specific producer that got me wanting to do it, it was more that after I'd been doing it for a while I researched people who specialised in my field and I think that's what's given me a bit of a different approach to production because I am self taught.  I never really followed the normal path that producers do, and my idols now are people like Catherine Marks and Charlie Andrew.

I have loved studying (on my own) the work of Paul Hepworth as well as Max Martin and Ryan Tedder who I guess are 'classic' pop producers. I think these people really influenced what I do indirectly although my commercial output is a lot more orientated around folk, singer songwriters and a few bands so perhaps that slightly different path is what's given me a different kind of insight into how I approach what I am doing.

What’s the best bit of advice you can give to anyone trying to break into the industry?

I get asked this question quite a lot and it's cliche but there's no one way that you can really get into production. Conventionally, back in the day, you could get an apprenticeship or an internship at a studio as an assistant and work your way up, but those days are kind of gone now. You can study if you want and that gives you some basic understanding but I didn't study and just shadowed in studios and learnt how to do it myself, which is what has put me in the position that I am in now.

The best advice would be to work on your friends songs and start getting a small setup yourself so that you can learn how to use it, so that you can then go into other studios and work on projects. It really helps if you can play an instrument or write basic songs because then you have real creative input into the production that you're doing when you're working on a track, which is really satisfying.

www.laurendeakindavies.com

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KORG’s Volca Mix is the little mixer your compact gear was missing

You’ve got the inexpensive, compact gear, like the volcas that started it all. Now you need a mixer. KORG finally responds. Volca Mix is the hardware everyone’s been predicting for about as long as we’ve had Volcas, only now, it’s real. And it also reveals KORG’s answers to some questions that weren’t so obvious. How […]

The post KORG’s Volca Mix is the little mixer your compact gear was missing appeared first on CDM Create Digital Music.

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KORG has a polyphonic Prologue synth – and it’s programmable

This one isn’t a remake or reboot: KORG’s new generation of analog synths is growing, with 8- and 16-voice polyphonic Prologue keyboards. And whereas the Minilogue and Monologue are all about affordable, new synthesis, the Prologue is something else: it’s really a new analog flagship, something KORG haven’t had in decades. Case in point: the […]

The post KORG has a polyphonic Prologue synth – and it’s programmable appeared first on CDM Create Digital Music.

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QSC reveals compact KS112 powered subwoofer

QSC reveals compact KS112 powered subwoofer

QSC has introduced the newest member of its K Family, the ultra-compact KS112 powered subwoofer.

Joining the previously-introduced KS212C cardioid powered subwoofer, the KS112 is the second model in the KS subwoofer series, designed for a variety of installation and entertainment applications for which high output, low frequency extension is needed from a compact, portable package.

The KS112 features a single 12-inch transducer in a 6th order bandpass premium birch cabinet. On-board DSP provides variable crossover, delay, and savable/recallable Scenes for commonly-used applications while advanced thermal and excursion processing look to further optimise system performance.

Two M20 threaded pole receptacles provide a positive, wobble-free connection to a threaded speaker pole in either vertical or horizontal deployment (pole not included). Rugged, low-noise casters are included, while a locking security cover and padded transport cover are available options.

“With the introduction of the KS112, QSC offers users the ability to choose the perfect subwoofer for their application in a way never before possible,” said Chris Brouelette, product manager, Pro PA Loudspeakers.  “From the ultra-compact KS112 and directional KS212C cardioid sub, to the portable KSub, punchy and powerful KW181, and KLA181 for flown applications, the wide variety of options available, all as complementary members of the K Family, present extraordinary and compelling low-frequency solutions for sound reinforcement professionals and enthusiasts of all kinds.”

The KS112 subwoofer will have an estimated US street price of $999 and is expected to be available in late spring 2018.

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FOH engineer picks DPA mics for Dutch rock opera

FOH engineer picks DPA mics for Dutch rock opera

“Flawless and amazing” is how FOH engineer Niels Jensen described DPA’s d:facto Vocal Microphone after he deployed 18 of them to amplify the singers in a unique stage show entitled Ayreon Universe, which was performed over three nights at the 013 venue in Tilburg, Holland.

The progressive metal/rock opera known as Ayreon Universe is the invention of Dutch singer/songwriter and multi-instrumentalist Arjen A. Lucassen. The performances in Tilburg marked the first time Lucassen had staged the rock opera live, with over 9,000 people from more than 54 countries in attendance.

“I absolutely love these microphones,” said Jensen. “Even with so many singers in such close proximity to each other I had no issues at all with bleed. The phasing was out of this world and the sound was so clean, I couldn’t have wished for anything else.”

The whole project took over a year to materialise and was masterminded by Lucassen and his musical director Joost van den Broek. At each performance, Lucassen was joined on stage by 17 original Ayreon singers (including backing vocalists) and a hand-picked band of eight instrumentalists.

18 wireless d:facto 4018V Vocal Microphones were used for the singers. Jensen close-miked the snare drum using a d:facto 4018VL Linear capsule with a MMP-ES preamp mounted on a GSM4000 Gooseneck Mount and a d:vote drum clip, to capture the drum sound as naturally as possible. He also used this solution on a high Leslie for the same reasons.

He also specified DPA d:vote 4099 Instrument Microphones and a selection of d:dicate 2011 Twin Diaphragm Cardioid and 4015 Wide Cardioid microphones to capture a range of instruments including drums, Leslie, digeridoo, flute and percussion. All the microphones were supplied by Amptec, DPA’s distributor in the Netherlands.

“The d:dicate 2011 microphones were used for kick drum, hi-hat, ride, snare bottom and bottom Leslie because they deliver sound straight from the source and with great clarity,” explained Jensen. “For the rack toms and floor toms we used d:vote 4099 Instrument Microphones because they offer great linear response. They are honest and give you the true tone of the source. We also used d:dicate 4015s as overheads because their wide pick up perfectly captured the overall drum sound. We had 88 inputs in total with all the tracks and ambiances for recording included.”

Jensen added: “We had an incredible drummer in the shape of Ed Warby on stage and I felt that his drums would sound great with DPA’s as well. From the first soundcheck I knew we had made the right choice because Ed’s drums sounded so lively and detailed. Overall it was like taking studio quality sound to a live show and that was really impressive.”

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