PLASA’s Chris Toulmin promoted to commercial director

PLASA's Chris Toulmin promoted to commercial director

PLASA has promoted Christopher Toulmin to the role of commercial director.

In this newly created position, Toulmin will oversee all sales and marketing activities in the organisation, driving its commercial divisions which includes its event portfolio (PLASA Show, PLASA Focus Leeds and PLASA Focus Glasgow) and publication Light & Sound international (LSi).

The announcement follows one of the most successful PLASA Show’s in recent history, where Toulmin had a major contribution in his role as director of events, a position which he held for five years. In his new position, he will support the organisation’s strategy to grow both its events and media divisions, whilst exploring new products PLASA can deliver to further support the industry.

Toulmin’s career in the industry spans more than 35 years, and before joining PLASA had taken him from a lighting designer, to an industry innovator through his work at Modelbox, to a creative design consultant.

“Chris’s impressive professional background and knowledge of the industry will be a great asset to PLASA as we move forward as an organisation,” said PLASA managing director, Peter Heath. “With his creative vision, together with a talented sales and marketing team and market-leading products, we expect him to achieve great things in his new role.”

Added Toulmin: “I am delighted to embrace this new opportunity at such an exciting time for the organisation. PLASA events have been going from strength to strength, LSi continues to be a market leading product, and internally we have made changes to ensure all teams are working together in one location, building a strong and collaborative working environment. I look forward to being a part of this continued development, supporting the growth strategy and contributing to the further success of the organisation.”

www.plasa.org

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DPA adds ‘CORE’ amplifier technology to miniature mic capsules

DPA adds 'CORE' amplifier technology to miniature mic capsules

DPA Microphones has launched CORE, a new amplifier technology that lives within its line of miniature lavalier and headset microphones.

Looking to minimise distortion as well as increase the dynamic range, or workable area, of its d:screet and d:fine lines of microphones, DPA developed this new amplifier to create an even clearer sound from the ‘highest of the highs’ to the ‘lowest of the lows.’

The dynamic range has been expanded in all ‘CORE’ miniature capsules, designed to give the microphones a more clear and open sound in the whole level range. For example, the dynamic range of the d:screet 4061 and the d:fine 4066 has been increased by 14 dB at 1% THD.

Located in the capsule of its miniature mics, ‘CORE’ is currently available in the d:screet 4060, d:screet 4061, d:fine 4066 and d:fine 4088 mics. Microphones purchased with the new technology will come in ‘CORE’ packaging and will have a blue label near the serial number on the cable to differentiate between these and the original versions. A discreet laser engraving has been incorporated at the microphone capsule as well. The remaining d:screet and d:fine microphones and full range of colour options will be available with ‘CORE’ technology in early 2018.

The new ‘CORE’ omnidirectional microphones will also provide water and moisture resistance through nano coating and hermetic sealing of the sensitive electronics.

“The new ‘CORE’ technology does not replace our existing beloved mics, but rather offers another choice to our worldwide customer base,” said DPA product manager René Mørch. “We want to give our users every option imaginable to capture the sound that they require during any type of production; live sound, theatre, film recording, etc.”

www.dpamicrophones.com

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AES 2017: Nugen reveals updates for ISL 2 and Halo Upmix tools

AES 2017: Nugen reveals updates for ISL 2 and Halo Upmix tools

Nugen Audio has announced updates for two of its audio tools at the AES Convention in New York.

First is a dither update for ISL 2st, Nugen’s look-ahead brick-wall limiter that provides transparent true-peak limiting for all stereo and mono content, alongside a preview of a 3D Immersive Extension update allowing second and third order Ambisonic (AmbiX format) output for Halo Upmix.

As a stereo-only version of the company’s ISL 2 limiter, ISL 2st takes care of true-peak compliance, and allows for content creation fully compatible with loudness normalisation standards used by the likes of iTunes Radio and Spotify.

Risk of distortion from downstream codec conversion (mp3, AAC, etc) is effectively eliminated with ISL 2st on the master bus. By including a power-compensated true-peak safe dither algorithm in its latest update, ISL 2st enables the minimisation of quantisation errors and artefacts from bit depth reduction processes.

ISL 2st automatically compensates for the dither applied, ensuring that TPMax (maximum true-peak level) is preserved and that true- peak compliance violations are not accidentally introduced in the final output stage, as might potentially be the case when engaging traditional post-TPMax dither functions - particularly pertinent to content repurposed for streaming services, where data compression algorithms are pervasive.

Nugen has also revealed a further update to the 3D Immersive Extension for its Halo Upmix tool (pictured above). The update includes an enhanced upmix algorithm allowing for simultaneous use of all the original features including dialogue isolation and individual channel output control alongside additional vertical controls via an expanded user interface with control over Ltm and Rtm channel placement for Dolby Atmos-compatible placement.

Having launched a first order Ambisonic output in July, the latest 3D Immersive Extension update now allows second and third order Ambisonic output, and both 7.1.4 and 5.1.4 channel configurations to facilitate production in Auro-3D formats.

Nugen Audio is showcasing these latest ISL 2st and Halo Upmix advancements on Booth #5041 at AES New York 2017 — the 143rd International Convention — which opened yesterday and continues until 21 October at the Javits Convention Center, USA.

www.nugenaudio.com

www.aes.org

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DiGiCo wireless control proves critical on tour with Halsey

DiGiCo wireless control proves critical on tour with Halsey

Singer Halsey’s Hopeless Fountain Kingdom Tour, the live iteration of her eponymously named LP, recently kicked off in Boston on 29 September with a pair of DiGiCo SD10 consoles supplied by tour sound reinforcement provider Eighth Day Sound.

It’s a complex production, one that compels the FOH mix position to take cover under a tarp for two songs. “It’s a pretty intense moment,” said FOH engineer Vincent Casamatta of the point in the show where Halsey and her dancers perform on a B stage filled with about 20 gallons of sprayed water. “There’s no way I could stay at the console and not get me and the console soaked.”

Instead, Casamatta and FOH systems tech Dan Bluhm turn to the DiGiCo SD SC2 app, which allows remote, wireless control of any DiGiCo SD mixing console from an iPad. For those two songs, they discreetly pull a tarp over the desk and move to another part of the venue to seamlessly continue the show mix. “The only other way to do that would have been to mix from under the tarp, and you wouldn’t want to have to do that,” he said. “I have full access to the console through the app and we never miss a beat.”

Monitor engineer Scott Wasilk also used the SD SC2 app, bridging the gap between monitor world and the stage and overcoming the complex nature of the production. “I’m onstage quite a bit, checking how they hear it there,” said Wasilk. “It’s so much easier than relaying information from the stage back to the console.”

The band is on IEMs, as is Halsey, sort of. “She likes to keep one ear open, so we basically have set up a mini PA on stage for her, with a small cluster of flown d&b J8 speakers aimed at her,” he added. “It’s unconventional, but the SD10 handles it great.”

Something else the SD10 handles well are Halsey’s vocals. Casamatta says there’s not as much in the way of effects processing on the vocals or the band as might be expected. “I look at compression as a vocal effect, particularly in modern pop music, and I’m using super-aggressive compression with a quick release, using the Waves CLA-76 ‘Blue Stripe’ 1176 emulator through the console and it just sounds great,” he explained. “It’s tactile, really sticky-sounding effect that’s great on punchy vocals.”

Both Wasilk and Casamatta are big fans of the SD10’s feature sets, including snapshot automation—Wasilk will sometimes set up multiple snapshots within a song, something the SD10 handles with ease—and rack sharing between the consoles and the two SD-Racks and one SD Mini-Rack.

For details on Halsey’s upcoming tour stops, visit www.hfktour.com

(Pictured L-R: FOH engineer Vincent Casamatta and monitor engineer Scott Wasilk)

www.digico.biz

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AES 2017: Dangerous Music previews CONVERT-AD+ converter unit

AES 2017: Dangerous Music previews CONVERT-AD+ converter unit

Dangerous Music has premiered its new CONVERT-AD+ A to D converter on Booth #215 at the New York AES show.

The new converter, which features dual stereo analogue inputs with front panel selection, offers a number of new stereo A/D updates.

“Clip Guard” can be used to remove clipping indication at destination meters resulting in no rejections for CD masters, mastered for iTunes, and Spotify. Meter Zooming technology also lets users see the top 10dB of dynamic activity, for a fine-resolution look at the zone that matters most when mixing and mastering.

An X-Former insert button engages a pair of custom-implemented HAMMOND transformers, while Emphasis adds a custom shelving EQ/compressor circuit to induce 2nd order harmonic distortion, to blend in a bit of mid-warmth and sparkle.

Other technical specifications include:

  • 44.1 to 192K sample rate selection with Lock indicator
  • Selectable Calibration for -14, -16, and -18 dBFS
  • ADAT, SPDIF Optical, and SPDIF coax RCA outputs
  • USB connection for Mac or Windows
  • 3-Pin IEC auto-switching AC Power, 120V (US), 240V (Europe)

 

“It has always been our plan to create a complete round-trip system for tracking, mixing and mastering,” said Bob Muller, founder of Dangerous Music. “I also wanted to shake up the existing A/D paradigm and give AD+ a creative edge – a flexible, switchable sonic tool that sounds cool and is as relevant on a vocal track as it is on a master.”

I need to do far fewer tricks in the mix to smooth out high frequencies, and the low end is fantastic. This thing is remarkable."

- Chris Godbey, Timbaland engineer

After beta testing the new AD+, engineer Chris Godbey, Timbaland's right-hand man since 2008 stated, “I need to do far fewer tricks in the mix to smooth out high frequencies, and the low end is fantastic. This thing is remarkable. I need to be on the list to get one of my own as soon as possible.”

Digital-to-analogue conversion has been an integral part of Dangerous Music’s offering since the Dangerous MONITOR in 2002. Since then the company’s D/As have been utilised in its products like the D-BOX, DAC-ST, SOURCE, and culminating in the CONVERT-2 and CONVERT-8 reference D to A converters.

The CONVERT-AD+ is set for a November release, with a street price of $2,599 US.

www.dangerousmusic.com

www.aes.org

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