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Pro Audio Industry News from DigitalProSound.com:
• Wave Arts Drops Copy Protection Scheme in Favor of Serial Number Unlocks
In response to customer feedback
• Sony/Tree Studios Links Multiple Studios in Separate Locations
Installation of A/V SAN PRO eliminates sneaker-net transfers
• Digidesign Announces Line 6’s Echo Farm v2.0.1 with 96k Sampling on Pro Tools|HD
Vintage echo effects include extended delay time, bpm/note value delay time setting and tap tempo
• Mackie Announces New Organizational Structure
Initiatives include increasing offshore production and team-based management
• MOTU Announces HD192 Audio Interface
All 12 XLR inputs and outputs support 44.1, 48, 88.2, 96, 176.4 and 192 kHz
• Propellerhead Updates Reason
Version 2.0.1 offers bug fixes
• Emagic Releases Logic Series 5.5, Updates EXS24 Sampler
Entire Logic Series 5 product range is now available for Mac OS X
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Quality pres can focus sounds in your mix and give everything better definition
An important aspect of an accurate microphone preamplifier is how much "space" in the soundfield a preamp takes up in order to have your ear accurately define a particular instrument or voice. People wonder how you can hear every instrument clearly on a well-recorded song — even if it's through a crappy little speaker. Well, a lot of the secret is in the mic pres.
Consider fiberglass panels instead of foam to absorb those low frequencies
We recently converted two-thirds of a three-car garage into a recording studio. It's about 400 square feet with no parallel walls and a partially raised/angled ceiling with skylights. Even though it's all in one room, both acoustic piano and acoustic drums can be recorded in the same room, with some heavy blankets over the piano to reduce the drum sound. But still, the acoustics needed taming. The solution was to add fiberglass panels optimized to absorb frequencies in the 125 to 500 Hz range.
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'When you spend half your life working in a room, you need to feel comfortable'
Top producer/engineer Humberto Gatica, winner of three Latin Grammy Awards in 2002, relies on Westlake Audio to create musical magic for top artists such as Celine Dion and fellow three-time 2002 Latin Grammy Award-winner Alejandro Sanz. Gatica credits Westlake’s world-class equipment and creative environment for helping to bring his visions to reality.
Orchestra session held at Abbey Road Studio 2
Fred Story of Concentrix Music & Sound Design recently composed and supervised the recording of a commercial score performed by the London Symphony Orchestra. The :30 second spot, entitled “Kaleidoscope”, was produced by Spin Productions (Atlanta) for agency client Luquire George Andrews of Charlotte.
Veteran composers and studio partners Bob Mann and Allan Schwartzberg founded studio in 1998
Commercial music house Deep Diner Music, Inc. has recently completed major construction at their studio in the heart of Manhattan at 52nd and Broadway. The new space includes a recording studio built by studio designer Ed Evans, a MIDI-room, and other amenities including an office, client lounge, and a kitchen.
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