The Nominations for the Resolution Awards 2013 are in. This year has again seen some category changes and the introduction of the Resolution Creative Awards to recognise the achievements of individuals in music recording, broadcast and post.
‘Resolution is unique in focusing so strongly on the craft angle of audio professionals and it is only fitting that we recognise the excellence of individuals here just as we recognise the excellence of products,’ said executive editor Zenon Schoepe. ‘The audio business may be driven by technology but it is the achievements of the people who actually use the gear -– our readers -- that gives direction and demonstrates what is possible.’
Only registered Resolution readers are eligible to vote in the Resolution Awards. Voting will close in the middle of September and the winners will be announced in a special Winners Supplement in the October issue of Resolution.
See the Nominations here.
Focusrite is offering readers an opportunity to win a RedNet system worth £7200/€8300.
An ethernet-based audio network, RedNet features a range of remote-controlled input/output devices for microphone, line-level analogue and digital audio. It interfaces to any DAW with up to 128 workstation I-O channels at 24/96 for every RedNet PCIe interface card in your computer.
More details here.
Leading French film postproduction facility Creative Sound in Paris has installed a Harrison MPC5 digital console for its new facility located near the Rue du Commerce. The MPC5 will be the centrepiece in the 470cubic-meter film mixing stage that will include a Dolby Atmos system.
The desk will sport the latest Harrison Object++ software platform offering a routing matrix, object-oriented panning (via Harrison’s patented motorised joysticks) and 64-channel ultra wide monitoring solution, all specifically designed for integration with Dolby Atmos-equipped installations.
The MPC5 will include a 1024 input Harrison Xrange 64-bit engine, a suite of Harrison Xtools film specific plug-ins, and a dual-operator MPC5 control surface featuring twin master sections, 80 faders with 64 full feature input strips and Harrison’s patented ESP Waveform displays. Twin producer desks mounted at 10 degrees on the far left and right ends round out the wrap-around console surface that will span 5.75m.
The TEC Foundation is to become part of the National Association of Music Merchants (NAMM), strengthening the important work of both non-profits and the NAMM Show. All TEC activities, including the Technical Excellence & Creativity Awards, will join other marquee activities, events and efforts within the NAMM Foundation portfolio including the Museum of Making Music, research projects, the SupportMusic Coalition and global public service campaigns. The NAMM Foundation will present the annual TEC Awards event starting in 2014.
‘The inclusion of TEC within the NAMM Foundation further unites the important technical and creative communities within the music industry in a way that authentically showcases both worlds,’ said Joe Lamond, president and CEO of NAMM. ‘This relationship will strengthen the NAMM Show by bringing more of the key stakeholders from pro audio, live sound and recording together with other segments of the music industry every January.’
The second Prolight + Sound NAMM Russia, held in May, saw 130 companies from nine countries exhibiting and saw a 49% increase in visitors from all segments of the industry compared to last year -- 9,281 unique visitors, many returning for multiple days, making the total number of visits 12,601.
NAMM Musikmesse Russia and Prolight + Sound NAMM Russia presented enrichment programmes, highlighting educational and fiscal topics within the music products and pro light and sound industries.
April’s Prolight + Sound 2013 in Frankfurt saw 901 exhibitors (2012: 878) from 41 countries which is a new record. Visitor numbers were also up with 42,713 from 114 nations attending (another record) compared to 40,894 last year.
‘From the point of view of exhibitors and visitors, Prolight + Sound was an excellent international marketing platform and order fair. The numbers on the exhibitor and visitor sides are unequivocal confirmation that the concept of the fair is spot on,’ said Detlef Braun, member of the executive board of Messe Frankfurt GmbH. ‘Prolight + Sound has not only been able to consolidate its position as the leading international trade fair for the sector but also, as in the past, received top ratings from visitors.’
Prolight + Sound was held concurrently with Musikmesse 2013 and together the two fairs attracted a total of 113,576 visitors from 142 nations.
Trent Severn and crew (L-R) Laura Bates, Darryl Lahteenmaa (FOH), Dayna Manning, Emm Gryner, Karen Bell (crew).
Canadiana band Trent Severn found that its self-titled debut album was on the upload request list for NASA of Chris Hadfield, Canadian astronaut and commander of the current mission on the International Space Station. ‘He emailed us to let us know he'd like to call into a show and of course we jumped on the opportunity,’ said the band’s Dayna Manning. The eight-minute phone call came during the band's performance in Goderich, Ontario. ‘Prior to the show we discussed this and thought that we had better tell them [the audience] so that they would believe it was real when he called! So after the second song of the set we told them and they honestly shrieked with excitement. When the call came through everyone clapped and cheered. It was a thrilling moment for everyone there.’
FOH for the band Darryl Lahteenmaa explained his process for planning to take and amplify a phone call from the International Space Station. ‘We had this opportunity to take a one-time call from the ISS, we weren't taking any chances. The Radial JDI [passive direct box] has proven itself time after time in every situation we have put it through so we knew we could trust it,’ he said. ‘And when the call from the commander came though, I didn't even think of the gear, I just enjoyed the moment like everyone else. The JDI gave me complete peace of mind.
‘The technical setup was simple,’ he added. ‘The cell phone's stereo output was routed to the pair of ¼-inch inputs of the JDI. The merge function of the JDI was utilized to properly sum the signal to mono. The JDI output went directly to a channel on the board, then out to the PA system. We had the phone at the soundboard so when the call from commander Hadfield came in we answered it and flashed Trent Severn onstage with a flashlight to let them know Chris was on the line. We brought them the phone and plugged it into the JDI.’
Sound for picture composer Mikkel Heimburger relies on his Antelope Audio Orion32 audio interface as the cornerstone of his Los Angeles-based studio. ‘I was a creator of dance, pop and urban music just a few years ago,’ he said, ‘but now I am producing trailers and advertising segments that are diverse and creative, but also more lucrative.’
‘The companies I am pitching to often receive dozens of tracks in a day — I want them to remember mine not only for writing and performance, but also for sonic quality,’ he said, adding that it’s where the Orion32 comes in. ‘It has what many of today's other convertors are lacking -- punch. I really need this for the trailers I am working on, and with the Orion32, it happens automatically — it is just there and I don't have to adjust the EQ or manipulate the low end.’
(Photo credit: Julian Bullitt)
Cleveland, Ohio based Five/Four Productions has captured what it claims is the world's highest resolution audio recording. Five/Four recording producer Thomas Moore, recording engineer Robert Friedrich, and assistant engineer Ian Dobie travelled to Worcester, Massachusetts to record Joseph Haydn's Missa in Angustiis (Nelson Mass) Hob XXII:11, and Symphony No. 102 in B flat major Hob. I/102, with Martin Pearlman and Boston Baroque in the Mechanics Hall. The recording is tentatively planned for release in October on the Linn Records label.
Five/Four Productions partnered with Merging Technologies to capture 11.2MHz 1-bit Direct Stream Digital using Ravenna audio over IP networking technology employed by Horus and Pyramix. Multiple audio streams plus control information were connected with a single Cat5e/6 cable and used standard network components.
‘Five/Four always strives to capture sound in the most natural and realistic manner that reproduces pure and true,’ said producer Thomas Moore. ‘To be able to merge the sounds of period instruments and singers with this very modern technology is the perfect way for us to deliver the most realistic audio experience, just as if you were standing with the performers among you.’
A successful decade behind the console of his Manhattan-based Vault Mastering Studio convinced engineer Nathan James that he could move his growing family back to their hometown of Phoenix and maintain a business. Having developed a strong client base James was confident his skills would continue to attract interesting national projects. After establishing temporary quarters with a local mastering house, James’ next order of business was to retain the Walters-Storyk Design Group to create his new studio.
‘The new Vault Mastering Studio meets every one of my specific requirements, and when you walk in, it’s got that WSDG wow factor,’ said James. ‘I migrated my entire mastering setup from New York, from the Custom DM console to the Duntech Sovereign/Cello amp monitoring combination that I’ve relied on for well over a decade. I brought all my trusted processing tools as well. Everything I need to get the most out of every recording is available at my fingertips. This is the studio I’ve always dreamed about. My original NYC Vault was aptly named because it radiated a sense of total sonic security. The new studio sounds and functions in a totally natural way. Sunlight enhances the creative vibe of the room during the day, and in the evening; it takes on an entirely different atmosphere.’
The Salzbrenner Stagetec Mediagroup has equipped the new music theatre in Linz, Austria with audio, communication and multimedia technology. Europe's largest newly built theatre opened its doors in April with an adaptation of Wagner’s Parsifal by Spanish Theatre Company La Fura dels Baus. The theatre, designed by London-based architect Terry Pawson, offers a main stage with 2066sqm of stage space, three extremely variable venues as well as excellent seating comfort and acoustic conditions.
The installation includes an extensive Oratis intercom system, a stage-management system based on Oratis and the Media Control system, a Nexus network for signal distribution throughout the building, and four Aurus consoles for the three halls and the additional recording studio.
The Stavanger Symphony Orchestra has a new home in the €165.2m Stavanger Concert Hall. Designed by Oslo architects Ratio Arkitekter, the 13,800m² venue can host all types of cultural events with each of the two halls -- one for orchestral music, the other multipurpose -- has its own independent soundproofing and load bearing systems. The soundproofing allows a rock concert to take place in one at the same time as a classical event in the other. DiGiCo consoles are used for mixing the amplified sound in both areas. Designed and supplied by DiGiCo’s Norwegian distributor Bright A/S, the project uses two SD7s, two SD8-24s, an SD10 and six SD Racks (fixed and portable). Both halls have a normal setup of 112 input lines and 64 output lines but can be expanded when needed. A fibre optic network has connection points spread throughout the venues.
The IABM (International Association of Broadcasting Manufacturers) has established the IABM Educational Foundation. The foundation is registered as a charity in the UK and operates globally, independent of the IABM. Its mission is to deliver a broadcast and media technology skills certification scheme along with other initiatives that support technical education, skills, and career development in the sector.
‘More than 100 companies and organisations supported our Lifelong Learning Manifesto, which commits us to fostering not only the development of educational resources, such as courses offered by the IABM Training Academy, but also the means of testing and recognising delegates' educational achievement,’ said IABM director general Peter White. ‘We're now in a position to proceed with the latter work, and the IABM Educational Foundation is the right vehicle through which to do it.’
Prism Sound has released two new versions of SADiE 6 software. SADiE 6 Professional and SADiE 6 Lite are designed to bring the software to a much wider audience through lower price points.
SADiE 6 Lite presents the core capabilities of SADiE in an entry level package, while SADiE 6 Professional can handle unlimited tracks and incorporates one year's free support including all major updates. SADiE Lite and SADiE Professional include SADiE's array of flexible and non-destructive editing tools such as the Playlist, Trim and Region editors. They also provide a slimmed down core set of iZotope VST plug-ins and the palette of SADiE channel strip processing.
DPA’s d:dicate recording mic range includes DPA’s new 4018 supercardioid capsule, the counterpart to the 4018V capsule used in the company’s d:facto vocal mic. d:dicate also includes the 4007 omnidirectional capsule and other capsules can be used in a modular format and are compatible with other d:dicate capsules and preamplifiers.
Completing the d:dicate line-up are microphones from the DPA Reference Standard series, which has been absorbed into the d:dicate range with all former Reference Standard products now carrying d:dicate branding. Along with new capsules and accessories, the d:dicate range includes the modular 4000 and 2000 series. Within the 4000 series there are a variety of capsules including the two new capsules, 4017 shotgun, 4015 wide cardioid, 4011 cardioid and 4006 omnidirectional. The 2000 series consists of two twin-diaphragm capsules -- the 2011 cardioid and the 2006 omni versions -- that are rooted in the design technology of DPA’s classic miniature capsules. All these capsules can be combined with an A preamp, a B preamp with low cut and high boost filters, and a C preamp, which is a compact version for discreet miking.
New accessories have also been developed for the d:dicate range, including modular active cables and modular active booms.
Aurus mixing consoles now offer a control interface for Pyramix. The interface is based on the Oasis protocol by Merging Technologies, which provides a high bandwidth for control and display data and enables control of virtually all Pyramix parameters and plug-ins from the Aurus. The user can configure one or more Aurus channel strips as DAW channels, which then control the Pyramix signal processing via Oasis. Conversely, Pyramix passes its display data back to the Aurus, thus integrating the control side of the DAW into the mixing console. With this feature addition AURUS now supports DAWs by Pyramix, Pro Tools, and Nuendo.
The Ocean Way Studios plug-in for the UAD platform combines elements of room, microphone, and source modelling ‘so tracks sound as if they were recorded in the legendary studios of Ocean Way Recording’. Built on UA's proprietary new Dynamic Room Modeling, Ocean Way Studios provides the ambience and dispersion properties of various sources in the rooms at Ocean Way, as recorded through a selection of vintage microphones that can be dynamically positioned in real-time via a click-and-drag interface. Ideal mic selections and placements are provided in Ocean Way Recording's Studio A and Studio B.
UAD Software v7.0 features two new Direct Developer plug-ins — SPL TwinTube and Sonnox Oxford Inflator. The SPL TwinTube Processor plug-in adds analogue tube warmth, saturation, and harmonic distortion without impacting dynamic range. It has two independent stages that can be run together or separately.
The Oxford Inflator increases the apparent loudness of a mix or individual tracks without audibly affecting sonic quality or reducing dynamic range.
Benchmark’s DAC2 D is a digital-to-analogue convertor for those who like the performance of the DAC2 HGC but don’t need its analogue inputs or the 12V trigger.
Features include Sabre32 Reference eight-channel 32-bit audio D-A convertor (ES9018), 24-bit/192kHz PCM as well as native DSD conversion, sample rate and word length display, UltraLock2 jitter attenuation, asynchronous USB Audio 2.0, a polarity switch, bypass, digital inputs, and digital pass-through.
Neyrinck has announced that V-Control Pro iPad app will allow editors to control many features in Adobe Premiere Pro from the iPad and iPad mini. This will be the first release of Premiere Pro that includes comprehensive external control features.
The Premiere Pro skin features 8 faders, meters, pans, two banks of 16 programmable soft keys, automation keys, jog/shuttle wheel, transport controls and several other dedicated keys specifically designed for use with Premiere Pro to speed up and enhance the editing process.
Pearl’s Priority is a large membrane condenser mic with a fixed cardioid pattern. This all-new design has a 2900 single membrane rectangular capsule; the capsule has an unusually large membrane for a single membrane capsule which contributes to the mic’s sonic capabilities.
The capsule has been tuned and the frequency curve shows a slight increase (2-3dB) around 5kHz which corresponds to a presence bump. It is described as an affordable (EUR 595 + VAT) hand-made product.
DiGiCo has taken the SD9 further for the broadcast and theatre markets, with the SD9B and SD9T. The SD7T has become a standard on large budget shows on Broadway and the West End and this feature set is now available in the SD9T.
DiGiCo has enjoyed wide acceptance of its broadcast specific SD10B console and has now applied the same set of parameters to the SD9. The new SD9B upgrade adds surround capabilities to the standard SD9 live system, providing 48 stereo channels, up to 5.1 busing, plus a full studio style Monitor Matrix, multiple Mix Minus buses and Backstop PFL functionality. The addition of these new features means that the broadcast market now has a supplementary console option available placed between the DiGiCo SD11 and SD10, from a price-point and features perspective.