By Kelleigh Welch

A June 11 court rul-ing that deemed Fox Searchlight in viola-tion of labor laws by not pay-ing two interns has brought the validity of unpaid intern-ships under the microscope, causing companies in numer-

ous entertainment industries to reexamine their programs. While the ruling was in ref-erence to a film company, it does not mean that other fields are in the clear. In the audio industry, where many recording studios and sound companies have internship programs already in place, the future of internshipsspecifically ones that are unpaidis uncertain.

The so-called Black Swan Ruling found that Fox Searchlight was in vio-lation of labor laws by giv-

ing Alex Footman and Eric Glatt remedial duties such as making photocopies and fetching coffee during their internships on the 2010 film, Black Swan. The argument, according to New York Judge William H. Pauley III, was that the two interns were there to learn about film pro-duction, but the tasks they were given had little educa-tional value and were meant for a paid employee on the set. He ruled that these tasks given to the interns classified

Central Parking The New York Philharmonics annual Concert In The Park series brings clas-sical music to an atypically large audi-ence. The Philharmonics FOH engineer, Larry Rock, was tasked with recreating a symphonic performance experience while also blending in the band and voice of singer Mariah Carey. The sound system deployed by Yonkers, NYs Sound Associates incorporated a Meyer Sound Leo array at the stage, with Milo and M3D cabinets on the delay towers.

Links In The ChainAudio starts and ends as analog, even in a digital recording chain. Rich Tozzoli looks at the tried and true hardware bookending his bit manipulation to see which tools are essential to his process and why.

Central Parking

prosoun news

August 2013www.prosoundnetwork.comVolume 35 No. 8

F l e e t w o o d M a c R e u n i o n t o u R p a g e 4 4

By Steve harvey

Humans deep-seated psy-chological resistance to change is a challenge that software developers must face every time they release a new version of a product. And, the more popular the product, the louder users appear to com-plain.

Unless you were living un-

der the proverbial rock, you could not have missed Avids announcement in early April that it was introducing Pro Tools 11, the latest version of what has become a de facto standard platform in the indus-try. Built on an all-new, 64-bit audio engine, featuring an in-tegrated Avid Media Compos-er video engine, and with new

(continued on page 57)

DAW Upgrades And Options

(continued on page 20)

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The New York Philharmonics annual

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Beyond Black Swan: The Future of Internships

GRADING EDUCATIONAt the 50th AES International Conference on Audio Education, held in Murfreesboro, TN, the panel Audio Education Report Card sought to assess the efficacy of audio programs. Included (L-R) was Chase Trombley, Blackbird Audio Rentals, representing the freshly graduated new hire; educators Douglass Bielmeier of MTSU, Mark Rubel of The Blackbird Academy, and David Tough of Belmont University; and Kirk Immamura of Avatar Studios and SPARS (see page 5 for more coverage of the Conference).

NewS ANALySIS

[ 5 ]

[ August 2013 ]

sound business

By FranK WellS

murfreesboro, tnArt, science and business become the three pillars of the education of someone who wants to find a good, meaningful, profes-sional career-level job, commented David Scheirman as he set the stage in the lead presentation of three days of workshops, panel discussions and paper presentations at the 50th AES International ConferenceAudio Education, held in late July at Middle Tennessee State University, southeast of Nashville.

While education is a primary fo-cus of the Audio Engineering Society, the conference was the first of the

Societys long-running, subject-spe-cific conference series to focus spe-cifically on education. More than 140 educators and industry professionals attended the event, near triple the minimum hoped-for registrants, evi-dencing interest in the topic. Along-side attendees from 25 U.S. states, multiple countries were represented, including Japan, the UK, the UAE, Norway and Australia.

Presentations ran the gamut of education issues, from instructional infrastructure and techniques for ele-ments such as ear training to intern-ships and outcome evaluation. Scheir-man, director of Knowledge Resources for Harman Professional, offered an industry perspective on audio training and course design, noting in part that, Keeping up with new technologies is difficult and criticalWorking pro-fessionals have to constantly upgrade their skills. That means the programs that train the entry-level personnel will be doing the same thing.

The event was co-chaired by

MTSU educators Michael Fleming and Bill Crabtree. At the events close, Fleming stated, Our goals with this conference were to stimulate dialogue among members of the audio teaching community and between the pro-audio industry and academia, so that there might be a greater sense of understanding and confidence in our respective missions. In many ways, the profession of teaching professional audio from an academic and practical

point of view is very young, and we think this conference was a giant step toward helping establishing a sense of community, as well as shared standards and awareness of the different directions and emphases these programs can have. Clearly there are three sets of beneficiaries from this work: audio students, audio faculty and our peers in industry.

In a panel discussion titled Audio Education Report Card, moderated by veteran audio educator Mark Ru-bel, the discussions focused on student preparedness for the working world. David Tough of Belmont University outlined his doctoral research involving a broad range of audio experts in the development of a list of critical skills that would equip students for their first jobs in audio. Competencies needed by future AT graduates are multidis-ciplinary, said Tough, including not just core audio engineering skills but also physics, music and business. Un-surprisingly perhaps, for professionals

By Kelleigh Welch

detroit, miUnited Sound should be preserved for its history, accord-ing to Ed Wolfrum, former engineer at the Detroit studio. That may not happen, however; United Sound Systems buildinga spot famous for helping found the citys famed music sceneis in jeopardy of disappearing as part of a proposed project to expand the nearby I-94 high-way with more traffic lanes on both sides. At least 100 struc-tures could be demolished as part of the project, including the United Sound Systems studio building, located on 2nd Ave in Detroit, just north of I-94.

Wolfrum, United Sounds chief engineer from 1969 to 1973, feels the building should be preserved based on its historical significance in the regions music scene. Every major artist in Detroit came through there, he recalled. While the studio has hosted recordings for ma-ny of musics greats, including Aretha Franklin, Berry Gordy Jr., George Clinton, Miles Davis, the Dramatics, John Lee Hooker, Luther Vandross and Eminem, and was at the fore-front of the age of Motown, it does

not have any official historical status that could protect it from demolition.

United Sound Systems Recording Studio was established in the 1930s when owner and founder Jimmy Sir-acuse saw an opportunity to join the flourishing Detroit music scene. He originally opened a music store be-

fore purchasing the building on Sec-ond Avenue and creating a record-ing studio that is believed to be the first independent recording studio in the United States. In the 1950s, Siracuse added Studio A to the back of the building, creating a space large enough to record an entire orchestra.

Additionally, the facility was a re-

cording technology greenhouse, ac-cording to Wolfrum, who noted Unit-ed Sound had engineers constantly building their own recording equip-ment for the studio, and improving on existing gear. Most of the equip-ment was homebrewed, Wolfrum said. We didnt buy much. United

was really on the forefront of all this stuff and had this rep-utation as a hot shot technical studio.

The Detroit Sound Con-servancy, a non-profit organi-zation dedicated to preserving the music history of Detroit, is working to find a compromise that would extend the highway without destroying the studio. Preserving it is going to take a lot of money and a lot of imagination and a lot of peo-ple, Detroit Sound Conser-vancy founder Charles Gholz told the Detroit Free Press.

Luckily, there is still hope. MDOT spokesman Rob Mo-

rosi said that no plans are in place yet, and that demolishing the studio is a worst-case-scenario.

Even with the costs of keeping the studio standing, former engineer Wol-frum said it should be preserved: It was the mothership of Detroit.Detroit Sound Conservancywww.detroitsoundconservancy.org

AES Audio Education Conference Examines Training

Detroit Studio Destined For Destruction?

RDE Mics Buys FiResydney, australiaRDe (rodemic.com) has announced its purchase of the FiRe audio recording appli-cation for Apple iOS devices, a product from Audiofile engineering. Taking complete ownership of the code, the company intends to release improved versions of its RDe Rec app based on the FiRe platform, and is working on new, advanced hardware.

Icon Digital Lands In USmadison, wieuropean-based instrument/musical device manufacturer/e-retailer Icon (icon-digitalusa.com) has broadened its scope to the U.S. with the arrival of wisconsin-based Icon Digital USA, LLC. The US distributor of Icon music-creation products intends to provide one stop solutions for musicians, media/audio enthusiasts and engineers, with a focus on working with educational institu-tions.

Calrec Debuts Free Trainingnew york, nyCalrec Audio (cal-rec.com) has announced that it will launch a series of free U.S. training sessions. The program, offering operational training on Calrecs Bluefin2 range of consoles, includ-ing Apollo and Artemis, is aimed at freelance audio engineers and employees at broadcast facilities who have had no formal training on the platform, as well as those who want to brush up their skills.

briefs

Engineer Ed Wolfrum (at console) with producer Fred Bridges at United Sound Systems Studio in an undated photo from the early 1970s.

Setting The Stage: Harman Professionals David Scheirman presented his paper Are Audio Education Programs Keeping Pace With New Developments In Industry? to open the 50th AES International Conference on Audio Education (left) and Meyer Sounds Bob McCarthy (right) delivered the keynote address.

(continued on page 12)

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departments

Sound Business 5

Classifieds 55

Sound People 54

Advertiser Index 55

Company Index 55

charts

Tracks 28

Centerstage 48

Soundcheck 50

columns/reviewssoftwaretech . . . . . . . . . 26

Craig Anderton finds the ancient Mac Vs. PC debate has been rendered null and void.

viewfromthetop . . . . . . . 56Lee Ellison, CEO of Audinate, relates how he connected with the company, and how its Dante media network system connects with everything else.

music,etc . . . . . . . . . . . . 58Jaques Sonyieux focuses in on Camera Obscura and the Scottish indie bands new album, Desire Lines.

soundrecordingBuilding On Bedrock . . . . . . . . . . . . . 22

Bedrock.LA is expanding into the MacArthur Park neighborhood of Los Angeles, creating a 50,000-square-foot, multi-story complex that will house a creative community involved in a variety of media and technologies.

Studio Showcase: Neptone Studios . . 24Located in the heart of old Destin Harbor on Floridas most beautiful beaches, Neptone Recording Studio is a full service recording facility founded in 2005.

soundpost/broadcastDTS Turns 20 Still Looking Ahead . . 33

DTS celebrates 20 years since the companys launch, coinciding with the release of Jurassic Park. CEO Jon Kirchner points out some company mile-stones and takes a look forward.

Innovative Isolation . . . . . . . . . . . . . . . 33French company Audionamix has made inroads into the post production and music communities with its ADX technology, which isolates key ele-ments of a mixed master audio track where indi-vidual tracks are not available.

soundtechnologySound Innovations: The Audibility Of Clock Jitter . . . . . . . . . . . . . . . . . . . . . 35

In the course of developing a new DAC, renowned audio gear designer Dave Hill found himself on an investigation of jitter and its impact on sonics. Hill documents the quest and offers lab-created files to let PSN readers share his experiences.

Field Reports: Product Profiles . . . . . . . 35, 37, 39

Genelec M Series M030 Bi-amplified Active Monitors; Millennia HV-37 Two-Channel Preamplifier; Shure KSM9HS Dual-Pattern Handheld Condenser Microphone

soundproductsStudio Products . . . . . . . . . . . . . . . . . 40SR Products . . . . . . . . . . . . . . . . . . . . 41

soundreinforcementThe Sound of Tarrytown . . . . . . . . . . 42

How do you handle audio for modern concerts in an 1885, landmark status-protected, 860-seat theater? Just ask Boulevard Pro, which has tackled audio at the Tarrytown Music Hall for everyone from Smokey Robinson to Fountains of Wayne.

Live Sound Showcase: Fleetwood Mac . . . . . . . . . . . . . . . . . . 44

The perennial purveyors of that 70s So-Cal Sound are back and making the rounds. We go behind the scenes to check out the audio and clear up all the Rumours.

[42]

[44]

news analysisDAW Upgrades and Options . . . . . . . 1, 57

They say change is good, but DAW manufacturers often have a hard time convincing custom-ers that the truism is true. Steve Harvey analyzes the current state of flux in the DAW marketplace.

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contentsvol . 35 no . 8 August 2013

news

vol . 35 no . 8 August 2013

newsprosound

ANN

A ISOLA CRO

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This summers 50th AES Interna-tional ConferenceAudio Education (see page 5) focused on one of the key aspects of the Audio Engineering Societys mission. Entry-level train-ing, continuing education for working professionals, the dissemination of information on breaking and even ex-perimental technologies, the sharing of techniques by audio practitioners and the hands-on exposure to new tools of the trade are each important to that mission. These elements are also key components of the Societys conventions.

In October, the 135th AES Con-vention will be held at the Jacob Javits Convention Center in Manhattan. The fall conventions are the most vis-ible event in the Societys annual cal-endar for good reason. Theres simply no other audio event on the planet that covers as much territory. Though focused solely on audio, the AES is a broad-based organization and its range is fully represented in the Con-ventions. There is more packed into four days of program content than any one individual can experience. While the surfeit of content can be daunting, the breadth of the Conven-tion program assures an abundance of content available for all comers, regardless of their level of expertise or their primary area of specialty.

The planning of this falls program has long been in development, with

experts in all aspects of audio in-volved in the gathering of their peers, the best minds in the business, as-sembled at the Convention to ensure that the most relevant and timely in-formation is available for attendees. As I write, the program elements are going online for attendees to plan their Convention experience.

New to last years convention was the Project Studio Expo, two days of training adjacent to the exhibition floor, designed to aid home studio owners in maximizing the quality of their recordings. PSE returns this year, and the same stage will be used for an additional day of training in the growth field of installed sound. This Systems Sound Symposium, will fea-ture content developed by PSN sister publication, Systems Contractor News. Meanwhile, the DTV Audio Group will bring high-level participants for a day of dialog covering the most critical issues in television audio. This DT-VAG event, the SSS, the PSE and a number of additional special events are available to all convention attend-ees. The former Exhibits Only at-tendee category is being rebadged Exhibits Plus, the Plus being these educational and information sessions, which also include the Platinum Pro-ducer and Engineer sessions and the Grammy Sound Table produced by the Producers & Engineers Wing of The Recording Academy.

If youve read PSN over the years, you may have noticed that I return annually to the AES Convention as a topic for this space at this time of year, to encourage you to make your plans to attend the fall convention. I confess to being an AES true be-liever, as evidenced by my involve-ment for over two decades, first as a Convention attendee, then also on the local level as my local section re-built itself into one of the strongest sections in the Society and, in recent years, as part of the Societys inter-national governing board. The AES has been key to my own professional growth, both in terms of knowledge and through the interaction with the Societys membership and the Con-ventions participants.

As with many things in life, the benefits of AES Convention atten-dance are in direct proportion to the level at which you commit yourself to making the most of your participa-tion. From my own perspective, the more I pored over the program and plotted out a plan to fully utilize the available time, the more I benefited. The more time I spent in the com-pany of leading audio professionals as they shared their knowledge and experience, the more professional I became myself.

I encourage you to join us in New York in October. I cant imagine that you would regret the experience.

[ August 2013 ]

[ 8 ] vol. 35 no. 8 August 2013

http://www.prosoundnetwork.comFRANK weLLSfwells@nbmedia.com

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PRINTeD IN THe U.S.A.international editionAdministrative, Advertising, & editorial Offices 28 e 28th Street, 12th floor New York, NY 10016 TEL: (212) 378-0400 FAx: (212) 378-0435 E-MAIL: pro@nbmedia.com

[ August 2013 ]

[ 10 ] soundbusiness

By Steve harvey

los angeles, caWith the entire country in the grip of a heatwave, Pensados Place and Vintage King presented Gear Expo 2013 on Satur-day, July 20. Hosted by Vintage King at its VKLA showroom in Los An-

geles, the expo offered the capacity crowd an opportunity to demo gear, speak with manufacturer reps, watch live interviews and mingle with celeb-rity guests from the world of music production.

Representatives were on hand from A-Designs Audio, Apogee Elec-tronics, Auralex Acoustics, Blue Mi-

crophone, Chandler Limited, Even-tide, Focal, Lynx Studio Technology, Maag Audio, Mojave Audio, SPL/Brauner, Overstayer, Phoenix Audio, Rascal Audio, Royer Labs, Standard Audio, Tree Audio, Wave Distribution and numerous other companies. Pen-sado, Vintage King Audio and VKLA, Ableton, Bedrock-LA, Avid, Infrason-

ic Mastering, iZotope, Gobbler, The Recording Academy Producers & En-gineers Wing, Dorado Music Pack-aging, SAE Institute, Womens Au-dio Mission, MsDSP and Echopark sponsored the event.Vintage Kingvintageking.com

Gear Expo Packs Em In

Riverside Acquires Blue MicrophonesBy clive young

westlake village, ca Blue Mi-crophones has been acquired by global private equity firm The Riverside Company. Purchased for an undisclosed amount, the pro audio manufacturer stated aggressive growth plans would be a part of its future, but added that no changes are planned in Blues team.

Hillary Money of Blue Mics told Pro Sound News, This will not affect any upcoming prod-uct schedules. At the same time, the investment by The Riverside Company gives us resources to pump up the areas where we are already thriving, like product de-velopment.

In the statement, Blue Mi-crophones CEO John Maier noted, Over the past five years, Blue Microphones has launched a whirlwind of innovative new products and expanded distribu-tion globally. Looking forward, Riverside is the ideal partner for Blue to achieve our ambitious expansion goals, both interna-tionally and into new market segments, and I could not be happier to be joining such an ac-complished team.Blue Microphonesbluemic.com

L-R: Dave Pensado, host, and Herb Trawick, co-host and executive producer, Pensados Place, spoke with various guests throughout the day, including songwriter, producer and musician Rodney Jerkins, and Colin McDowell, founder of McDSP.

[ August 2013 ]

[ 12 ] soundbusiness

new york, nyMike Shi-pley, Grammy-winning stu-dio engineer and producer, known for working with a diverse range of artists such as Queen, Aerosmith, Keith Urban and AC/DC, died on July 26. His age and cause of death have not been made public.

Shipley was born in Aus-tralia and moved to Eng-land as a teenager, where he started working as an assis-tant at the Wessex Studios. His first recording session was with the Sex Pistols, and Shipley would later on work with producer Mutt Lange for two decades on numerous hit albums by Def Leppard, The Corrs, Shania Twain and Maroon 5.

In 1984, Shipley relocated to Los Angeles while working with The Cars, and remained there until his death. According to The Recording Acad-emy, Shipley was nominated for eight Grammy awards during his career, and won three awards, including Best

Engineered Album, Non-Classical, and Best Bluegrass Album in 2011 for Alison Krauss & Union Stations Paper Airplane.

In a statement, Def Leppard sing-er Joe Elliott recalled the engineer, noting, Im devastated to hear of the passing of Mike Shipley. He was a fantastic engineer and a good guy. Nothing got past him if it wasnt up to scratch, hence Leppards nickname

for him, bat ears. From the High N Dry album in 1981 to the last thing we did together, 1993s Two Steps Behind, he was a joy to work with. RIP Shippers.

Thomas Dolby, who collaborated with Shi-pley both as an artist on his second album and as a producer on Prefab Sprouts debut, Steve Mc-Queen, said on Twitter, Very shocked and sad to hear that Mike Shipley, mix engineer on The Flat Earth and Steve McQueen

was found dead yesterday.Also, Kip Winger, leader of the

eponymous 80s pop-metal act Wing-er, remembered the engineer on Facebook, recalling, He was a dear friend. Mike was a kind, generous, funny, supremely talented and skilled person. He taught me how to really make a record... This is a tragic loss to the world to say the least. Ill miss you Mike.

framingham, maDr. Amar Bose, founder of the audio company Bose Corporation, passed away on Friday, July 12, at the age of 83.

In a statement, Bose Corporation President Bob Maresca said, It is impossible to put into words what Dr. Bose meant to each of us, and to Bose. He was more than our Chair-man. He was our teacheralways encouraging us, always believing that we could do great things, and that anything was possible. Maresca also extended sympathies to Boses fam-ily in his statement.

Dr. Amar Bose started the com-

pany in the 1950s while he was a grad student the Massachusetts In-stitute of Technology. After purchas-ing a home stereo system, he realized the sound did not meet the expecta-tions he had, and decided to start developing his own speaker systems. Now, the company produces speaker systems for private homes as well as commercial systems

The company will remain pri-vately held, according to the Bose website. Dr. Bose was an incred-ible mentor and inspiration to Bose employees around the world. Today, and every day going forward, our

hearts are with him and our work will honor him, Maresca said.Bose Corporationbose.com

Rock Engineer Mike Shipley Passes

Amar Bose Dies at 83

Community CEO Dorwart Passeschester, paTimothy Dorwart, CEO of Community Profession-al Loudspeakers and long-time leader in the Pro Audio industry, passed away on Monday, July 15, 203, due to illness.

We are deeply saddened by Tims death, said Bruce How-ze, Community Loudspeakers President, in a statement. We mourn the loss of our chief ex-ecutive and a good friend, and we extend our most sincere con-dolences to his wife and family.

Dorwart became CEO of Community in March, 2013, leading the company through its introduction of several new prod-

ucts at InfoComm. Dorwart has previously served in positions as director and VP with Bose Cor-poration and DMX Music. Since 2007, he had led the Stanton Group through a successful turn-around as its CEO. Dorwart came to Community from Gibson Gui-tar Corporation where he held the position of General Manager, Pro Audio and guided the integration of Stanton Group assets to form Gibsons new Pro Audio Division.Community Professional Loudspeakerscommunitypro.com

Legendary recording engineer Mike Shipley

DAvID G

OG

GIN

working with new hires, Tough noted that, Out of the top 20 competen-cies, 19 were communications/lead-ership-oriented. While students also needed to balance theory and prac-tice, professionalism and the ability to communicate effectively were deemed the most critical skills.

Panelist Kirk Imamura, owner of New York Citys Avatar Studios,

agreed, Because the interperson-al skills are so important, I think it overshadows a lot of the technical. Douglass Bielmeier, newly added to the staff at MTSU, built on Toughs work for his own thesis efforts. Bile-meier surveyed new hires and em-ployers to determine if students had the skills needed. Students tended to rate their preparedness higher than did their employees.

Scheirman also pointed out that while recording is a primary focus of most higher education audio courses, Sound reinforcement jobs, which

support performance and event-based audio, are growing rapidly. He sug-gested that live sound training may be necessary for the jobs of the future, asking, What industry are you pre-paring your students to enter?

In further acknowledgement of the need for live sound education, the Conferences keynote address was de-livered by Bob McCarthy, senior edu-cation consultant at Meyer Sound. McCarthy detailed his role in man-ufacturer-driven education, which is a significant element in continuing education for live sound in particu-

lar. Audio is a challenging field to educate in, said McCarthy, because its a moving field, and its a challeng-ing thing to educate on stuff that you just learned yesterday. And if youre not just learning something yesterday, youre not really paying attention too much to whats going on in this field, because its a moving target.

Proceedings of the AES 50th International ConferenceAudio Education are available through the AES e-library at aes.org.AESaes.org

Audio Education(continued from page 5)

Dr. Amar Bose, founder of Bose Corporation

Tim Dorwart, CEO, Community

[ August 2013 ]

[ 14 ] soundbusiness

wennebostel, germanyDr. Andreas Sennheiser and Daniel Sennheiser recently held a groundbreaking cer-emony to mark the beginning of con-struction of the Innovation Campus at company headquarters in Wennebostel. The 20-million Euro Innovation Cam-pus project will provide Sennheiser employees with 7,000 square meters of workspace to develop new products.

On behalf of all shareholders and accompanied by family members Karin, Daniel, Alannah and Dinah Sennheiser, Dr. Andreas Sennheiser welcomed the guests to the ceremo-ny. Attendees included the Mayor of the borough of Wedemark Tjark Bar-tels, the project manager Hhlich &

Schmotz, other political and business representatives and local residents. As the third generation, it is a great pleasure for us to be able to build on our grandfathers legacy. Today, we are laying the foundation for the Innovation Campus, which marks a new milestone in our development plan, said Dr. Andreas Sennheiser.

For the laying of the foundation stone, the group filled a time-cap-sule with documents and products which symbolize the importance of Sennheisers company culture. The contents included a photo-graph of the three generations of the Sennheiser family, a current annual report, new Euro coins and a daily

newspaper. Also included were the classic microphone MD 421, the IE 800 ear canal phones and a digital handheld transmitter SKM 9000 from the Digital9000 system.

We will be welcoming visitors here from all over the world, An-dreas Sennheiser said. With our cli-entsartists such as P!NKwe will be able to try out the microphones that we have developed specifically for them in the theatre. Further-more, a Sennheiser Flagship Store is also planned, where visitors will be able to learn about and purchase the latest products.Sennheisersennheiser.com

Sennheiser Breaks Ground TNDV Supports Twister Reliefnashville, tnNashville-based mobile TV production company TNDV donated its talent, time and equipment to capture au-dio from Toby Keiths Oklahoma Twister Relief Concert.

The all-day festival-held July 6 at the University of Oklahomas Gaylord Family-Oklahoma Me-morial Stadium in Norman, OK-featured non-stop performances by a lineup that included Toby Keith, Garth Brooks, Trisha Year-wood, Willie Nelson, Carrie Un-derwood, Sammy Hagar, Ronnie Dunn and Mel Tillis.

At the request of long-time client High Five Entertainment, an Emmy Award-winning video production company in Nashville, TNDV provided its new audio truck Vibration for audio multi-tracking and music mixing. TNDV donated its talent, time, and equip-ment to the cause of helping vic-tims of the May 2013 tornadoes that struck the Moore, OK area.

It was an honor and pleasure to be associated with this mo-mentous benefit concert, said Nic Dugger, TNDVs owner. This was also the first project of significance for Vibration and it performed exceptionally well un-der very demanding circumstanc-es. Since the eight-hour concert came together in a relatively short time, our crew had to make swift creative and technical decisions and respond on-the-fly as the fast-paced production unfolded.

The TNDV crew included Nic Dugger, who served as on-site technical manager; Adam Ellis, TNDV engineer-in-charge of Vi-bration; and Mills Logan, a free-lance audio mixer and recording engineer who has worked closely with Toby Keith on all his records and two movie soundtracks since 2005. The crew devoted four days, including set-up and show days, to support their High Five Enter-tainment clients. Executive pro-ducers Edie Lynn Hoback and Martin Fischer, and production coordinators Ashlee Locke and Catherine Melvin represented High Five on-site.TNDV Televisiontndv.com

An artists rendering of Sennheisers new Innovation Campus, now under construction.

[ August 2013 ]

sound[ 16 ] international

wee waa, australiaAn Adamson Energia E15 system supported a re-cent premier of Daft Punks newest album, Random Access Memories, at the Wee Waa Showground in Wee Waa, Australia.

Norwest Productions, headquar-tered in Sydney, was tasked with de-signing and implementing a sound reinforcement system that would sur-round a circular LED dance floor located in the middle of the show-ground show ring. The dance floorconstructed for the eventwas ap-proximately 85 feet in diameter.

The idea was that the audio on the dance floor would sound like a nightclub with four hangs of PA outside each quadrant of the dance floor, explained Scott Harrison, Norwest Productions FOH engineer and system designer. We knew the Adamson Energia E15 system was perfect for the job.

Each of the four arrays consisted of eight Energia E15s with six T21

subwoofers. The line arrays were flown from inside of towers con-structed of scaffolding located in the four corners of the dance floor. The

T21s were ground stacked (2x3) in front of each tower.

Norwest Productions deployed a DiGiCo SD 8 at FOH to bring in both the main and backup replay ma-chines on MADI, the backup CD on AES3, with analog backups for each of those devices.

Daft Punks final track from the al-

bum, Contact, contains a sweep from around 80 Hz all the way through to 15k or so, Harrison said. To hear that sound, hear it smoothly make its way through that entire range, without be-coming harsh or sharp or overwhelm-ing, really is a beautiful thing.Adamson Systems Engineeringadamsonsystems.com

london, ukMembers of the BBC Radiophonic Workshop (RWS) have regrouped for a series of elec-tronic music events this year, in-cluding the recent BBC Proms, which celebrated the 50th anni-versary of the science fiction TV series, Doctor Who. For the events, the RWS has been making use of a Behringer X32 Digital Mixer and EuroLive Active Loudspeakers.

Established in 1958 to provide sound effects and original music for BBC radio, the RWS went on to create music and soundscapes for some of the BBCs radio and TV programming, including Doctor Who. Although the BBC decom-missioned RWS in 1998, original members Paddy Kingsland, Peter Howell, Roger Limb, Dick Mills and Mark Ayres are working to-gether again on a new album and a

series of live events. The project will include collaborations with popular musicians who have all drawn from the RWS work over the years.

RWSs current rig features a Behringer X32v Digital Mixing Console, two S16 Digital Snakes, the Powerplay P16 Personal Moni-toring System, Eurolive B812NEO Active Loudspeakers and B1800-PRO Active 18 subs.

To celebrate the return of RWS and the anniversary of Doctor Who, the RWS joined a 200-strong cast of musicians for the BBC Proms at Londons Royal Albert Hall on July 13. The concert, broadcast live on BBC Radio 3, will also be shown on BBC television in November as part of the Doctor Who anniversary celebrations.Behringerbehringer.com

london, ukPerformances by Bon Jovi and The Rolling Stones kicked off this years AEG-Barclaycard British Summer Time festival at Londons Hyde Park, with Martin Audios Multi Cellular Loudspeak-er Array (MLA) delivering sound to crowds of over 65,000.

Historically, Hyde Park concerts have been dogged by offsite noise pollution leading to neighborhood complaints and the need to reduce sound levels on site, meaning that the audience couldnt hear the per-formances. The new tenants, AEG/Loud Sound, chose to use Martin

Audios MLA system to help solve this issue.

The MLA system is capable of maintaining an offsite level beneath the 75 dB threshold, according to Capital Sound technical manag-er Ian Colville, who designed and supplied the audio infrastructure for the festival. And, as a result of the audio design, complaints from the neighbors were few.

Another key factor in the sound threshold increase was the reori-entation of the Hyde Park stage by around 30 from north facing to northwest (directing it away from

Park Lane). The result is that fans positioned out at the perimeter have been able to enjoy an identical sound ex-perience to those at the front of the stage, said Capital Sound general manager, Paul Timmins. But walk five yards outside the soundfield and it will vanish.Martin Audiomartin-audio.com

Adamson Aids Aussie Daft Punk Event

RWS Ftes Doctor Who

MLA System Rocks Hyde Park

The Wee Waa Showground used an Adamson Energia E15 system for the Australian debut of Daft Punks global hit album, Random Access Memories.

The RWS was mixed on a Behringer x32 mixer during its recent performance at the BBC Doctor Who Proms in London.

It would appear that Bon Jovi is wanted, dead or alive, by the audience at this years AEG-Barclaycard British Summer Time festival at Londons Hyde Park

[ August 2013 ]

[ 18 ] soundbusiness

DiggiNg iNTo DESPACioif you read the Despacio article in our July, 2013 issue of Pro Sound News, you know about the thoroughly over-the-top system that James Murphy of LCD Soundsystem and John Klett put together for Despacio, a three-day event held in July during the biennial Manchester international Festival. Now theres a short video documentary of the system, with plenty of input from Murphy, fellow hip spinners Soulwax (AKA 2ManyDJs) and a tour of the system from Klett himself.

T.C. AND THE CuRLy SHuFFLET.C. Furlong has been a well-known name in pro audio for 40 years, but few realize that he was the producer and pedal steel guitarist of the Jump N The Saddle Band, which had a 1980s hit, The Curly Shuffle, a goofy tribute to The Three Stooges. We asked how the novelty song came about, and the result is a quintessential tale of one-hit wonderdom.

Find these blog posts and more at prosoundnetwork.com/aug2013

Bloggings

DiggiDif you read the Despacio if you read the Despacio i

Bloggings

1970s studios edition Pro Sound News shares links to interesting audio articles every month via @prosoundnews on Twitter; heres just a samplingwhich by coincidence, all involve 1970s studios

changing with the times. Get the links at prosoundnetwork.com/aug2013

4French destination studio (AKA Honky Chateau) used by Bowie, elton, Fleetwood Mac, T Rex is for sale: $1.7m. 4Londons famed (and closed) Olympic Studios to be converted into a cinema...and a recording studio. 4Kate Bushs former studio to be converted back into a residential house. 4Caribou Ranch, the 1,600-acre, Boulder, CO destination studio is up for sale. Price tag: $45 million

[prosoundnetwork.com]

On the Pro Sound News blog, readers recently spoke out about the potential demise of Detroits United Sound Systems (see page 5). Some notable comments:

every single time I am in Detroit, I drive by United Sound in hopes that it is still stand-ing. It has been vacant, like so many build-ings in Detroit, for far too long.Ron Skinner

Didnt the main room originally have a brick fireplace in the corner and one of the echo chambers was the bathroom? Cut my first tracks there in 61 with the Five Teenbeats.Fred Nesbitt

Detroit was and is an integral part of the USA music explosion which cata-pulted US as a dominant music region of the world. what an influence on the entire world. Tear it down? Ha! I will chain myself to the front of the building! lolSteve wills

If this was a museum of static art (statues, pictures), there would be no debate on preserving it. Motowns music was art.Bill Price

Find more reader comments at prosoundnetwork.com/aug2013

video vaultWere Not In Hollywood Anymore

Music videos set in recording studios never get it right, but rocker John Vanderslice set out to capture the reality of recording in the video for How The West Was Won from his new album, Dagger Beach. If anyone knows about real life in the studio, its Vanderslice, who founded San Franciscos resolutely analog Tiny Telephone Studio in 1997. Catch the cool clip and commentary at prosoundnetwork.com/aug2013

content comments

sweet tweet links

[ 20 ] soundbusiness

them as employees, placing the in-terns under minimum wage laws.

In my opinion, the company screwed up, said Dan Pfeifer, In-tern Coordinator and professor in the Department of Recording Industry at the Middle Tennessee State Uni-versity in Murfreesboro, TN. The kids were doing remedial work that should have been done by a regular employee. Whether the interns were getting trained or not, the court said they worked to the immediate advan-tage of the employer, which requires compensation.

Perhaps so, but Paul Christensen, executive director of the Society of Professional Audio Recording Ser-vices (SPARS), said the audio indus-try has been affected in the wake of the ruling: The concern we have is that theres no doubt that its going to become harder for kids to get intern-ships, paid or not. This now shows us that we need a workable template that could be exchanged and tweaked to be used by people as an acceptable example of doing (an internship). Some companies have stopped offer-

ing internship programs out of fear of legal repercussions, he added.

Since the Black Swan ruling, Pfeifer said, he has received a num-ber of calls from internship provid-ers looking for advice. Providers want to make sure they are not in violation of the law and that they are doing things appropriately. Most of them want to do the right thing. I tell providers to make sure the student is enrolled in an actual in-ternship class and to make sure he or she has more to the course than just showing up and getting a good grade, Pfeifer said.

With fewer internships available, however, it may become more dif-ficult for students to get involved in the pro audio field. In this kind of industry, it is hard to pick up by read-ing books. Its difficult to develop your skills unless you work side-by-side with someone with those skills, Christensen said.

Traditionally, internships are meant to provide students with the necessary experience and training to get into an industry, as well as con-tacts for when they start their job searchbut if more studios and com-panies cut their intern programs, it will make finding a job that much harder. The kids are the ones that

suffer, Christensen said. This is a time when we have more players than ever and education pressures are greater than ever.

At MTSU, Pfeifer said he moni-tors his students progress through-out their internships, having them keep a log and write a reflection paper once the internship is com-plete. The internship has to have a pathway to learning, Pfeifer said. If there is not a way to learn, then its not something I can award col-lege credit.

Pfeifer also evaluates studios, sound companies, manufacturers and other audio-based companies to make sure the programs will pro-vide students with the education and experience they need. As an intern coordinator, I think intern-ships are a good thing, but some students arent ready or dont want to do it yet, and they shouldnt be forced to, he said. I think anybody not doing an internship is crazy. The business is not just what you know in your head; its a relationship busi-ness. You have to go out there and build relationships.

However, if the legal ramifica-tions of offering unpaid internships keep companies from continuing their programs, students will have

to find alternate ways to break into the industry. SPARS, for instance, offers mentoring programs, where au-dio industry veterans offer advice to younger generations looking to start a career in audio. Mentoring wont take the place of internships, but its a good opportunity for students to ask questions, said Kirk Imamura, SPARS Board President.

From the other side, Jim Jordan of Starstruck Studios in Nashville, TN, said the facility only accepts interns that are working for college credit.

We have a steady stream of in-terns applying for positions, so theres no lack of people who want to work for free, Jordan said. We stick with the accredited thing, because I think it works for everybody.

Any studio that isnt paying them and not giving them an opportuni-ty to sit in on a recording session, I think thats wrong. We try to really give exposure, he added.

As long as providers follow the law, Pfeifer said they have nothing to wor-ry about. This isnt anything new, Pfeifer said. The law has been the law, and if people are doing their pro-grams right, if the internship is done well and has a teaching mindset, then I dont think theres a problem with the law in audio internships.

Internships(continued from page 1)

[ August 2013 ]

Building On BedrockBy Steve harvey

los angeles, caMusic production workflows have changed significantly over recent years, an evolution that has been recognized in the floor plans for Bedrock.LAs forthcoming expansion into the MacArthur Park neighbor-hood just northwest of downtown Los Angeles. But while the initial build-out phase, due to start in October, en-compasses numerous music produc-tion spaces, the overall vision is for the 50,000-square-foot, multi-story complex to eventually house a collab-orative creative community involved in a variety of media and technologies.

Ten years ago, this wouldnt have worked, says KamranV, co-founder of the Bedrock.LA rehearsal and recording facility in Echo Park. We noticed at Bedrock that peo-ple were asking for a writing room, a mix room, a production room, he continues, but with the majority of the rooms constructed for rehears-al2,500 musicians pass through the building each week, he says, and have included the likes of Atoms for Peace, At the Drive-In and Divine Fitsthe environment wasnt exactly condu-cive to production.

Those requests came from people ready to take a step up from their

home-based production rooms as well as those at the opposite end of the spectrum who are working in big commercial facilities but simply dont need that much space all of the time, he says. Now, theyre looking for this [sort of facility] and it doesnt exist, and its too expensive to create yourself.

The opportunity to expand first presented itself when the owners of Bedrock.LAs building, the Standard Oil Investment Group, offered the

company its basement, a raw space of approximately 10,000 sq. ft. Rather than simply construct more rehearsal rooms, however, KamranV and his CyKik consulting company began to formulate a more ambitious plan that would accommodate present-day production workflows.

The layout for the basement, which will include acoustical design input from Vincent van Haaff of Wa-terland Design, includes 10 or so pro-duction rooms plus a tracking space

of approximately 1,200 square feet and three iso rooms. [Tenants] can go and track, then pull it back into their room, or, with all the audio-over-Ethernet technologies available, stay in their room and record in the iso rooms, or in multiple rooms. The level of flexibility that has changed the workflow makes something like this work, he says.

The social element is also impor-tant: They want to have someone

sound[ 22 ] recording

By Steve harvey

hollywood hills, caMarsh Mas-tering recently relocated, moving out of Hollywood and into a house in the Hollywood Hills. The move not only shortens the commute for newly married owner Stephen Marshdown a flight of stairs to a lower floorbut also offers a more relaxed environment with, refresh-ingly, plenty of daylight.

This is my fourth studio with more or less this equipment since I left Threshold, says Marsh, who struck out on his own in 2007 af-ter five years at Threshold Sound + Vision, and six-plus years at So-ny Music Studios before that. He works alongside mastering engineers Stephanie Villa and Fernando Lee at Marsh Mastering.

Happily, the layout of the new facility, which is located on the ground floor of a house built by

Depeche Modes Dave Gahan, is similar enough to Marshs previous studios that no modification to his mastering set-up was required, he reports. Nothing has changed; we bagged and tagged everything. Every

cable is now where it was previously, with the exception of three digital cables that we needed to lengthen.

The noise floor is actually 4 dB better than his previous facility, he adds. We ran a dedicated feed with

isolated grounds before we moved in and we augmented our existing balancing transformer with voltage regulation.

Signal integrity and noise per-formance are important, as Marsh Mastering has a long history of working with audiophile clients such as Steve Hoffman and label Audio Fidelity. Indeed, apart from the ad-dition of DSD capability last year, he says, his equipment complement has remained unchanged for some time.

On the audiophile side, we shift-ed from doing 24-Karat gold CDs, as gold has gotten insanely expen-sive, into doing dual-layerCD and DSDhybrid SACDs. We have a new DSD converter and a new DSD recorder to facilitate that.

Marsh recently remastered a number of reissues for Audio Fidel-ity, including albums from Yes, Bob Dylan and Nat King Cole. Next up

Pictured in the lobby at the 50,000 sq. ft. building to house the new BedRock music studio center are (l-r) Standard Oils CEO Marc Bohbot, studio designer Vincent van Haaff, Mirrorball Entertainment COO Tony Maserati and Creative Director Stefan Skarbek, Bedrock.LA co-founder KamranV and Standard Oil COO Michael Bitton.

DAvID G

OG

GIN

Marsh Mastering: Moving On Up

Stephen Marsh has relocated Marsh Mastering to the ground floor of a Hollywood Hills house built by Depeche Modes Dave Gahan.

(continued on page 32)

(continued on page 30)

[ August 2013 ]

By JacqueS Sonyieux

Located in Destin Harbor, Nep-tone Studios is set amidst what some consider to be one of the nic-est beaches along Floridas Emer-ald Coast. A true destination studio that offers on-site lodging within both the on-site facility and a near-by beach house, Neptone attracts clients from all over the U.S.but is particularly popular among New Orleans and Nashville-based clients, according to owner and studio man-ager Donnie Sundal.

Our studio is a fantastic place where clients can get away and not only get a lot of work done, but also enjoy all the great things you can do in a coastal area, says Sundal. You can go fishing, go to the beach, go boating or even take a waterside nap after a long session. Needless to say, this chill vibe can be a welcome departure from working in the stu-dio hours on end, which can be all-consuming and stressful for many artists.

The comment we get all the time is that folks feel comfortable in here, and this is the main thing we are shooting for, Sundal says. People do tend to be stressed out, even if they have experience record-ing in the studio. And if they dont have experience, a recording studio can be an absolutely terrifying place to be for a lot of people.

The facility, originally founded in 2005 and currently undergoing a restoration of sorts, consists of two discrete 2,500-square-foot studio environments: the main studio (A), which features a newly acquired vin-tage Quad Eight Criodisca 24 x 24 8 custom console; and a second room (B), which is centered on an SSL 6000 48-channel mixing desk. Both rooms are served by 32 channels of Apogee converters and are running Avid Pro Tools software.

Prior to acquiring the Quad Eight, studio A relied on a control surface for tracking and mixing, in combination with a vast collection of vintage and modern preamps. Sun-dal says that the studios primary focus over the last few months has been on refurbishing and restoring the console to its original condition, and of course installing and wiring it.

According to Sundal, while the studio has never had trouble attract-ing clients, the Quad Eight puts the facility on a new plateau: We were still mixing in the box, and I wanted

to get out of it, he says. I looked at some summing and sidecar op-tions, but at the end of the day, after speaking to other people we trusted like Pepper Denny of Peppers Pro Shop, we ended up looking for a console. Denny was able to locate the Quad Eight in Venezuela and arranged to transport it to the U.S., where it is in the process of being meticulously recapped and restored.

A console is the crowning piece to any studio, and this was certainly the most important link we needed, according to Sundal. You can get away without having a console, but for us, it was important. The 24 mic pres, along with the ones we already have, mean that we dont have to pick and choose between good pres and medium ones; we have an am-ple amount of them to handle all of our tracking needs.

In addition to a live room with 14 ceilings that is surrounded on all sides by iso rooms, Studio A fea-tures a spacious control room as well as pinewood floors throughout. There are two separate closets in addition to the iso booths, which are frequently used for amplifiers for electric guitar amplifiers; a Leslie cabinet; or for re-amping purposes. We made the whole studio fairly dry, with just a bit of ambience, explains Sundal. While Neptone re-cords many different genres of mu-sic, he says that the acoustics and room arrangement works particu-larly well for bluegrass and acoustic instruments.

Studio B, which has been given some acoustic upgrades of late, is located in the same building and was acquired by Neptone just nine months ago. It features a similarly large control room, but as opposed to Studio A, the iso rooms are in front of the room rather than in the rear. Sundal says the acoustics in Studio B are a little wetter, making the overall facility very flexible depending on the genre of music being recorded.

We did quite a bit of sound treatment to Studio B recently, and did it all pretty much ourselves, says Sundal. We added soffits and bass trapping, and also made a lot of the panels that hang on the wall and on the ceiling. The result is a more acoustically balanced room, he adds.

With the Studio B now up and running, Sundal decided to put all his outboard units into movable racks so they can move seamlessly between both studios; this not only brings greater cohesion to sessions working between Neptones dif-ferent rooms, but also helps fortify and complement situations where a special piece of rack gear might be called on. Say an artist comes into Studio B, which has the SSL. I can complement this by bringing in my

API and Brent Averill 1073 preamps in a rack, Sundal explains.

Neptones doors are open to just about any genre or type of project, and clients appreciate the studios flexibility, says Sundal: It could be recording a band that is self-con-tained, where we just rent the room out and they bring their own engi-neer, right down to some projects that we actually produce and pro-vide session musicians on.

Of all the improvements Neptone has made over the years, Sundal be-lieves bringing in the new Quad Eight console was among his best decisions. People would always ask me What kind of mixing board do you have? he recalls. I would always have to do a little side step that question; it was the obvious piece that we were miss-ing. Our new console is one-of-a-kind and has its own little mystique to it.

Jacques Sonyieux is a devout explorer of recording studios and the artists that in-habit them. Please send any tips or feed-back to Jacques at: jacquessonyieux@gmail.com.

Neptone StudiosNeptonerecording.com

Studio: neptone StudioS oWner: donnie Sundal location: deStin harBor, Fl

Theres more 4 For a video tour of Neptone Recording, visit prosoundnetwork.com/apr2013

showcase[ 24 ] studio

Sounding Off on the Emerald Coast

Founded in 2005, Neptone Studios is undergoing a refurbishment of sorts with the addition of a vintage quad Eight Criodisca console.

[ August 2013 ]

On his Continuing Adventures In Software, Rich Tozzoli takes a step back to consider the gear that bookends his bit manipulation.

w e all love new gear. Be it software or hardware, we still get a rush when researching a new device that will hopefully help us improve our craft. But sometimes, its worthwhile to step back and think about the things that are most used, why they are used and how long youve had them. In doing so recently, I learned a few interest-ing lessons Id like to share about my hardware and hopefully inspire you to examine your own setup.

To begin with, Ive used the same monitors for almost 10 years now. My little NHT PRO M-00s and the accompanying sub have gotten me through countless stereo and 5.1 mixes. I remember buying them off the floor at a Surround Conference in Beverly Hills after Alan Parsons listened to them and liked what he heard (thanks Alan!). I thought, Good enough for him? Good enough for me. And wow, have they lasted. Since they dont make them anymore, I have a full backup set in the closet. They are not the most revealing speakers, but to me, they are a common man setup that lets me mix for the masses. In ad-dition though, I also turn to my Adams A5Xs and sub, which are more in your face and detailed. I can also take those out with my Universal Audio Apollo mobile rig on location.

The monitors are connected to a Grace m906 controller, which is an-other piece of gear Ive had for many years. Its clean, crystal clear, easy to use, and can run multiple stereo and 5.1 setups. It was a pricey investment, but well worth it (a theme Im hitting on). Its also my headphone amp, so it serves multiple purposes. The 906 is connected digitally (optically and XLR) to my Avid HD I/O (I run Pro Tools HDX), as well as optically to my Mac. That way, I can quickly switch be-

tween sources and hear back mixes and files from iTunes and online, etc. I like different headphones for various pur-poses, and use Sony MDR7520s, Beyer DT770s and Ultrasone Pro 750s.

Since my room is more of a per-sonal production/composing/mixing room, I dont need too much out-board gear. In my rack above my HD I/O sits a Korg rack tuner, plugged into a Creation Audio Labs MW1a high-quality guitar DI/amp splitter. Above that sits a single channel of Grace m103 channel strip, which I turn to for acoustic guitar and vocal recording. In the rack off to the side, I also have some other good preamps, including a Focusrite ISA 428 (which I can connect optically), Universal Au-dio LA-610, Earthworks 1024 and a Groove Tubes Vipre. In addition, I have a Manley Massive Passive EQ, which hooks in analog to my HD I/O. All of these Ive had for years, and they all get used as needed. My only recent addition to this collection is a Millennia HV-37 preamp, which also goes out with my Apollo mobile setup.

I dont own that many mics, as most of my recording of larger proj-ects is done at bigger studiosbut the mics I own, I use the #$)* out of. My Earthworks QTC1s and DPA 2011s are in high use on acoustic in-struments, as well as my Royer 121, Beyer M160 and Sennheiser 421 for guitar amps. For vocals, I turn to my Miktek cv4 and C7. I dont even own an SM57 (shame on me). But hey, I use what I have. Clean and lean in that department.

Being that a large portion of my TV composing is guitar-related, I have a variety of amps, including a Mesa Boo-gie MKIV head which I bought new in 1992. I also have vintage Gibson and Magnatone amps, all of which Ive had for many years. I like them because they are different, nasty and have clas-sic old tone. The only new amp is a Fender Blues Deluxe, heavily modified

[ August 2013 ]

[ 26 ] soundrecording

i n my satirical Craigs List col-umn in Electronic Musician mag-azine, I wrote about a fictional article, supposedly from the mid-80s, that described how wonderful computers would be for music. The comment that received the most reader attention was There are tons of computer options for music. Atari, Mac, Amiga, PC, Yamahas CX5M, and if youre on a budget, even the Commodore-64 or Timex Sinclair 1000 will do the job. So dont worry! Youre never going to be forced to choose solely between a boring PC or an overpriced Mac.

Well here we are, with PCs that arent as boring and Macs that

arent as expensive, but the bottom line is that for desktop computers, were down to two platforms. Then again, does the platform still matter?

Both platforms rely on Intels family of processors (although some Windows computers use AMD). While different models for different platforms favor different ports, most other components are commodities and common periph-erals have cross-platform drivers (Apogee remains an exception). The expansion card slots are also the same, and Thunderboltini-tially available only for the Macis becoming more common on Win-dows, even though ubiquity is still not assured. Furthermore, most DAWs are cross-platform; besides, once you open your program of choice, the operating system drops into the background anyway.

By all outward appearances, it seems like the Mac vs. PC debate has been reduced to it doesnt real-ly matter. Sure, some people might prefer one OS over the other, but Apple and Microsoft have borrowed so much from each other there are more similarities than differences; and yes, the cost issue is still rel-evantfor a given price, youll al-most always get more power with a Windows machine than a Mac, especially if you construct your own.

However, we havent yet reached an egalitarian utopia for pro audio. Differences remain, and there are definite reasons for choosing one platform over another. If you really need to use both Mac and Windows in your work and dont want two computers, then the Mac is your only choice because of its ability to run Boot Camp. Although you cant run Mac and Windows programs simultaneously (which Parallels and VMware can do for the Mac), Boot Camp essentially turns your Mac hardware into Windows hardware so performance is superior compared to creating virtual machines. Run-ning OS X as a virtual machine

inside Windows is more difficult, complicated and degrades perfor-mance too much for pro audio.

If you need to aggregate multi-ple audio interfaces, again, the Mac comes out ahead. Apples Core Audio has an elegant implementa-tion, and while you can aggregate interfaces under Windows WDM protocol, its more difficult under ASIOwhich is the usual low-la-tency driver choice for Windows.

Another consideration is that some programs are designed for a particular platform. If you use Logic, then the Mac is a given be-cause there hasnt been a Windows version since Logic 4. Windows-only programs, like Cakewalk So-nar, Magix Samplitude/Sequoia and Acoustic Mixcraft arent re-ally Windows-only if you run Boot Camp; still, most users prefer to run Windows programs on Win-dows machines.

And while Mac fans often over-rate the ease of use and reliabil-ity, and Windows machines have generally left their glitchy perfor-mance in the past, Macs still have a more tightly controlled hardware/software relationship. Updating is usually simpler, as is installation of peripherals and drivers. To get the most from Windows machines,

softwaretech

Do Platforms Matter Any More?

CRAIG ANDeRTONGetting In and Out

By all outward appearances, it seems like the Mac vs. PC debate has been

reduced to it doesnt really matter.[ ]

(continued on page 30)

Rich Tozzolis clean and lean workspace

(continued on page 30)

[ August 2013 ]

API Sails Into Universitywinter park, flFull Sail University has installed a 64-channel API (apiaudio.com) vision console in Studio B where it has become the centerpiece of the universi-tys Recording Arts Academic Program.

Volant Launches with SSLnew york, nyvolant Studios has installed an SSL (solidstatelogic.com) AwS 948 hybrid console/con-troller at its newly rebuilt, Horacio Malvicino-designed space in Manhattan. The A Room will eventually be joined by three other rooms on another floor to provide music recording and produc-tion, plus post production for video and film services.

Wood Liaises with D-Boxedmeston, nyMastering engineer and musician Nate wood has outfitted Kerseboom Mastering, his studio in Greenpoint, Brooklyn, with the Dangerous Music (danger-ousmusic.com) D-Box sum-ming mixer and talkback and monitor controller and Dangerous Liaison program-mable analog router.

Mazur Plays with Radialvancouver, canadaSteve Mazur, guitar player with Our Lady Peace, is using Radial engineerings (radialeng.com) eXTC 500 guitar effects interface module during the writing of the bands new album. Mazur also uses a Radial Tonebone Switchbone AB-Y guitar amp switcher and Tonebone Twin-City buffered AB-Y with Drag load correction.

notestracks

ARTIST: COSMIC SUCKeRPUNCHALBUM: GOOD MORNINGLABEL: MY INNeR ANIMALPERSONNEL:Produced by: Steve welkomEngineered by: Stu HeydonStudios: Carmel Recording (Carmel, CA)Mastered by: John Hernandez (Oakland, CA)EqUIPMENT NOTES: Avid Pro Tools HD; True Systems, Universal Audio Mic Preamps; Peluso, Brauner, Sennheiser and Neumann Microphones

ARTIST: CAPSULAALBUM: SOLAR SeCReTSLABEL: KRIAN MUSIC GROUPPERSONNEL:Produced by: Tony viscontiEngineered by: Tim PriceAssistant Engineer: Cailon williamsStudios: Saint Claire Studio (Lexington, KY)Mastered by: Dave McNairEqUIPMENT NOTES: SSL 9000J console; Avid Pro Tools HD3; Digidesign 192 recording interface; API, Neve, Calrec, Chandler pre amps; Chandler, dbx, empirical Labs, Universal Audio, Neve compressors; Maxelle Pilchner-Q8 Schoustal, Genelec 8050, Yamaha NS-10 studio monitors

ARTIST: THeSe ANIMALSALBUM: PAGeSLABEL: SELF-RELEASEDPERSONNEL:Produced by: These AnimalsEngineered by: These Animals

Studios: The Rick Room (Greenwich, CT), Finger Music (Brooklyn, NY)Mastered by: Peter Denenberg (ACMe Studios, Mamaroneck, NY)EqUIPMENT NOTES: Black Lion Digi 003 Mod console; Avid Pro Tools 10; TubeTech CL-1B compressor; Miktek Cv4 tube condenser; Daking mic pre; Chandler Limited TG MKII eQ; Swarmatron, Mini Moog, Prophet 5, wurlitzer, Rhodes, Roland vP-330 vocoder Plus synthesizers; KRK RP-8, Dunlavy Iva studio monitors

ARTIST: FOY vANCeALBUM: JOY OF NOTHINGLABEL: GLASSNOTe ReCORDSPERSONNEL:Produced by: Michael KeeneyEngineered by: Thomas McLaughlin, Michael Keeney, and Ian McNultyAssistant Engineer: Orri McBreartyMix Assitant: Daniel MoylerStudios: Attica Audio Co. (Donegal, Ireland)Mastered by: vlado Meller (Masterdisk Studios, New York)EqUIPMENT NOTES: Harrison 32B console; Avid Pro Tools HD; ATC SCM25a, Yamaha NS-10, Dynaudio BM15A studio monitors

ARTIST: COACHwHIPSALBUM: HANDS ON THe CONTROLSLABEL: CASTLeFACePERSONNEL:Produced by: George Patterson, Chris DixonEngineered by: George Patterson, Chris DixonAssistant Engineer: Chris DixonStudios: Georges House (San Francisco, CA)Mastered by: Patrick Haight

EqUIPMENT NOTES: Tascam 388 console; Quantegy 911 tape reels; Avid Pro Tools

ARTIST: MeGAN BONNeLLALBUM: HUNT AND CHASeLABEL: NevADO ReCORDSPERSONNEL:Produced by: Chris Stringer, Joshua van TasselEngineered by: Chris Stringer, Joshua van TasselStudios: verge Music Lab Underground (Toronto, Canada), The Cereal Loft (Toronto, Canada)Mastered by: Jeff elliot (Fedge Mastering)EqUIPMENT NOTES: SSL X-Desk console; Apple Logic 9; Neve 1073LB, API 512 mic pres; API 550, 560 eQs; Apogee ensemble; Genelec 8030, 8040 studio monitors

ARTIST: IAMeveALBUM: THe eveRYTHING NOTHINGLABEL: INDePeNDeNTPERSONNEL:Produced by: James Marr, wendy PageEngineered by: James Marr, wendy PageStudios: Rrampage Productions Studios (Los Angeles, CA)Mastered by: Joel Soyffer (Coney Island Studios)EqUIPMENT NOTES: Apple Logic; TC electronic PowerCore Firewire; PreSonus Central Station; Yamaha NS-10, KRK Rokit 8 studio monitors

ARTIST: JAKe BeLLOwSALBUM: New OCeANLABEL: SADDLe CReeKPERSONNEL:Produced by: Ben Brodin

Engineered by: Ben BrodinAssistant Engineer: Bobby RubalcavaStudios: ARC Studios (Omaha, Ne)Mastered by: Carl Saff (Saff Mastering)EqUIPMENT NOTES: 1970s API 24x16 console; Avid Pro Tools; ATR; Soundelux 251, electro-voice 635, Royer 1R-21 microphones; Tannoy System 215DMT, Dynaudio BM15 studio monitors

ARTIST: JeFF GOLUB wITH BRIAN AUGeRALBUM: TRAIN KeePS A ROLLINGLABEL: eONe MUSICPERSONNEL:Produced by: Jeff Golub, Brad HarnerEngineered by: Steve Sykes, Rupert House, Mark CasselmanAssistant Engineer: Spencer Guerra, eric LebowitzStudios: LAFX (North Hollywood, CA), The Maids Room (New York, NY), EqUIPMENT NOTES: vintage API console; Avid Pro Tools 8; TAD, Dynaudio BM15A, Yamaha NS-10M, Genelec 1031A and Tannoy SGM studio monitors

ARTIST: BeLLe ADAIRALBUM: THe BRAve AND THe BLUeLABEL: SINGLe LOCK ReCORDSPERSONNEL:Produced by: Ben TannerEngineered by: Ben TannerStudios: The Nutthouse (Sheffield, AL)Mastered by: JJ GoldenEqUIPMENT NOTES: Avid Pro Tools HD3; MCI JH24 2 tape; Apogee AD16x converters; Digidesign 192 interface; Benchmark DAC1; Genelec 1031A, 1094A, Tannoy Reveal, KRK K-Rok studio monitors

[ 28 ] LOOk AT The ReCORDINg SCeNe

computer savvy is pretty much es-sential. The flip side is that Windows computers are easier to hot rod and tweak, so with a little bit of know-how, you can get spectacular perfor-mance at a relatively low cost.

Finally, theres project compati-bilityif you live in the Los Angeles film world, you need a Mac in order to swap files seamlessly from one platform to the other. End of story.

So ultimately, the platform still matters, but theres a silver lining. I

know several people who needed to switch platforms for work- or proj-ect-related reasons, and the process has never been easier. You can use almost all the same peripherals, and even customize the OS for a familiar environment. My Mac Dock is set up like the Windows Taskbar, and on Windows, the Recycle Bin sits in the lower rightas it has since the days of my first Mac Plus. As the French say, Plus a change, plus cest la mme chose.

Craig Anderton is editor in Chief emeritus of Harmony Central; check out some of his music at www.youtube.com/thecraigan-derton.

by Vincent Miraglia at Analog Design Group. While I have many guitars (and the likes), I still often turn to the same tobacco burst Les Paul Stan-dard Ive had since I was 16, and I still use the same 69 Fender Preci-sion bass I picked up in the mid-90s.

What I learned from my setup ex-amination is that I prefer high-quali-ty pieces of gear that do a particular task very well. Most of it Ive owned for many years. Sure, most of its also pricey, but hey, this is what I do

every day. Ive never regretted buy-ing any of it, and without question, its money well-spent. This is my profession and the sounds I get, Im proud of. If it doesnt sound good, its not my gears fault, so Ill look in-ward and work harder on it. The big picture is that I dont have a lot of hardware, but the pieces I do have, I know what they sound like, and how they can help me get results. But its not like I dont buy new gear; I doif it offers me something special.

So step back and take a look at your setup. Do you need it all? Does it deliver? I mean, really deliver? If not, then consider making a change. Invest in yourself.

[ August 2013 ]

[ 30 ] soundrecording

down the hall that can put togeth-er a beat, do some vocal editing or shred on guitarto be around other creative people.

Tenants will not be expected to spend money on a build-out that would then have to be left behind when they move out, he stresses. Were putting up the capital invest-ment and building the walls. What they put in are things they can take out again.

The basement is currently sched-uled for a January 2014 opening. Meanwhile, construction will begin on a west coast facility for record producer, engineer and mixer Tony Maseratis Mirrorball Entertainment production group. Located on the first floor, the complex will comprise seven modular production rooms de-vised by Maserati in collaboration with studio designer and acoustician Martin Pilchner, in addition to the expected client amenities.

A loading dock with roller shut-ter door offers Mirrorballs high-end clients secure access to the studios, notes KamranV. The dock also pro-vides access to a freight elevator that opens next to the tracking and iso spaces one floor below. All the ele-ments are here, he says.

KamranV is eyeing the first floors street access as an ideal location for a coffee and juice outlet: Theres some interesting stuff around here, but theres not a good coffee shop.

The building already houses the offices of fashion company Bisou Bisou as well as filmmakers, soft-ware developers and equipment manufacturers. But there is plenty of second-floor office space avail-able, he reports. Downstairs, you pay X dollars per square foot, but you dont need that for your admin-istrative assistant or the guy thats pitching your songs. The second floor has a lower cost-per-square-foot; theyre offices, and relatively inexpensive. Once were full, well start to look at our options for the third and fourth floors.

Beyond those initial plans, well, the skys the limit. Artist showcases, webcasts, manufacturer and local re-tailer demos and other events could all be easily accommodated, he says.

Location may be everything in real estate, but so is timing. The neighborhood appears to be turn-ing around, and a collaborative arts complex would only help that pro-cess, KamranV believes.

What makes a neighborhood turn into Echo Park or Brooklyn is its arts culture, founded in music. And whats great about doing it with the arts is that it doesnt push people out; it embraces the neighborhood. So were putting our stake in the ground.Bedrock.LAbedrock.la

CyKikcykik.com

Mirrorball Entertainmentmirrorballentertainment.com

new york, nyThe New Black 7 may play country music, but theres more than a touch of rock to be found in its recent sophomore al-bum, Hangovers & Heartbreak. While that came from the songwriting and guitar playing of vocalist/guitarist Tory Stoffregen and lead guitarist Jason K. Herman, it was bolstered during the recording process by gear from Chandler Limited, particularly the Little Devil Pre Amp.

Stoffregen engineered the CD with co-engineering by Chandler Limiteds Wade Goeke, and addi-tional assistance from Grammy-winning producer Ryan Hewitt. The CD was mixed by Cedrick Courtois of Praxxis Media at The Castle studio in Oceanside, CA.

We used a lot of Chandler Lim-ited gear on this project, said Stof-fregen. The color and character that Little Devil Pre Amp adds to every different instrument is noth-ing short of amazing. The Feedback/ Bias controlused with the Output

controlis a really great tool to add or subtract color to any instrument and its especially useful when re-cording vocals. It really adds life to the tracks, making this processor an extremely versatile studio tool. Chandler Limiteds GAV19T guitar amplifier also assumed a prominent role in the production. The New Black 7thenewblack7.com

Chandler Limitedchandlerlimited.com

Bedrock(continued from page 22)

Jason K. Herman (left) and Tory Stoffregen of The New Black 7 used a variety of Chandler Limited gear on the bands new album.

Anderton(continued from page 26)

Tozzoli(continued from page 26)

The New Black 7 Worship Little Devil

[ August 2013 ]

[ 32 ] soundrecording

is a Poco classic, Pickin up the Pieces.He comments, Half the time,

the job is just getting it through a modern A-to-D converter, not using converters from 20 years ago. But its not unusual for masters from the 1960s and 70s to be edited together

from multiple mix sessions and tape types, he also reports. You put up the tones and the alignment will be

good for half the song, then you have to stop, adjust the azimuth and cap-ture the next chunk. We go to great

lengths to make sure that its perfect.The audiophile market particular-

ly suits him, says Marsh. I like work-ing on album material; its prefer-able to singles. Thats why I like doing soundtracks, scores, reissuestheyre inherently albums. I prefer that pace. I like to sink my teeth into a project. I want to understand it; I like to peek around every corner.

The main mastering console, built in collaboration with Steve Firlotte of Inward Connections, is outfitted with EAR, GML, Maselec and Weiss EQ, with Apogee, Burl and Prism convert-ers. For the DSD projects, we split the feeds. We capture on the same pass out of the console to both DSD and PCM, he says.

When Gahan built the house, what is now the mastering studio was intended as a performance space, and was used by the interven-ing owner as a home theater. At the recommendation of acoustical con-sultant Bryan Pape of GIK Acous-tics, Marsh installed a wall to tune the rooms depth, creating space for a client lounge behind it. Visitors also have access to an outdoor area and a gym.

A rectangular room with an eight-foot ceiling might not seem like the ideal environment for a master-ing room, but with some acousti-cal treatment, its working very well, says Marsh. Taking a cue from his friend, engineer, producer and mixer John Paterno, he chose a modular approach, installing diffusor pan-els at the first and second reflection points and on the back wall, along with numerous bass traps and tuned resonators.

I expected to have huge problems because of the lower ceilings, but the bottom end is really consistent. It was really refreshing to learn that once you control the big things effectively and efficiently, the little stuff doesnt make any difference.

Having spent so much mon-ey acoustically treating other peo-ples buildings in the past, hes very pleased with his new freestanding so-lution. Not only do I get to take it with me from an ease-of-use stand-point, but also a sonic standpoint. At least Ill have an idea of what my next room will sound like or, if it changes, Ill have a reference point, which Ive never had before.Marsh Masteringmarshmastering.com

Marsh(continued from page 22)

I like working on album material; its preferable to singles. Thats why I like doing soundtracks, scores, reissuestheyre inherently albums. I prefer that pace. I like to sink my teeth into a project.

I want to understand it; I like to peek around every corner.Stephen Marsh

[ ]

By Steve harvey

calabasas, caDTS, Inc. celebrated its 20th anniversary on July 1, the date declared a holidayDTS 7.1 Dayby the state of California. Although the audio codec that was destined to become a standard in movie theaters, on optical discs and now in mobile devices, had been in development for several years prior, the company traces its public debut to June 11, 1993the release date of Stephen Spielbergs blockbuster, Jurassic Park.

According to reports, Spielberg be-lieved that theatrical sound was ripe for improvement, putting his money into the new technology alongside funding from Universal, the films dis-tributor, and releasing Jurassic Park in 876 theaters outfitted with DTS play-back. From that humble beginning, DTS can now boast of licensing over two billion consumer electronics prod-ucts, taking into account both its co-

dec and post processing solutions, and including contributions from SRS, the company DTS acquired in 2012, ac-cording to Jon Kirchner, chairman and CEO at DTS.

We exist because we believe sound matters; we exist in part be-cause we believe sound drives the pri-mary emotion in most entertainment experiences, says Kirchner. And the artistic community both appreciates and understands that.

Spielberg, he says, wanted to bring more emotion and realism to film-going audiences with the re-lease of that movie, which catapulted us into a significant position in the cinema industry. We later launched

our consumer audio technology, Co-herent Acoustics, believing that the home entertainment world at the time, which was laserdisc and soon to become DVD, was lacking in terms of forward-looking technology that would deliver a far more compelling and immersive sound entertainment experience. And that then parlayed into the DVD standard and the Blu-ray standard.

Two decades into its life, DTS is now poised on the threshold of an evolution as mobile devices prolifer-ate. Three years ago, we had basi-cally no network-connected revenue. In 2009, it was pretty much all about

[ August 2013 ]

Digital Arts Installs Meyernew york, nyManhattans Digital Arts has installed a new Meyer Sound (meyersound.com) 7.1 cinema monitoring system comprising three Acheron Studio screen channel speak-ers, three X-800C cinema subs and 12 HMS-10 cinema surround loudspeak-ers with Galileo processing in its new post production theatre.

Ocean Way Kicks Off Cuphollywood, caeSPN recorded theme music at Ocean way (ocean-wayrecording.com) featuring trum-peter wayne Bergeron and percus-sionist Alex Acuna, with Lisle Moore, composer/producer, for its coverage of the 2014 FIFA world Cup in Brazil.

SonicPool Opens in NOLAnew orleans, laHollywood post production house SonicPool (son-icpool.com) has teamed up with New Orleans-based Maison Post to provide audio and video post services at its new location in the historic Garden District, across the street from Second Line Studios.

Cotton Hill Acquiredsaratoga springs, nyStrategic advertising agency Fingerpaint (fin-gerpaintmarketing.com) has acquired Cotton Hill, which provides full-service audio and video production at its John Storyk-designed facilities in Albany, NY. Cotton Hill will be rebranded as a Fingerpaint office.

CBC Upgrades with Studermontreal, canadaNational public broadcaster CBC/Radio-Canada is upgrading its Montreal facility with four Studer (harman.com) vista 1 consoles, a Route 6000 routing and signal processing system, three vista Compact Remote Bays and interfacing equipment.

MediaHorse Shook Uplos angeles, caMediaHorse (medi-ahorse.net) has placed its artist Avilas cover of the classic elvis Presley hit, All Shook Up, in a national cam-paign promoting Trojan lubricant products as a result of new formal arrangements with various music publishers and copyright holders.

briefs

sound [ 33 ] post | broadcast

Innovative Isolation By Steve harvey

los angeles, caFrench technol-ogy company Audionamix has quietly been making inroads into the post production and music communities since working on its first major proj-ect, director Olivier Dahans Edith Piaf biopic, La Vie en Rose, in 2007. Momentum has since been building for the companys ADX technology, which at its essence enables content owners to monetize their assets by isolating key elements of a mixed master audio track where the indi-vidual tracks are not available.

The technology was born out of the desire to identify the DNA of au-dio so that, instead of transferring a music file, youd transfer the DNA and recompose it at the other end, explains Arnaud Dudemaine, VP op-erations of the companys U.S. office. In the process, we discovered this way of being able to differentiate and isolate and basically teach a computer to listen to music and emulate how we can do this naturally in our mind.

By enabling a computer to rep-licate what is known as the cock-tail party effect, whereby humans can focus on a conversation across a crowded room while ignoring any other noise, Audionamix is able to

isolate vocals and individual instru-ments from any mixed format, from mono to stereo and beyond. For La Vie en Rose, the company created vo-cal and instrument stems from both mono and stereo sources that allowed the filmmaker to reposition them in the soundtrack mix.

This is not phase-based technology. Its a non-destructive process where the sum of the parts is exactly equal to the original. So what a layman might hear as an artifact is actually not an artifact, its impure separation. We get to 98, 99 percent separation, and then that last percent, we cant quite get automatically, so we have to go in and try and manipulate it. But its not about cleanup; its about perfecting the separation, says Dudemaine.

Audionamix is hands-off with re-gard to the creative process. Its a very deliberate choice on our behalf that we dont manipulate the audio or enhance the audio. We provide a raw track which is the separation of the original content, but the creative decisions to enhance with EQ, delay and time stretch and make it sound

better according to that creative vi-sion is not one we take on.

Audionamix divides its services in-to five basic areas: music dissociation, where music licensed for a specific territory, for example, is removed, leaving dialog and effects intact, al-lowing new licensed music to be laid in; dialog isolation, where dialog is removed from content or isolated for use elsewhere; vocal/instrument isola-tion, isolating and preserving musi-cal elements similarly to dialog; sync track/instrumental creation, where lead vocals are removed or replaced; and stem creation, where individual elements are isolated for remixing.

Composer Hans Zimmer also had Audionamix extract stems from Piafs La Vie en Rose, remixing it for 5.1 pre-sentation and manipulating the horns into a repeating motif throughout Christopher Nolans film, inception. That inspired the company to further develop its tools for music dissocia-tion, says Dudemaine.

There was a request from CBS for the treatment of foreign versions

DTS Turns 20 Still Looking Ahead

(continued on page 34)

(continued on page 34)

ADDING COLOR TO THE MIxMargarita Mix Hollywood has become a one-stop audio/video finishing shop with the addition of two color suites and an upgraded hub for media management. The new color suites are integrated with the existing audio bays, utilizing Nucoda Film Master color grading systems to ensure Avid integration with direct connectivity to the ISIS and Avocent network. As part of the expansion, Margarita Mix has added colorists Troy Smith and Michael Mintz, and online editor Adam St. Clair.

[ August 2013 ]

[ 34 ] soundpost/broadcast

of TV shows where the original ele-ments, the foreign dubs, had never been preserved. So when they came to re-negotiate the music licensing rights, the cost was too expensive for the return on investment for those territories, so they decided to change the music. Changing the music do-mestically was very easy because they had the separate elements, but in these foreign territories, they didnt.

Another early driver of the technol-ogy was a 50th anniversary surround remix of Psycho in 2010, where the di-alog was replaced with French actors, and a French l