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RTW Showcasing Upgraded Continuous Loudness Control Software (CLC) at AES Los Angeles

RTW will highlight its range of loudness metering and measurement solutions, in particular its newly upgraded Continuous Loudness Control (CLC) software Version 2.0, at the AES Los Angeles Convention (Avid Pavilion, Booth 203).
 
With the release of version 2.0, RTW’s CLC offers various enhancements of its processing algorithm. The feature set of the software now comes with a number of new options, including batch processing of audio files, extended audio format, a new expert mode, Mmax and Smax limiting, report functions, and presets for streaming audio and support for the latest updates of loudness standards.
 
“In the ever-changing audio industry, it is important that RTW supports its customers through any and all updates,” says Andreas Tweitmann, CEO, RTW. “We designed version 2.0 of the CLC software with those who work with live audio, DAW audio and audio files in general in mind, as they have the ultimate task of preparing many different types of files for transmission. With our optimized presets, the CLC software allows better match requirements for different types of programs and distribution channels, giving our users a more efficient workflow.”
 
Along with the CLC’s optimized presets that are said sufficient for the majority of users, custom presets are still available. Running within a DAW or as a standalone application, the CLC software is available for PC and Mac systems. Common plugin formats are supported, including AAX, VST2, VST3, RTAS and AU.
 
RTW will also highlight a range of its software and hardware solutions at this year’s AES Convention. Among the products on display will be the company’s Masterclass Plugins, which includes the Loudness Tools and Mastering Tools software and its USB Connect software. Other products at the show will include RTW’s TouchMonitor instruments and its SurroundControl Series.
 

More Information:www.rtw.com 


Posted: Tuesday, September 27, 2016

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AEA to Show Newly Announced Mic Preamps at AES L.A. Convention

AEA to Show Newly Announced Mic Preamps at AES L.A. Convention
 
AEA Ribbon Mics and Preamps is showing the new RPQ2 preamp and its matching sibling, the RPQ500, at this year's AES Convention in Los Angeles. AEA, known for their Big Ribbon microphones such as the R84 and their re-creation of the RCA R44, has created two new preamps specially designed to meet the particular challenges of ribbon mics.
 
The AEA booth (#620) will be showing and demoing their entire line of ribbon microphones and preamps, along with presenting the AEA Sessions video series and John Cuniberti’s OneMic Recordings featuring the stereo R88 ribbon microphone.
 
The new high gain, high impedance RPQ2 and RPQ500 preamps were designed with intention to allow your microphones to do what they do best – record the sound of your instrument “in its full glory.”
 
The new AEA RPQ2 preamp features:
 
- Two channels with 81dB of “sweet and quiet” JFET gain
 
- “NoLoad” 63 k-ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity
 
- High-band frequency “CurveShaper” EQ and low-frequency proximity control
 
- High-resolution, front-panel >5 M-Ohm ¼-inch input DIs
 
- Mic/Line mode
    Post-Mic and Pre-EQ Inserts for alternative and convenient routing options
 

More Information: http://www.ribbonmics.com 


Posted: Tuesday, September 27, 2016

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PMC Brings Line-Up of Products and Seminars to AES Los Angeles 2016

British loudspeaker manufacturer PMC will be hosting a range of seminars at the AES Convention in Los Angeles under its popular Masters of Audio banner.These events give Convention visitors the opportunity to hear presentations from some of the pro audio industry’s most prominent engineers and producers, many of whom have won multiple GRAMMY Awards for their work.
 
Those taking part this year include:
 
·      Producer Greg Wells, who has worked with Adele, Pharrell Williams and Elton John
·      Classical producer Daniel Shores
·      Producer David Miles Huber, who also wrote the book Modern Recording Techniques
·      Producer Al Schmitt, who has worked with Frank Sinatra, George Benson and Quincy Jones
·      10x Grammy Award-winning producer Jim Anderson
·      Tonmeister and Bayerischer Rundfunk senior engineer, Ulrike Schwartz-Anderson
·      Producer Steve Genewick, who has worked with Diana Krall, Neil Young, George Benson and Paul McCartney
·      Apple Music/Beats 1 Studios Worldwide Chief Studio Engineer, Kevin Keith
·      Producer Dave Rideau, whose credits include Janet Jackson, Sting and Earth Wind and Fire
·      Producer and owner of the newly opened Sphere Studios in Los Angeles, Francesco Cameli
·      Engineer Jeff Ellis who recently completed work on Frank Ocean’s long-awaited second album, Blonde.
           
PMC’s Masters of Audio program will take place in demo room 515B, which is equipped with the company’s flagship QB1-XBD-A and IB2-XBD-A monitor systems. Both systems will be put through their paces between seminar sessions for AES LA attendees to experience.
 
On the exhibition floor, PMC will focus attention on its compact twotwo range of active nearfield monitors (Booth 113). Conceived for nearfield monitoring in situations where space is at a premium, the twotwo range is claimed to offer professional users high levels of clarity, transparency and accuracy. The range comprises three models – the twotwo.5, twotwo.6, twotwo.8 and matching active subs.
 
PMC twotwo loudspeakers can also be seen on a number of other AES booths, with manufacturers such as API, Benchmark and Antelope deploying PMC monitors to support their own equipment demonstrations.
 
Finally, for the 13th year running, PMC is supplying the AES with a full BB5-XBD-A 5.1 system for its high-resolution play back sessions and seminars. It is also hosting the AES Student Critique sessions in its 515B demo room.
 

More Information: www.pmc-speakers.com 


Posted: Tuesday, September 27, 2016

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Classic TV Series Match Game Reboots with Lectrosonics

Ask anyone over a certain age what they remember about the Match Game and they may recall presenter Gene Rayburn, who hosted the daytime game show’s initial run from 1962 through 1969, and his iconic handheld microphone. ABC has recently revived the show with new host Alec Baldwin wielding an enhanced replica of the original microphone. The replica microphone, which was developed and built by Prop Master Jerry Carnett in coordination with sound mixer Jorge Silva, makes use of Lectrosonics Digital Hybrid Wireless technology, incorporating a Lectrosonics SSM micro belt pack transmitter.

 

According to Carnett, Match Game’s producers wanted to recreate the show with as many elements as possible from the original production. “They wanted the iconic shape of that microphone and they really wanted it to be functional, not just a prop,” he says. The microphone is such a part of the show’s image that it has been a central feature in several of Alec Baldwin’s promotional clips and photographs, and the host often jokes about it with his guests.

 

“The other thing was that it needed to be wireless,” adds Silva, a New York-based freelance engineer and mixer whose work also includes The Dr. Oz Show, Metropolitan Opera broadcasts, Broadway shows and the recent political party conventions. He mixes the production at ABC’s West 56th Street facility. “Putting a typical plug-on transmitter at the bottom was not an option — it didn’t go with the look. The transmitter had to be as small as possible, so we chose the SSM,” he says. Silva was familiar with Lectrosonics products and the SSM transmitter and suggested to Carnett that he might be able to use it. After dissecting the SSM transmitter, Carnett determined that not only were the internal electronics very well designed,  but that the solidly built body with the very secure LEMO 3 pin connection would be able to hold up as the base portion of the slightly top heavy microphone.

 

Since the original microphone is now a historical artifact, Carnett, who is based in Los Angeles, purchased a similar 1960s Sony ECM-51 on eBay and used it to engineer a replica for the new show. The customized telescoping tube is topped with a DPA 4060 lavalier microphone capsule inside the Sony windscreen, wired into the Lectrosonics SSM at the base. John Castellanos at Location Sound Corp. in Los Angeles supplied the Lectrosonics transmitters, and offered technical support.

 

Silva reports that his production mix typically uses a combination of the handheld mic with Alec Baldwin’s lavalier. “I use 40 percent lavalier and 60 percent wand microphone. It makes it smoother,” he says. “But I print them to separate tracks so the post people can use them if they need to.” The production purchased another module for its Lectrosonics Venue receiver to accommodate the new handheld microphone.

 

“I had to slightly modify the outside of the transmitter to be able to fit it together,” continues Carnett. “I merged the Lectrosonics transmitter into the mic in such a way that it would make the slimmest possible housing and allow Alec Baldwin to perform with it without worrying about it, and without interfering with the transmission. My assistant, Lisa Rothstein, and I did a test standing 675 feet apart. “It’s one thing to get sound—but to get broadcast quality sound and beautiful, flawless sound--is an entirely different thing. It sounded incredible, like she was standing right next to me.”

 

“One of the things that I was concerned about was handling noise, but it’s very minimal,” says Silva. “Jerry used a lot of carbon fiber in the tube, so it’s very solid, and the fact that the transmitter is so light means that it balances the wand. Alec Baldwin holds it with three fingers and has found the balance point. Sometimes he will grab the transmitter from below and cup it in his palm, but that hasn’t even been an issue — the RF still remains strong. But then the RF is always very solid with Lectrosonics.”

 

The new Match Game recently premiered this summer and airs on Sundays at 10 p.m. as part of ABC’s Sunday Fun & Games block.

 

www.lectrosonics.com


Posted: Friday, September 23, 2016

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Focusrite Displays Full Range of Audio Network Solutions at AES Los Angeles

At the 141st AES Convention in Los Angeles,  will be displaying its full range of audio network solutions at its exhibition booth, as part of a variety of products, all currently shipping and never before seen at AES.

 

These new offerings include: 

  • RedNet A16R: 16 channels of Dante-networked A-D and D-A conversion, with network and PSU redundancy
  • RedNet PCIeR Card: RedNet PCI Express card with network redundancy, enabling ultra-low latency audio and full track count for Dante audio-over-IP networks
  • Red 4Pre: 58 In / 64 Out Thunderbolt 2 and Pro Tools HD compatible audio interface, with Dante network audio connectivity.

 

Additionally, Focusrite is displaying the following products, all currently available:

  • RedNet A8R: Eight channels of Dante-networked A-D and D-A conversion, with network and PSU redundancy
  • RedNet AM2: Stereo Dante headphone amplifier and line output interface solution with PoE
  • RedNet MP8R: 8-channel remote-controlled mic pre and A/D for Dante networks
  • RedNet D16R: 16-channel AES3 I/O for Dante audio over IP networks
  • RedNet D64R: 64-channel bridge between MADI and Dante Networks
  • RedNet HD32R: 32-Channel Bridge between Dante Networks and Pro Tools|HD

 

More Information: http://www.focusrite.com/rednet


Posted: Friday, September 23, 2016

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