His work on the vibrant and fast-paced Buena Vista Social Club musical on Broadway recently won sound designer Jonathan Deans his first Tony Award for Best Sound on a Musical.
Included in his design – keeping ten Cuban musicians locked tight into the rhythm – was an ingenious use of TiMax TrackerD4 precision stagetracking.
Pausing to draw breath between a 73-date, four-continent tour that included Oceania, Central and South America, and Europe in support of…
Having hosted performances by Albert Mangelsdorff and Dexter Gordon among other notable artists, Jazzclub Karlsruhe has secured a lasting…
SynthTemple – a hybrid space combining a fully operational recording studio with a museum of electronic instruments – in the Melbourne…
As the TED Organisation’s relationship with its PA supplier neared its end, audio consultant Michael Nunan was working on a TED Countdown…
‘I don’t care what the speaker or console brand is, but the audio transportation infrastructure has to be DirectOut – they support so many formats and the products are flexible and reliable,’ says system designer and engineer Ville Kauhanen. ‘Due to their popularity and ability to support most audio formats used in productions, I often find that different vendors for each department can provide Prodigy as part of the package, and I can patch things together as one infrastructure.’
Over the past 50 years, Britannia Row Productions has won globally recognition as a provider of audio systems, working with some of the biggest names in music, sports and event production.
The story began in 1975, when Pink Floyd purchased 35 Britannia Row, Islington, to house their growing touring inventory.
Now a full-time member of Cypress Hill, multi-instrumentalist, vocalist, composer and producer Christian Olde Wolbers recently turned to Focusrite’s RedNet interfaces and ISA preamps to upgrade his Los Angeles studio set-up: ‘I’ve been using Focusrite gear for years, but switching to RedNet was like night and day. Everything in the studio suddenly felt more professional, and once I moved to HDX, it opened up so much more flexibility in my workflow.’
Adjacent to the Oxo Tower on the south bank of the Thames, the 12th Knot cocktail bar sits on the rooftop of Sea Containers Hotel and is known for its views across London and its atmosphere.
Needing to upgrade its audio system, the hotel turned to Tateside, who already provides managed A/V services across various areas in the hotel.
As Denmark’s new national centre for contemporary dance and choreography, the scope of flexibility required by the Copenhagen Dansehallerne’s performance spaces reflects the needs of its designers, choreographers and performers.
Matching the freedom of the spaces, there are no permanent loudspeaker placements.
Engineer, producer and educator Bob Bullock began his career in Los Angeles working alongside Steely Dan, Fleetwood Mac and Art Garfunkel during the 1970s – as a number of LA studios were installing Harrison Audio’s first mixing console.
Having relocated to Nashville in the early 1980s, he has been reacquainting himself with its sound through the addition of Harrison’s new 500 Series analogue modules to his Cool Springs Mix studio.
When professional digital audio made its entrance, the limitations of early technology combined with the excitement of some advocates made it a soft target for purists and sceptics. Then, as the tech found its feet and its potential became tangible, there was no going back.
Digital audio’s eventual coming of age, however, has brought on a hunger to revive the nuances of analogue.
Opened in the early 1960s as Moonglow Records, The Sound Factory’s name was coined by David Hassinger, who purchased the LA facility in 1969. A decade later, the facilty was sold to Sunset Sound Recorders owners Paul and Tutti Camarata, who ran it until 2017.
To reflect changing technology and musical styles, the current owners contacted George Augspurger to create new main monitors.
Hosted by broadcast presenter Jake Humphrey and Damian Hughes, an expert on high-performance sporting cultures and visiting professor at Manchester Metropolitan University, The High Performance Podcast turns the lived experiences of high performers into life lessons.
Over the past four years, they have interviewed more than 250 guests to uncover the secrets behind their success.
Equipping its 900-capacity main room with L-Acoustics L-ISA immersive audio technology has made The Other Side the first club in the world to fully embrace spatial audio. This move not only honours Amsterdam’s legacy of innovation, but offers a new standard for clubbing experiences worldwide.
‘It was our mission to make spatial audio available to the public,’ says Jasper Löwik, one of the venue’s two founders.
Setting up in the Hollywood Studio Symphony at Sony Pictures Studios in Culver City, California, producer and score mixer Christian Amonson recently recorded ‘Across the Stars (Love Theme from Star Wars: Episode II)’ by John Williams.
‘There’s a lot of pressure that comes when producing a piece that’s been recorded – and loved – before, especially Star Wars,’ Amonson says. ‘But that’s the kind of pressure I want...
With the ambition of the first Leslie emulation pedals finally fulfilled, the story of the Shin-ei Uni-Vibe has come full circle. In its wake we have phasers, flangers and digital modelling pedals, each having taken their shot at replacing the Leslie loudspeaker cabinet and finding their own unique niches.
Common sense would have cast the Uni-Vibe aside somewhere along the way. But the final twist in the Uni-Vibe story is its own heritage.
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