After 15 successful years of in Austrian postproduction, Frei Audio Tonstudio has made a major investment in a new mixing system. With its existing set-up centred on a Yamaha DM2000 digital mixer and Steinberg’s Nuendo DAW, installing a Yamaha Nuage Advanced Production System was an obvious move.

Based in Klagenfurt, Frei Audio is a full-service studio with an excellent reputation in postproduction facility for film and TV, as well as composing and producing music for commercials and movies. With recent projects including acclaimed documentary feature Bauer Unser and Streif - One Hell Of A Ride, as well as the film Mount St Elias, the studio features exceptional acoustics, surround monitoring, ADR facilities, audio over ISDN/IP and many years of combines expertise in all aspects of audio production.

The Yamaha DM2000 mixer had given flawless service since the studio opened, but after 15 years studio owner Andreas Frei was keen to upgrade the facilities: ‘As well as using the DM2000, we have centred our work around Steinberg Nuendo for a number of years,’ he says. ‘Nuage was on our watch list from the day it was released, because we knew it would be a logical step when the time came to upgrade.’

Supplied by Toni Kindler of Yamaha’s Austrian Nuage partner KS-Music, the system comprises a master and fader unit for delivering Frei Audio’s full range of services. The installation was overseen by Peter Moritz of professional media specialists Pomtec.

‘Working with Nuage is a pleasure. It feels like a real console, you can make artistic decisions intuitively while using it and it definitely improves our sound,’ Frei says. ‘We are really looking forward to using the system on forthcoming projects in our 16^th year and beyond.’

Genelec has upgraded its 1032C two-way close-field monitor with the features and flexibility of Smart Active Monitoring (SAM).

Offering wide dynamic range, accurate imaging and on/off axis response for which the Genelec 1000 Series is known, the 1032C adds advanced auto-calibration and networking, plus across-the-board improvements including a digital input, higher SPL handling and increased low-frequency extension.

The1032C combines contemporary technologies with the qualities of the original model, including the same drivers, acoustic design and soffit-mount styling. The result is a significantly upgraded monitor built for the most demanding modern music, postproduction and broadcast studios, that retains the heritage and appeal of both its ‘A’ and ‘B’ version predecessors.

Leading the advances is the incorporation of SAM, Genelec technology and a foundation for the Genelec Loudspeaker Manager (GLM) software application for PC and Mac. Where the origianl 1032 offered rear-panel DIP switches to allow the speaker to be calibrated for different working environments, the 1032C adds a precise and easy-to-achieve auto-calibration system and becomes part of a family of Smart Active Monitors from across the Genelec range, all of which can be used together to create recallable networks – from stereo, to immersive set-ups.

Using the GLM app, 1032C owners can optimise performance for even the most difficult acoustic environments, compensating for factors such as placement and time of flight anomalies to facilitate the best possible listening experience within a room. As a latest generation SAM device, the 1032C also includes Video Delay Compensation, level calibration and input sensing for automatic power saving and wake up (Intelligent Signal Sensing – ISS).

Further refinements have been made to the previous model’s already impressive performance. Custom-designed Class D amplification means a 2.4kg reduction in weight (now 17kg), and a switch mode power supply (with universal voltage), developed in-house by Genelec, brings greater efficiency and savings in power consumption. Compared to the 1032B, the new 1032C has an improved maximum SPL of 114 dB with a frequency response of 40Hz–20kHz. In terms of power, compared to the previous model’s 120W and 180W, the 1032C tweeter and woofer power amplifiers are now respectively rated at 150W and 250W.

‘The original 1032 was a much-loved classic both for the high SPL it offered and the finesse that it delivered,’ says Genelec MD, Siamäk Naghian. ‘Now, by incorporating the latest technologies, the 1032C brings those same advantages into the modern studio environment. For those looking for the classic 1000 series Genelec sound and styling, but who want to benefit from the most sophisticated monitoring technologies in the world, the 1032C is the perfect choice.’

More: www.genelec.com

Following the success of the Genelec Experience Centre opened in London, demonstration facilities aimed directly at Genelec customers have opened Bangalore, India, where a new Experience Centre has been unveiled.

Situated on the prestigious St Mark’s Road, the downtown showroom has been created in partnership with Genelec by regional A/V specialist The Audio Video People. Inside, visitors can select their own source material and evaluate a wealth of Genelec monitors in stereo, surround and immersive audio configurations.

The opening of this new facility is the latest step in a long-term plan to upgrade existing high-end showrooms worldwide to reach Experience Centre status, and additionally to develop other Experience Centres at brand new locations over the coming months. ‘The Experience Centre in London has proven to be a tremendous success, appealing both to existing Genelec customers and those who are yet to install our products in their studios, homes and businesses,’ says Genelec’s Clifford Pereira, who worked alongside The Audio Video People during the development of the new Centre.

‘This new facility in Bangalore continues this comprehensive approach to showcasing Genelec products, and we expect it to generate a lot of interest as both The Audio Video People and Genelec spread the word in the months to come.’

Established in 1987, The Audio Video People is counted among India’s leading audio providers, with a distinguished track record in support, a strong engineering background and a service facility that ensures the company is frequently enlisted to work with architects, interior designers and systems integrators. It company previously opened a successful Genelec retail showroom, also in Bangalore, in 2013.

In development for more than a year, the new Experience Centre entrance showroom features an extensive selection of Genelec professional, A/V install and home audio products to fulfil both reference and listening requirements. ‘The aim with this room was to give visitors as broad an overview of the Genelec range as possible in the space available – hence a selection of products that covers a lot of bases within the current line-up of monitors and subwoofers,’ explains Farooq Pasha from The Audio Video People. Included within the room are the newly launched ‘The Ones’ family of coaxial point source close-field monitors, comprising the 8331, 8341 and 8351. In addition, visitors can audition monitors from the 8000 Series, the G Series and the AIW25 in-wall speakers.

A second room provides the main hands-on demonstration space – designed to facilitate configurations up to 5.1.4 Dolby Atmos – where the set-up includes three 1238A large-format monitors accompanied by six 8350A compact close-fields and a 7073A subwoofer. This SAM system can be configured and calibrated thanks to the use of Genelec’s GLM software application.

‘The wide range of products in this new Experience Centre covers all applications in the latest formats and with the ability to suit any type of ambience or room size,’ Pasha says. ‘We have a distinguished clientele that covers the ‘who’s who’ of South India, and we have provided high-end audio solutions to homes, offices, restaurants, gymnasiums, studios and entertainment facilities. This Experience Centre will be an invaluable asset as we seek to reach even more customers in these and other markets.’

To mark the opening of the new Genelec Experience Centre, The Audio Video People are presenting a programme of special events, open days, seminars and more over the coming months.

More: www.theaudiovideopeople.in

Genelec has released v2.2 of its GLM (Genelec Loudspeaker Manager) monitor control networking system that manages connectivity and operational parameters of all models of Genelec Smart Active Monitoring studio monitors and subwoofers.

GLM 2.2 brings upgrades to the performance and operation of Smart Active Monitors and of the GLM User Interface, allowing systems of any size (now up to 40 monitors) to be used as simple stereo, stereo with sub, multiple subs, multichannel set-ups as well as immersive environments using digital or analogue audio paths.

Of major importance to early adopters of Genelec Smart Active Monitors is GLM v2.2’s inclusion of Distributed Bass Management Filters for legacy Smart Active Monitoring products including 8240, 8250, 8260 and 1238CF models. These filters provide integration with the new 7300 range of Smart Active subwoofers. Other firmware updates are included for every other model of Smart Active Monitoring product, as well as the GLM 8300-416 Network Adapter. The firmware updates are directly available through the GLM Acoustic Editor pages.

GLM v2.2 also enables the control of the 9301A Digital Multichannel Interface and 7350, 7360 and 7370 subwoofers, providing proper LF control for digital input monitoring environments. GLM calibration and control of Smart Active Monitoring systems is computer interfaced via the Genelec Network Adapter model 8300-416.

Genelec’s Smart Active Monitoring enables the use of automatic calibration of monitors in a listening space relative to the listening position. GLM AutoCal incorporates research and data collection from hundreds of control rooms in music, postproduction and broadcast applications in an integrated process where calibration and optimization is calculated for level, delay and equalization for every monitor in a GLM Group, based on measured response using a factory-calibrated Genelec 8300A acoustic measurement microphone (included). Groups can be defined as either a different listening position or a different set of monitors, or both. Groups can be duplicated and modified to suit the user or client’s needs. All parameters and settings are stored in GLM system Setup files or internally saved in the monitors and subwoofers if the GLM network needs to be disconnected.

Genelec users who have installed previous versions of the software should update to GLM v2.2. The software is available for free download for Mac OS-X and Windows from the Genelec website.

More: www.genelec.com

Part of Appalachian State University, the Hayes School of Music has installed a 48-channel Solid State Logic Duality δelta console in its Robert F Gilley Recording Studio as part its ongoing investment in the Recording and Production aspects of its Music Industry Studies degree course.

The new console has gone into the John Storyk-designed Studio A control room, with current students invited to participate in the installation – including wiring and patchbay design – under the guidance of Chief Recording Engineer and Associate Professor of Music, Scott Wynne.

The university has mode considerable recent investment in outboard equipment and, according to Wynne, had run into a ‘bottleneck’. He felt that the digital console they had at the time was not making the most of the extensive analogue kit, especially when it came to issues caused by managing conversion delays and so on. ‘There was of course a lot more to it than that,’ he notes, ‘But that’s where the process started.’

Once the Provost (Dr Darrell P Kruger) had seen the programme and talked to the students he felt like it was a worthwhile investment. The purchase was approved in Spring 2016. ‘Now it’s in, I’d say the total recall system is one of the things I really enjoy about it,’ says Wynne. ‘Recalling the entire 48 channels is fast and easy, which is great for the students. The recording studio runs 24 hours a day, seven days a week, and our sessions are booked five hours back-to-back. You can waste a lot of time recalling other consoles. That was a big consideration for our facility.’

Only 15 students a year start the Recording and Production course at the school, to ensure every one leaves with extensive and valuable experience in a wide range of technologies and techniques. During their time at the school, students record and mix a huge range of material and original projects from simple mobile and live mixes to full multitrack and surround productions in Studio A, culminating in a final four-song EP or postproduction project. The final semester is a 14-week studio internship.

‘Rather than taking 100 students and weeding them out,’ explains Wynne, ‘We want to make sure those 15 students all graduate and are really well qualified, with lots of hands-on experience.’

Four students signed up to do the bulk of the Duality installation work, while another five contributed to the effort as required. The core team worked through the summer to finish the installation, putting an estimated 280 man-hours into the project: ‘By the time the console arrived we had built input and output snakes for eight channels so we could test and sign off on the console,’ Wynne  says. ‘Then we went on to the main cable work, teaching the relevant skills and techniques as we went.’

He had to leave the school for a few weeks at the end of the summer, with one week of installation to go. ‘What the students love about this console and what I love about teaching on this console is that 15 students wandered into a studio they had never operated before, with a completely new patchbay, and were operational by the time I got back – with only two weeks of messing about on it. That justifies the investment.’

More: www.solidstatelogic.com

Programme leader of Creative Music Technology at the University of Salford by day and producer/engineer whenever possible, Brendan Williams could not resist the challenge offered when an old recording room was unearthed in the recently vacated central Manchester ITV/Granada buildings. Seeing the huge potential in the forgotten space, he teamed up with Dan Parrott and Katie Popperwell to reinvented it as a new recording studio, they named Low Four.

The space comprises a large live room with a viewing gallery and a control booth, and has been equipped with an Audient ASP8024 mixing console to serve recording duties, as well as paying its part in a bespoke events and live TV-style streaming.

Immensely popular for his music and intensely passionate about analogue recording, Cantopop singer and songwriter Hins Cheung has taken over operation of Hong Kong’s Avon Recording Studios – joining his purpose-built Village Studios complex in Guangzhou.

Hong Kong’s premier recording facility for many years, Avon has been refitted by Mode Engineering’s Peter Higgs on Cheung’s instruction, with classic analogue equipment supplied by Funky Junk, and cabling and wiring assemblies from VDC Trading.

With a face familiar from his role as LAPD Detective Vic Mackey on the FX police drama The Shieldand Captain Nathanial Barnes in Gotham, US actor Michael Chiklis is also keen to be recognised as a recording artist.

‘It’s frustrating just getting people to listen,’ he says. ‘No-one was looking for music from me. One of the greatest joys is hearing from people who have just turned on to the music – once they hear it, they’re onboard.’

Eight years after opening its doors, Chris da Graça’s JavaJam Studio has taken delivery of an Audient ASP8024 Heritage Edition – the first of the enhanced, large-format consoles from Audient to be installed in Benelux.

Based in the small Burgundian town of Oudewater, da Graça describes JavaJam as ‘a well-run, popular professional recording studio and theatre space’ – one that previously used the more compact ASP4816 mixing desk. ‘We were very happy with the ASP4816, but we needed the extra channels,’ he reports.

Assisted by Audient’s Benelux distributor, Pro Media Connect, the upgrade includes the cabling required to accommodate extra input channels and direct outputs. And adding the Dual Layer Control (DLC) option, ensures da Graça has a range of DAW control features at his fingertips: ‘I used to use the ASP4816 with MC Mix from Avid, but with the Heritage DLC, all the control is completely integrated in the desk, and I really like that,’ he explains. ‘One click on the DLC and you can switch between Logic and Pro Tools.’

The Retro Iron output card on the new Heritage console has also made an impression, providing subtle Low Bump and High Lift Mix EQ and for more spacious mixes: ‘The tonal shaping options and John Hardy Co 990C Mix Bus amplifiers allow many possible routes while mixing,’ says da Graça.

‘I love the whole concept of Audient,’ he continues. ‘Great sounding, beautiful products that are still affordable. There is no real competition in this price range at this quality. The desk itself is well finished and has a clear and simple layout. The walnut finish gives an extra special touch, and even the vintage vu meter is very useful, as well as looking the part. Furthermore the great-sounding preamps, functional EQ and speed of working on the desk make it a pleasure to work with.’

JavaJam clients include local bands, solo musicians, choirs and other projects: ‘We do lots of pre-production recording work and some full album projects where the Audient mic preamps come in very handy indeed.’

Together with the Audient mic preamps and a comprehensive collection of outboard gear, da Graça draws on his own musical background to help him connect with and understand his customers. ‘My father played jazz guitar and my mother and sister piano. I wanted to be a drummer – specifically Ringo Starr. I ended up learning to play guitar, starting on an old pre-WW2 Resonator Dobro and progressing to playing in various bands.’

The coming months see JavaJam continuing to be busy: ‘The talented Amsterdam band The Loot will be here, plus Aemstelbeat and Seyl & Treyl. We also have sessions planned with a jazz trio, and a solo bass guitar,’ So it seems da Graça has found his balance; working in a relaxed and professional environment with others, he’s happy. ‘I can serve both my own creativity and those of my customers,’ da Graça says.

Harman Professional Solutions has announced the JBL Intonato 24 Monitor Management Tuning System for set-up, automated calibration and control of monitoring systems in stereo, surround and immersive audio production rooms.

Housed in a 2U-high rackmount enclosure – and shipping with more included I/O than any monitoring control solution currently available – Intonato 24 can calibrate and control systems of up to 24 speakers with custom recallable routing of up to 24 sources selected from 24 dedicated analogue, 24 digital and 256 networked audio sources. Included software and an optional Desktop Controller manages system monitoring features.

‘While the approach to control room monitoring has remained relatively consistent over the years, audio signal paths, production workflows and production spaces have evolved tremendously,’ says Harman International Director, Recording Solutions, Peter Chaikin. ‘With Intonato 24, JBL set out to create the heart of a complete system that takes control room monitoring to the next level, empowering content creators to produce consistently superior output regardless of the spaces where they find themselves – or the formats they are asked to deliver.’

Intonato 24 includes a calibration microphone and Automated Speaker Calibration process that ‘tunes’ each speaker to compensate for speaker placement and room acoustics, delivering neutral response to the mix position–even in less-than-ideal work spaces. The result is a finely-tuned system that takes the guesswork out of mixing by tackling room-related low-frequency issues and precisely matching the level and ‘time-of-flight’ from each speaker to the mix position.

It comes standard with I/O and flexible internal routing and a mixer to manage monitoring systems of up to 24 speakers, including up to four subwoofers that can be assigned as Bass Management subs with selectable crossover settings. Intonato 24 is compatible with all monitoring formats including stereo, 5.1, 7.1 and makes immersive monitoring possible in any control room. In addition, it has the ability to patch, route, and selectively monitor any combination of 24 analogue, 24 digital and 256 networked sources including Dante via an optional interface.

An intuitive graphical user interface allows control of Intonato 24 from Mac, Windows, and a range of tablets. Complete configurations, including speaker set-up parameters, EQ, subwoofer settings, input source patching and down-mix preferences can be stored as ‘profiles’ and ‘scenes’ and instantly recalled (even mid-session) to meet the requirements of specific projects and clients. The optional Intonato Desktop Controller puts monitor system control at your fingertips, providing elegant control of system volume, recall of user-configured scenes, activation of speaker mutes and solos, and other frequently used features.

Intonato 24 pairs with JBL 7 Series and JBL M2 Master Reference studio monitors to create the first complete monitoring system designed for immersive audio production in control rooms of any size. While Intonato 24 was designed as the hub of JBL’s new 7 Series installed reference monitor system, the unit can be used with any passive or powered speaker. In addition, Harman Blu link network protocol allows Intonato 24 to be digitally networked with Crown power amplifiers and an assortment of system components.

More: www.jblpro.com

JBL Professional has announced its 7 Series Powered studio monitors, targeting music producers, recording, mastering and remote production .

Featuring patented driver and waveguide technologies developed for the flagship M2 Master Reference Monitor, the 705P 6-inch and 708P 8-inch monitors promise high output, stunning detail and best-in-class accuracy for post-production, broadcast and music recording facilities: ‘The JBL 7 Series was developed from the ground up as our next-gen solution for modern music, post and broadcast production,’ says Harman International Director of Recording Solutions, Peter Chaikin.

‘Every aspect was designed to address challenges and provide a new level of performance for engineers, producers and content creators. Now, we’re proud to introduce the powered versions of these remarkable speakers. By overcoming the limitations of traditional studio monitors, 7 Series empowers modern audio professionals and facilities to get the best results, while enjoying the creative process.’ 

JBL 7 Series Powered master reference monitors employ patented and patent-pending driver and acoustic technologies to claim greater output, dynamic range and improved imaging. Proprietary JBL waveguide technology delivers neutral response and room-to-room consistency, while onboard room EQ solves low frequency problems. Both models feature the 2409H high-frequency compression driver, which incorporates an innovative low-mass annular diaphragm to deliver extraordinary output and very low distortion, with response beyond 3kHz. 

The 725G 5-inch low-frequency transducer used in the 705P model provides 14mm peak-to-peak linear excursion for low-frequency output down to 39Hz. The 728G 8-inch low-frequency transducer in the 708P leverages JBL Differential Drive technology to reduce power compression and provide greater sustained output and extended, linear low-frequency performance to 35kHz. These proprietary drivers allow the 7 Series to deliver two to three times the output of existing studio monitors.

Both the 705P and 708P feature the JBL patent-pending Image Control Waveguide that provides an acoustically seamless transition between the woofer and high-frequency transducer and a wide sweet spot with increased sonic detail. With smooth, neutral on- and off-axis frequency response, the monitors deliver greater accuracy and tell the same story room to room, regardless of placement.

Inside each monitor is a dual amplification system that’s optimised for the high-output drivers. A 120W amplifier module powers the 2409H high-frequency transducer, while a 250W amp is dedicated to the 725G and 728G low-frequency transducers. Onboard DSP-based room equalisation compensates for acoustic issues in any room, delivering the most accurate sound reproduction. Twelve bands of room EQ and eight bands of user EQ allow audio professionals to tailor speaker response to reduce the adverse effects of poor room acoustics and optimize accuracy whether the monitors are freestanding or placed adjacent to the wall. 

Both models feature analogue and AES/EBU digital inputs allowing connectivity to a broad range of production hardware, including digital audio workstations (DAW), mixing consoles and digital playback hardware with sample rates of up to 192kHz. Internal sample rate converters can be enabled to allow the monitors to receive digital signals of uncommon sample rates.

The 7 Series of monitors was developed with the modern control room in mind. A compact two-way design minimizes interference with video displays and sight lines, while providing output comparable to larger speakers. The reinforced enclosure includes bottom and rear mounting points allowing wall and ceiling mounting in either vertical or horizontal orientations. 

The new monitors complement the existing 705i and 708i (installed) models, which serve as the hub of a complete, scalable system based on external multichannel power amps and central system control. Facilities working in surround and immersive formats benefit from the compact size, high output and ease of installation of the 705i and 708i. Centrally located electronics eliminates the need for power outlets at each speaker location and allow powerful, elegant control of any number of channels, in any size room. The complete system includes room EQ, downmix capabilities, and hardware and software control of a range of monitoring functions. 

Multiple 7 Series monitors can be combined with the new JBL Intonato 24 studio monitor management system to create a complete monitoring system for immersive audio production. Intonato 24 has the power to quickly optimise an environment for accuracy, and a system can be scaled as needed for growth. 

JBL 7 Series Powered monitors will be available in Q1 2017.

More: www.jblpro.com

JBL Professional One Series 104 Reference Monitor is designed to provide ‘the most accurate sonic presentation of any monitors in their class’ for recording studios, cinemas and live concert stages in a compact, affordable desktop loudspeaker for recording, podcasting, and music and video production.

With JBL 104 monitor is optimised for desktop placement, with neutral low-frequency performance and smooth off-axis response. The 104 Reference Monitor’s new coaxial driver design features a 0.75-inch high-frequency driver aligned with a contoured 4.5-inch woofer cone. The cabinet’s precisely contoured low-frequency port works with the driver to provide accurate bass at all listening levels and low frequency extension down to 60Hz.

The monitors maintain this level of performance at loud playback levels through integrated 60W class-D amplification that distributes 30W per speaker. One Series speakers can be driven to 104dB SPL (peak).

With their compact size, the loudspeakers can be in small workspaces, with features like a front-panel volume control allowing convenient level adjustments without straying from the sweet spot. A front-panel headphone jack automatically mutes the speakers, providing isolation in one simple step, and dual quarter-inch balanced and single 3.5mm unbalanced TRS inputs accommodate a wide range of sources.

Key features:

• Inputs for connection to professional equipment, personal music players and consumer-level devices.
• Master monitor includes electronics for the extension monitor.
• Front panel volume control.
• Front panel headphone jack with speaker mute feature.
• Integrated power supply.

More: www.jblpro.com

Jensen Transformers has announced four ISO-Max DI boxes – the Concert-1 and Concert-2 for instruments, and the Media-1 and Media-2 for laptops and other consumer-level audio sources.

The Concert-1 and Concert-2 are aimed at interfacing musical instruments such as acoustic guitar, bass and keyboards with the PA.

The Concert-1 is a single-channel direct box with standard quarter-inch input and throughput. Inside a Jensen JT-DB-EPC transformer performs the balancing and lowers the impedance to ensure optimal signal transfer from the instrument to the PA’s mic input. A 3.5mm TRS connector enables connection of a laptop computer to the Concert-1 and the signal is summed to mono by dressing the selector switch. This also turns the input and thru into LR quarter-inch jacks for stereo-to-mono conversion when used with a keyboard.

The Concert-2 is a stereo version that retains full stereo functionality at all times. The Jensen transformer is particularly important when used with high output instruments such as keyboards and active bass that can often overload active direct boxes.

The Media-1 and Media-2 are similar in that they are equipped with Jensen JT-DB-EPC transformers, but each is also equipped with a variable pad that enables precise adjustment of the input level to enable all types of media sources such as laptops, tablets, video players and DJ mixers to be connected using the quarter-inch RCA or 3.5mm inputs while allowing the user to set the signal level on the fly. The Media-1 is a single-channel device that automatically mixes the stereo source to mono saving valuable channels in the PA system while the Media-2 retains full stereo functionality.

The Jensen Concert and Media direct boxes claim linear performance from 10Hz to 40kHz. Galvanic isolation, internal faraday shielding and a mu-metal exterior combine to provide unmatched noise rejection and immunity from buzz and hum caused by ground loops. They are housed ine a rugged aluminium outer shell with a slide-in steel shell on which the circuit board, switches, connectors and transformers are mounted.

‘Over more than 40 years, Jensen has gained the reputation for offering the very highest quality transformers, both in terms of low distortion and noise elimination,’ says Jensen General Manager, Dave Hill. ‘And although Jensen transformer-equipped direct boxes are available from others, we felt that the time was right for us to expand our ISO-Max range by offering some designs that follow both Deane Jensen’s and Bill Whitlock’s commitment to achieving the very highest standards. These four new products bring advanced connectivity and features to the market that we believe will make them unique.’

MAP pricing for the series is: Concert-1 US$199.99, Concert-2 US$299.99, Media-1 US$219.99 and Media-2 US$319.99.

More: www.jensen-transformers.com
   

Radial Engineering has announced the Jensen Twin-Servo 500-series preamplifier.

This 500-series version features a front-panel Neutrik Combo connector with choice of XLR and quarter-inch inputs, a dual-gang potentiometer for level adjustment along with a ten-segment LED meter for viewing. This is supplemented with a 180°polarity reverse switch that toggles the absolute phase, a high-pass filter to eliminate excessive resonance, a -15dB pad, and a 48V phantom power activation switch. It is also able to deliver up to 60dB of gain.

‘When Deane Jensen first put his mind to building the finest microphone amplifier possible, the development process began with the now famous 990 op-amp,’ says Jensen' Chief Technology Officer, Bill Whitlock. ‘Part of the magic was maximizing the gain-margin so that no matter what the input, the lowest possible distortion would be realised. The unique design essentially cruises along in class-A mode and then transitions to class-AB only when pushed to extremes. 

‘In order to eliminate phase shift, all capacitors were removed from the signal path and replaced with servos. The 'unlimited bandwidth' enables the design to reproduce signals from DC to light. He then added two of Jensen's most robust transformers to the sauce in order to eliminate DC coupling noise and provide the necessary drive for long cables. 

‘The end design incorporates two 990 op-amps cascaded in series, two servos and two Jensen transformers, culminating in the Twin-Servo name. One listen and you will immediately hear a bottom end response like no other with a smooth, natural rendering that extends from 0.2Hz to 150kHz. Working with the Radial design team, the Jensen Twin-Servo 500 has been faithfully reproduced following Deane's original recipe and has been adapted to fit the 500-series format.’

Made and distributed globally by Radial Engineering, the 100 per cent discrete design features all-steel construction, rugged powder-coat finish, a fully enclosed back box and dual-sided gold contacts for positive connection to the 500 series back plane. The MAP for the Twin-Servo 500 is US$999.99.

More: www.radialeng.com

Tascam has appointed Joe Stopka as Director of Business Development, responsible for pursuing and developing new business opportunities in live and studio music production, as well as recorded sound for film and video.

Beginning his career as a commercial and industrial music studio guitarist, composer and producer, Stopka moved to sales and marketing of MI and pro audio equipment. The expertise he brings to his new position is based on work with brands including Sony Professional, MiPro, Electro-Voice and Eventide among others.

‘Joe’s history in selling and marketing pro audio and MI, as well as his musical performance and production experience, is a welcome addition to our sales and marketing teams,’ says Tascam/Teac Consumer Audio Executive VP, Jim Mack. ‘Tascam combines leading-edge technology with innovative product design to help artists realise their vision. We are excited to have Joe onboard to help spread the word.’

‘Tascam is one of professional audio’s legendary brands, with a legacy dating to the very foundations of personal recording,’ Stopka says. ‘I’m truly honoured and thrilled to be working with such a talented group of people, and am looking forward to being a part of the next generation of Tascam.’

More: www.tascam.com

Music composer and voiceover artist Joe Wakeford has added an Audient iD22 audio interface to his studio – which began as a band rehearsal room and recording studio with a big analogue console 20 years ago, moved to multiple synced Tascam DA-38 DTRS machines and Cubase VST 3.5, and then to a today’s  totally built for production studio functionality’ facility.

‘The big analogue desk is gone and our system now centres around two networked 64GB RAM custom-built audio PCs from Scan in Leeds, UK.’ He explains. ‘For several years the M-Audio ProjectMix I/O was used as the primary audio interface but when the phantom power died the Audient iD22 was brought in to replace microphone recording.

‘The idea was twofold – to keep the ProjectMix I/O as the wonderfully tactile control surface for Cubase Pro 9 that it has always been (along with offering additional non +48V inputs) and to use the iD22 as a new monitoring system with its big central volume dial and custom function buttons.’

He confesses to a love of physical controls in the studio (‘there’s only a certain amount of tolerance I have for reaching for the mouse for mixing controls’) but it was the minimal latency of the iD22 that prompted his purchase.

‘I was playing – and recording – a delicate piano piece for a Hollywood produced film coming out in mid-2017,’ he explains. ‘With piano especially you need latency to be as minimal as possible. With the right combination of ASIO buffer size and sample rate the experience was as close to real-time as I’ve ever experienced with a studio interface. I was extremely impressed – the last thing you need when recording an emotional piece is a detectable delay or gear messing around.’

By all accounts, the move as paid off: ‘The software routing of the iD22 has worked wonders for our composition and tracking sessions, as well as the other aspect to my business which is voiceover recording,’ he says. ‘I run all audio through it and have recorded everything from the latest GoDaddy TV commercial to live Voice Of God announcements for the worldwide launch of the new Mini Countryman in LA recently.’

In addition to offer ing phantom power, a switchable 100Hz 12dB/octave high-pass filter, the iD22 also has its benefits when recording voiceovers: ‘The software routing allows me to operate live directed sessions while recording my recording input with no messing around. Once it’s set-up via the cue controls, you’re good to go without needing to re-adjust all other controls back for music production monitoring.’

Wakeford introduction to music came from his family background. ‘We had instruments everywhere and while my Dad taught me piano, I often picked up his guitars and then took up drumming which is what took me to the ACM [Academy of Contemporary Muusic]. I was very interested in the process of recording too. When I was eight I’d record my own “radio shows” and broadcast them to neighbours via an elaborate and highly illegal transmitter conjured up from a science set. When at secondary school, a friend and I began our own station with our friends and family listening in via cassettes passed around school.’

After graduation, his work has evolved as much as his studio over the years: ‘My job description as a creative is quite broad nowadays but I love every aspect of what I do, from writing music for film, TV and artists to recording voiceovers for all sorts of productions.

‘It’s important to love what you do but to keep things varied so there’s something to surprise you around every corner,’ he reflects. ‘It’s great being challenged and stretched. Having good people and well-behaved gear around you is essential.’

Genelec has expanded its US sales force with John Whitcore named Territory Manager, and Steffenee Copley added as Western Region Sales.

Both appointments will report to Genelec Inc MD Lisa Kaufmann, and liaise with Genelec Inc Eastern Territory Sales Manager Paul Stewart on new and ongoing sales initiatives.

Whitcore has 20-plus years of industry experience, most recently managing US/Canada East Coast pro audio sales for Avid Technology. He specialises in generating new business and developing relationships with his ability to establish customer and team rapport, trust and loyalty. He is driven by his passion for music, great sound and technology.

Copley comes from a musical background, with early exposure to piano, violin, guitar and banjo. She graduated from the University of Tennessee Knoxville and began her career in the audio equipment industry in 2003 working for a start-up distribution company who introduced the German headphone line Ultrasone to the US, Canada and Central and South America markets. Since then, she has worked for Liberman Broadcasting, representing KRCA Estrella TV/KBUE/KHJ/KWIZ/KRQB Spanish-language TV and radio stations, Fingerprint Audio (US and Canada distributor of sE Electronics and sE/Rupert Neve Signature Series microphones) and Ultimate Support Systems, assuming the positions of Account Executive, Director of Sales & Marketing, West Coast Regional Sales Manager, and International Sales Manager. Copley has spent the past few years as owner of the sales representation and marketing firm Step 2 Business Services Inc, representing several brands to corporate and independent retailers within the US and Latin America.

‘John and Steffenee have rich histories and unique skill sets,’ says Genelec Inc Marketing Manager, Will Eggleston. ‘With years of experience in sales and customer relations, they have the opportunity to benefit both Genelec dealers and reps alike. We look forward to working alongside them and continuing to increase our national presence in all the markets that we serve.’

More: www.genelecusa.com

DPA Microphones has appointed Kalle Hvidt Nielsen as its new Chief Executive Officer, succeeding interim CEO, Thorsten Reuber, who has managed the company since January 2016. Nielsen takes up his new poition on 1 September.

Nielsen brings more than 15 years of experience in directing technology-focused Danish companies including Topsil Semiconductor Materials A/S, where he held the CEO position since 2011. Previously, he occupied CEO positions at Bang & Olufsen and Brüel & Kjær Sound & Vibration Measurement. During his time at the latter two companies, he gained extensive knowledge of running businesses in the high-quality audio business, which will bring value to DPA.

‘Kalle Hvidt Nielsen is a proven executive, who has managed to inspire the companies he has led as well as delivered both short-term and long-term growth,’ says Karsten Langer, Chairman of the Board of Directors for DPA Microphones. ‘We are fortunate to welcome such a strong leader to the company. I am sure he will be a driving force behind DPA’s next period of growth.’

‘DPA sets the standard for professional-quality microphone solutions and I am thrilled to lead the company as it continues to innovate the audio industry,’ Nielsen says.

More: www.dpamicrophones.com

After self-releasing her first three albums, Grammy Award-winning singer-songwriter Regina Spektor signed with the Sire/Warner Bros label and released four further albums. Having now completed her fifth, Remember Us To Life, she has make extensive use of microphones from Mojave Audio and Royer Labs.

LA-based Samur Khouja engineered Spektor’s latest endeavour. As the owner of Seahorse Sound Studios in downtown Los Angeles, he is well known for his sound design and synthesis capabilities. In addition to Spektor, he has worked with Devendra Banhart, Cate Le Bon and Joanna Newsom. Spektor’s Remember Us To Life was recorded at several locations, including Khouja’s Seahorse Sound Studios and LA’s Village Studios.

‘Regina is fantastic to work with,’ Khouja reports. ‘She is really cheerful and gets so excited when she hears new sounds – and she seriously shreds on piano. On Remember Us To Life she was very enthusiastic about trying new ideas and was also very focused on having things technically correct at all times. We recorded most of the songs with her singing and playing simultaneously. Because of this, the Mojave MA-300’s continuously variable polar pattern selector was a huge benefit for finding the sweet spot with the least amount of bleed in this type of situation.

‘Using the MA300s on background vocals also worked out really well, as their ability to use patterns in between omni and cardioid enabled me to instantly add more or less room sound,’ he adds.

Further, the Mojave MA-300s were used on grand piano, cello, and viola as well as room mics for the drums. Additional performances on the grand piano were captured using the Royer R-122 ribbon and SF-24 stereo ribbon microphone. When recording the upright piano, Khouja turned to Mojave’s MA-100 condenser mics.

‘We loved their off axis response, which really flattered the pianos we were using,’ he says. ‘For the faster, more technical songs, the fast transient response of these small diaphragm mics really helped a lot. We also used Mojave’s MA-201fet mics for both kick drum and recording bass – these have a very nice low end that works really well when mixing.

‘I have been using Mojave mics for almost ten years now,’ he reflects. ‘Design engineer David Royer is truly a special and incredibly talented person and Mojave’s Dusty Wakeman and the rest of the crew really make things honest and easy. The best part for me is knowing I can trust these microphones – especially when I’m recording in new environments. That inspires a lot of confidence and goes a long way for me personally.’

Claiming the first ‘mini main monitor system’ on the market, Kii Audio has released the Kii Three Pro studio monitor system.

The compact Kii Three Pro system is loaded with six drivers, with 1.5kW per speaker using proprietary Active Wave Focusing technology to controlling sound dispersion. Intelligent DSP provides a cardioid sound dispersion pattern down to the low-mid and bass frequencies, which otherwise must be achieved using wide baffles, large cabinets or soffit mounting (infinite baffle).

Alongside the Kii Three Pro, Kii Control, transforms the Kii Three into a complete reproduction system. Kii Control offers three additional inputs – Coax SPDIF, Optical TOSLink and USB (up to PCM 24/384kHz and DSD64/DSD128 on USB).

Easy to connect and use, the inputs are activated with touch switches around the volume knob, and a hardware input on the speaker itself supports analogue or digital input. The Kii Control is connected and powered through the included Cat6 cable, so no additional power supply is necessary, and it also boasts lossless volume control, mute and dim functions, latency switching, user-preset options, and a range of advanced settings accessed via an OLED display.

The Kii Thee Pro is priced at €8.700 (ex VAT) per pair.

More: www.kiiaudio.com