Six-piece multi-genre Australian band King Gizzard & the Lizard Wizard recently toured the US with their Phantom Island show, featuring collaborations with local orchestras on eight nights of the 12-date run. For the first time, the band’s FOH engineer Sam Joseph and monitor engineer Joe Santarpia were behind new small-footprint Quantum326 mixing desks.
The close to their 15 Years tour, Lisbon’s 68,100-capacity Estádio da Luz was the biggest stadium show yet for Portuguese-speaking band,…
Planning the band’s last live performance for Birmingham’s Villa Park Stadium, Black Sabbath: Back to the Beginning Production Director…
English musician Steven Wilson is currently circling the globe with The Overview tour, an ambitious live multimedia and concert…
Taking its title from a 1930s French artistic movement in which painters translated sounds into visual art to evoke specific emotional…
With his signature blend of dry wit, pop culture acuity and storytelling savvy, Colby Elliott serves up something original in Geekery and Wine: The First Case, an immersive audiobook, where memoir meets fandom and every bottle tells a story. ‘The audiobook as a whole ended up being this tapestry of stories,’ he says. ‘Mostly, I think we all belong in each other’s stories, collaborating and trying to make the world a little better.’
When Olivier Cussac received word that Studio Condorcet – a recording facility near the centre of Toulouse founded in the 1970s that he had owned since 2007 – was now scheduled for demolition as part of an urban renewal project, he stepped in to save it. This year has seen it reborn in with a Harrison 32Classic 32-channel analogue console as the first of several planned spaces at a new location just outside Toulouse.
Composer/producers Starr Parodi and Jeff Fair have found renewed momentum after losing their home and studio in the recent LA wildfire, after Focusrite and Adam Audio stepped in to help them re-establish a base to continue their work on major music projects. ‘Through their help,’ says Starr Parodi, ‘we were able to set up a proper writing and production room and get back to making music.’
‘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.
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.
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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