Armed with Sennheiser HD 300 PROtect headphones, Sennheiser MKH 8020 mics and a bespoke 3D hydrophone array, nature sound recordist Thomas Rex Beverly recently visited Hawaii’s Big Island and French Polynesia in pursuit of high-definition, spatialised recordings of whales – the likes of which researchers had previously been unable to make.
The recent Music of Zimmer vs Williams show at the Royal Albert Hall brought a spatial twist to the sound through use of a 64-channel…
London’s Ronnie Scott’s Soho jazz club has opened Upstairs at Ronnie’s, built from the ground up to create the greatest small live music…
The recent Live at Chelsea concert series took place over five nights in June within the courtyard of London’s historic Royal Hospital…
A world tour that includes not just the Gorillaz live band, but guest performers at each show, The Mountain World Tour will play…
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, brings new desire for 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.
Common sense would have cast the Uni-Vibe aside along the way. But the final twist in the story is its own heritage.
Having been individually and jointly involved in mixing some household names in the music industry, the latest venture shared by Lewis Chapman and Geoff Swan combines a closer partnership with a desire to move into Dolby Atmos mixing.
These goals have resulted in an new Atmos room opening at The Ranch Production House near Southampton – which features a Merging Technologies and Neumann solution that is quickly proving successful.
With the studio they were using less than ideal, comparing notes between sessions in a cramped kitchen prompted Amin Hamzianpour and Nicholas Sonuga to come up with the concept of Qube – a purpose-built space available to rent to musicians, and also podcasters, YouTubers, artists and photographers.
A London location where members would work and socialise in the same building seemed a good place to start...
The Festival d’Avignon has recently completed a long-term project of major stage and technical infrastructure upgrades for its main presentation area, the Courtyard of Honor at the Palace of the Popes.
The work includes new 2,000-seat bleachers, a new stage, and new audio, video, and lighting – only the sixth renovation project since the festival was founded several decades ago. The project includes Amadeus and Holophonix spatialisation.
With wireless multichannel audio established as an essential element of large-scale music events, theatre productions and broadcasting, can Sennheiser’s WMAS (Wireless Multichannel Audio System) technology survive a practical test by two seasoned frequency managers?
How does the system ‘get along’ with narrowband systems? And how does it respond to direct interference?
Following the coronation of King Charles III in Westminster Abbey the start-studded Coronation Concert took place at Windsor Castle, with Terry Tew Sound & Light appointed as the official audio supplier. Among the key kit selections were DiGiCo Quantum 7 consoles and Shure’s Axient Digital wireless mic system.
Alongside the 20,000 attending the concert, it was simultaneously broadcast to millions of viewers in more than 100 countries.
With its legacy audio system fragmented and failing, and no comprehensive understanding of its installation, the JW Marriott Marco Island Beach Resort in Florida was increasingly unable to cope.
The resort is expansive, with 12 restaurants, two championship golf courses, fitness centre, spa and multiple meeting/conference facilities. With music and audio quality of critical importance to the guest experience, it was time to call for help.
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