With its flagship studio in Manhattan’s Chelsea neighbourhood, String & Can has become a trusted name in audio postproduction, specialising in Dolby Atmos mixing. At its heart are Genelec monitors, chosen for their precision, reliability and consistency across Atmos, 5.1 surround and stereo formats.
Alibaba’s Hujing Digital Media & Entertainment Group Studios has opened a new A/V production studio at the company’s Beijing…
The UK leg of the tour Level 42’s 40th anniversary tour in support of their The World Machine breakthrough album has been extended to…
Kicking off in San José, Costa Rica in 2022 and taking a hiatus following a ten-date residency at London’s Wembley Stadium to concluded…
Veteran engineer, mixer, producer and musician Jim Roberts and his wife and business partner, Marie, have launched their new music…
Claiming to be the first orchestra to ‘go fully digital’, the Lille National Orchestra (ONL) is using a digital signal chain from sound pick-up to recording.
The orchestra’s own mobile studio comprises a total of 33 digital Neumann microphones, 24 digital Sennheiser microphones (all on active stands and booms), and six DMI-8 interfaces. Also included in the studio are a six-channel Sennheiser wireless system and a full Neumann monitoring set-up.
Opened in 1999 to host the Rugby World Cup, Cardiff’s Millennium Stadium has since seen a range of sports events, as well as concerts from the likes of the Manic Street Preachers, U2 and The Rolling Stones staged under its retractable roof.
Visitors to rugby’s Six Nations were largely unaware that announcements and entertainment during the matches were delivered via a PreSonus StudioLive 24.4.2AI mixing desk, supplied by PAI Group and operated by AB Acoustics.
While cylinders for Edison’s phonograph were the world’s first consumer music format in the late 1880s, the first music chart preceded them by around 50 years. Having originally represented sheet music sales, the music charts have tracked delivery formats through vinyl, cassette and CD to digital downloads.
Now, with music sales in a downward spiral, the UK’s first weekly vinyl chart has been launched.
‘When we started in 1973, there were no loudspeakers, there were no mixers, there were no radio mics, there were no miniature mics that were made specifically for theatre use,’ recalls Autograph Sound Recording’s Andrew Bruce.
The breakthrough for loudspeakers came in 1980 with the release of Meyer Sound’s UPA – that and and The Godfather of Theatre Sound stepping in to champion its potential…
With an increasingly technology-savvy congregation, Melbourne’s Temple Beth Israel is the first synagogue in Australia to stream Shabbat services online. But that same awareness meant that the failing sound system needed to be replaced.
Poor directional control and speech intelligibility, and the inflexibility of the infrastructure limited the development of new services and events. The time was right to improve the usability of the Synagogue’s sanctuary spaces.
The sound systems required for the Opening and Closing Ceremonies at the recent National Games 2015, held at the Greenfield Stadium in Kerala during February, reflected both the scale and importance of the event.
In keeping with the event’s stature, responsibility for the live sound and feeds for broadcast coverage of the event fell to leading sound reinforcement and turnkey audio systems specialist, Sound.Com.
Under siege from home recording equipment on one front and new music distribution models on another, as well as being eclipsed by the world of gaming, the wider music business has been forced into increasingly desperate attempts to re-evaluate and reinvent itself.
The latest of these is to turn the recording of music itself into an arts project. Can we make the recording studio a show?
AirVolution is the largest private sector investment in Canberra’s history – a massive $480m redevelopment of the city’s airport that has won it the accolade of Australia’s Airport of the Year.
Part of the project is an innovative A/V installation from Rutledge AV that uses the best of Tannoy’s digital beam steering technology that covers the airports 55,000-sq-m, providing announcement and emergency services.
Already resigned to its role of ‘poor relation’ to video and film, sound has recently seen new terminology further challenge its dignity. Locked film reels are increasingly being replaced with ones that are ‘soft locked’ or ‘parked’, giving the sound team a moving target.
A recent conference on sound for picture saw a series of high-profile speakers turning this to their advantage, among other insights, however…
Recreating the vibe of classic recording studios of the 1970s posed both acoustic and monitoring challenges for Question de Son studio owners Jordan Kouby and Frederic Vectol.
‘Many recording studios are trying to face the record industry crisis by simplifying their installations – gear, maintenance, less investment, essentially in-the-box mixing. At Question de Son, we resolutely try to go the other way.’
For his latest project, pioneering sound recordist and sonic sculptor Chris Watson turned his attention to the seldom-heard phenomenon of ravens gathering to roost, creating a unique audio experience deep in Northumberland’s Kielder Forest.
Led by a guide sharing ancient raven lore, the audience entered the deepest part of the wood where, with darkness falling, the air suddenly filled with the sound of two thousand birds arriving in the canopy overhead...
More than the cocktail bar, more than the architecture, more even than the vintage instruments on display or the immense Neve mixing desk that dominates the room, there is a buzz here. Even among the prestige recording studio parties of past years, this feels special.
The church setting is somehow significant... something precious has been saved and everyone present knows it.
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