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…
A new audio school has opened its doors alongside one of the world’s leading recording studios.
Blackbird Studio owner John McBride has recruited industry gear experts, musicians and educators Kevin Becka and Mark Rubel to Nashville to help create a new studio and curriculum and realise his vision of The Blackbird Academy, Professional School of Audio...
I struggled to get my head around computer viruses to begin with. The whole concept was at odds with my understanding of what real-world software was about. And I frowned at the first mention of self-healing DSP. Doesn’t intelligent technology belong to Asimov and his Three Laws?
American neuroscientist Christof Koch reckons that ‘consciousness arises within any sufficiently complex, information-processing system’…
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While The Zac Brown Band and Lady Antebellum delivered ‘magical’ performances to TV viewers around the world, Sennheiser’s Digital 9000 wireless system brought a 'new era' in digital wireless to the Annual CMA Awards.
The show presented a daunting RF environment: ‘We had 200 frequencies – a formidable number in any environment, especially when everything is in UHF,’ says James Stoffo, the event’s RF coordinator...
My viewing of the episode of Agatha Christie’s Poirot that aired on TV last week wasn’t what anyone had in mind when she penned the story or when the television series began in 1989 – or even when ITV Studios recently made the final run of four episodes. Very much has changed in the intervening years.
And there are more changes in the wind, as the second screen is poised to reshape TV broadcasting – and music could see the greatest changes of all...
The phrase ‘poor relation’ is uncomfortably familiar to most audio professionals. Whether in broadcast, live sound, club installations or even games, the achievements of audio technologies and technicians are regularly obscured by everything from lighting to CGI. Even conferencing systems suffer the same injustice – as elsewhere, audio gets most attention when it fails.
But conferencing is presently a hot topic – particularly for Symetrix.
It’s been a while – 22 years, in fact – but as I start to retell the story, I lift my hand and it’s trembling gently. Just as it did then.
For a few moments I am transported back to a quiet London hotel room, where I am reading from the transcription of an interview I had done a few days earlier. I’m telling David Sylvian what the other members of his band have said about him and their work together on their most recent album. It’s a bit tense…
Richard Ferriday and James Godbehear are in agreement – while their recent move from Midas to Cadac took the industry by surprise, it also presented them with something of a culture shock.
‘We’re now in a place where our contribution can make a difference to what goes on,’ Ferriday says. ‘It’s nice to be back in a position where you can make decisions and live or die by them.’
Where vinyl and cassette once conspired to carry music in a beautiful symmetry of quality and portability, they have been brought head-to-head by the launch of Cassette Store Day. Rather than reuniting the old team, this has divided opinion over their relative worth.
We’ve become used to the succession of ‘format wars’, but this has to be the first engagement fought between obsolete and obsolescent media…
The recent collateral blocking of the UK’s Radio Times website as a result of a dispute between the Premier League and an unrelated copyright infringing site is just the latest in a series of warnings over internet control.
There is a strong argument for regulating internet content. But if new censorship arrives, what is its likely impact on broadcasting, music and the wider audio industry? The signs are that it’s a disaster in the making...
Launching a dedicated HD TV channel for its 2012 coverage of the Formula One Grand Prix, Sky dedicated a two-hour special of The F1 Show to preview the forthcoming season – and implicitly celebrated winning the television rights over other broadcasters, including the BBC.
Now, with the 2013 F1 season past its half-way point, Sky has raised the broadcast stakes still higher.
‘Games art teams are ten years ahead of audio. We have some catching up to do – we need to ride their coat-tails...’
While some are celebrating the achievements of games sound designers, others are convinced that we are not making the best of the opportunities on offer. And with next-gen consoles and cloud computing in imminent prospect, the ‘others’ may well be right...
I’m not sure how I managed to miss the term ‘acousmatic’ until now, but having found it, I have a whole new take on sound.
If I’d been one of Pythagoras’ akousmatikoi around 500 BCE, I’d have known about it. And if I’d been part of the musique concrète movement during the sixties, I’d have known about it. If you’re involved in radio, TV, movies or games, you need know about it too...
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