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…
It was all so good... then suddenly it became a first class, impedence matched, wi-fi enabled, 192kHz nightmare.
I was on the verge of the idea that would become the talk of my generation. Then the shadowy figure of the Health N Safety Sheriff busted in and ruined everything. It’s all going horribly wrong (I think Jeremy Clarkson is in here somewhere) then an alarm rings...
Mixing anecdote with hard-won wisdom is something Robbie McGrath does as effortlessly as mixing the biggest bands of the past 40 years.
Today his audience is a group of students that he is encouraging to become the next generation of live sound engineers. But where McGrath is upfront about getting into the business by being in the right place at the right time, they don't yet realise how lucky they are...
A recent Facebook discussion on the state of popular music making threw out an interesting benchmark – the ratio between ‘shit’ and ‘the shit’. Let’s call it S/TS. If that’s reminiscent of signal-to-noise (S/N), it’s no accident.
Much of the blame for the swing towards the ‘S’ end of the scale was assigned to major record labels. The rest came technology’s way.
When did you first meet Kevlar? Think carefully, your answer may betray a lot about your past.
If it was sometime around 1976, you were either enjoying the finer points of cutting-edge reference loudspeaker performance or reading spec sheets in the hope that you soon would be. If you were five years ahead of the audio boys, you were more likely risking your life for country or cash.
The characteristic noises of death and destruction are contrived by nature to be unpleasant. If their cause is indifferent to their creation, then our ears ensure that we read them as alarming, even terrifying.
Certainly, this was the case with many of the records released in the wake of the introduction of CD. The sound of corporate exploitation, combined with artistic apathy, was as excruciating as it was depressing.
It is the early hours of Saturday morning. I'm somewhere in a cold, dark wood with a film crew. The Marantz has just died on me...
My hands are almost too cold to change the batteries in the recorder. The director, crew and cast are waiting to start the next take. I am beginning to doubt I will ever be warm again. Batteries changed. Camera rolling. Sound rolling. Slate!
I read an iPhone app review on iTunes yesterday: ‘I’ve stopped using the Google Analytics website and just use the app…’ it claimed. It’s a big claim, given the extent of information Analytics provides. So I downloaded the app and gave it a try. And I had to agree…
Apps are changing our approach to mobile devices, and shaping future computer use.
A recent TED presentation saw Sarah Angliss examine the connection between Britain’s Industrial Revolution and Detroit’s motor industry, and the music they have produced. In the reflections of unforgiving industrial environments, she can see an ‘art out of noise’ model at work.
Curiously, I’ve drawn exactly the opposite conclusion over the way modern businesses have turned music back into industrial noise.
For a while, each visit I made to America was preceeded by a delivery of fine Cuban cigars. In a very Bond-like arrangement, I was to take these with me ‘for personal use’ and deliver them to an American whom we shall call Steve.
It was quite legal but it had an enjoyable air of opulence and sedition... and it was intimately tied in with cutting-edge digital audio.
The term ‘social networking’ is on a lot of lips at present – from university graduates through IT specialists to pro audio and A/V companies, and most acutely, broadcasters. A subject that, until only recently, was the preserve of anthropologists, sociologists and other academics, has now become mainstream, with direct relevance to our personal and professional lives.
You don’t have to be afraid to have tit.com crop up in your browser history. Against all reasonable expectation, it’s not a pornography site – although judging by the ‘Sorry, there is no adult content here’ disclaimer it carries, it probably has a very high bounce rate…
Regardless of content, a short domain name is worth money. And it’s a sweet introduction to an overlooked aspect of the internet’s creation and operation.
Feelings were running high around the table. Present were some important voices representing contrasting – and sometimes diametrically opposing – views on education in pro audio. What it was, who needed it, where they should get it, what it should cost.
That was in the early 1990s and I’m not convinced we’ve made progress on answering any of those questions.
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