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.
UK-based sound designer and sound recordist Chris Jojo specialises in recordings of motor vehicles for film, simulators and gaming, and was recently involved in Michael Mann’s film Ferrari, nominated for several sound design awards.
The Ferrari project involved Sennheiser’s MD 421-II large-diaphragm microphone and Ambeo VR Mic, as well as the company’s evolution wireless plug-on transmitters and EK 6042 receivers to record the sound of vintage Ferraris.
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...
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 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?
Our thirst for bringing the saturation characteristics of analogue audio electronics and magnetic tape to digital audio recording continues seemingly unsated. Almost every week brings word of a new ‘saturation’ plug-in of some kind, summoning the distortion found in old recordings to add to new ones.
One such is PSP Saturator – hardly ‘just another’ saturation plug-in, however, this has a history and pedigree worth exploring.
From the winds that blow through the freezing Romanian Carpathian Mountains to the sounds of the searing heat of Ethiopia’s deserts, Romanian sound recordist George Vlad has taken a childhood love of sound, and built an expansive career in location recording.
His constant companions on his far-ranging ventures around the world are his Sennheiser microphones and headphones.
Working on some of the most popular primetime entertainment shows on mainstream UK TV, Sound Supervisor Rob Ashard’s audio mixes are heard by millions of viewers around the country and worldwide on a weekly basis.
‘I joined London Weekend Television as an apprentice, working on the studio floor for about four years. I then graduated to Gram Op, as well as covering other jobs like OB Comms, before becoming a Sound Supervisor, and then going freelance.’
Following 18 months of R&D and three months of development, followed by extensive listening tests, Aston Microphones has released the details of its forthcoming Aston Element and the R&D behind it.
Using a series of public testing sessions, the company steered the performance of the mic using data collected from comparison tests with major marques. Aston calls the outcome The People’s Microphone.
In six years, James Altucher’s interview-based podcast has grown from a New York living-room experiment to a 40m download success. Past guests on The James Altucher Show include Tyra Banks, Mark Cuban, Peter Thiel, Tony Robbins, Tim Ferriss and William Shatner.
The show’s engineer, Jay Yow, recently made Solid State Logic’s SSL 2 audio interface a central part of the production – to great effect.