-”I’m thrilled with mine,” quotes multi-platinum GRAMMY®-winning engineer/producer, Ed Seay who has recently tracked and mixed albums for Lee Brice, Mark Jordan, Blake Shelton, Diane Schuur and John Prine to name a few —
Nashville, TN: Journeyman recording engineer and four year Carl Tatz Design PhantomFocusTM System (PFS) veteran, Ed Seay is revered as Nashville’s “engineer’s engineer” having mentored many up-and-coming young engineers during the course of his three decade professional career including Rascal Flatt’s engineer, Sean Neff and L.A. mega mixer, Dave Pensado.
Ed recently re-implemented his PFS at Cool Tools Audio in the Loud Recording complex on Nashville’s venerable Music Row after moving from the old Warner Brothers studio. Both rooms had their unique acoustic anomalies to tame – the former with too much low end ringing and the latter with over trapping and weak bass. The PhantomFocus System provided it’s signature frequency response curve in both instances, rendering the PFS performance that over sixty Nashville studios have come to trust and rely on. “I heard some of Carl’s systems and knew that that’s what I wanted to be listening to,” recalls Seay.
The PhantomFocus System will be successful in any room with any brand of monitors. In Ed’s case, his monitor/amp selection of choice was a Dynaudio M1/Bryston 4B complement after experiencing that combination at Rascal Flatts’ Jay DeMarcus’ Studio, The Grip.
About the PhantomFocus™ System
Carl Tatz Design’s proprietary PhantomFocus™ System monitor tuning protocol offers clients a unique opportunity to have a truly world-class monitoring experience in their room, no matter how modest they may perceive it to be. The PhantomFocus System allows their monitors of choice to perform accurately at a full 20Hz-to-20KHz frequency response with pinpoint imaging in an almost holographic sweet spot — this enables their mixes to travel anywhere with a new level of sonic accuracy.
There are approximately fifty steps in the proprietary PhantomFocus System implementation protocol, some of which may include phase and laser alignment, damping, isolation mounts, careful assessment of engineer/speaker placement relative to their room’s primary axial modes, proprietary speaker distance and angle and digital prossesing crossover points for pass filtering, and finally parametric equalization.
Hardware can include monitor stands, concrete, sorbothane and other isolation materials, custom floating plenum mounts, subwoofer system and digital prossessor. The evaluation and implementation is a full two-day process and can be applied to near-fields, mid-fields, and large soffit mounted monitors, regardless of manufacturer.
Carl Tatz Design installs the PhantomFocus System in existing control rooms and in all studios that are designed and built from the ground up by CTD. The result is like the aural equivalent of HD TV. Once you experience a PhantomFocus System, you can’t go back.
For more information about the PhantomFocus Monitor System, please contact Carl Tatz Design, 6666 Brookmont Terrace, Suite #1109, Nashville, TN 37205 Office: 615.354.6242, Direct: 615.400.5479 Email: carl@carltatzdesign.com Web: www.carltatzdesign.com
August 2nd, 2011: Voxengo is pleased to announce the release of BMS version 2.0 bass management system plugin for professional surround sound applications, available in AudioUnit and VST plugin formats, for Mac OS X (v.10.4.11 and later) and Windows (32-bit and 64-bit) computers.
BMS is able to extract and manipulate low-frequency content of non-LFE channels in up to 7.1 surround configurations.
The main purpose of BMS is to simplify evaluation of low-frequency content present in non-LFE channels during mastering. At the same time, it is possible to mix extracted low-frequency content to the LFE (?Low Frequency Effects?) channel. An option to remove the extracted signal from non-LFE channels is also available.
In BMS you can specify a desired frequency of the crossover filter, and adjust its steepness.
The following features were added to BMS since version 1:
- The “Mute LFE Highs” switch added
- The “Bypass” management mode added
- Crossovers are minimum-phase now
- Maximal crossover steepness is -72 dB/oct now
- Zero processing latency
- Multi-platform support
- Undo/redo
- Preset manager
- User interface coloration
- User interface re-scaling
- Plug-in instance naming
- Bypass switch
Voxengo BMS end-user license is available for purchase on-line for USD 49.95 (note that if you order in August, 2011 you will receive 10% discount). Upgrading from the previous version costs USD 19.95 if the previous version was purchased earlier than 90 days from now; otherwise the upgrade is free during this grace period.
Video editors are getting their Final Cut Pro X software in June 2011. This may be speculation, but I would not be surprised if the next version of Logic Studio would be called Logic Pro X, especially when right now we are still going with version number 9.
Logic Pro X, what features would it have? I would like to see Soundtrack Pro and Waveburner software to be inbuilt in Logic Pro X. I expect to see All-In-One-software, which conveniently combines composing, mixing, film sound processing, and also CD-mastering. I would like to see a stable program which allows user to concentrate on work trusting that the software works exactly as you wish it to work. I would be happy to see, for example, instability of Waveburner software to be history.
And about the price: If anyone would predict anything from pricing of the Final Cut Pro X software, hardly Logic Pro X just can be much more, the price is probably around $ 300. Competitors would be at that stage quite out on a limb.
AES Booth #1018 SAN FRANCISCO, 2010-11-04
Company delivers unprecedented creative freedom by redefining world’s most popular DAW with new software-only toolset and broad third-party hardware integration
Avid® (NASDAQ: AVID) today announced Pro Tools® version 9—a groundbreaking evolution of the industry’s most popular music creation and audio production solution. Leveraging a next-generation architecture, version 9 of Pro Tools offers customers the unprecedented choice to work with Avid audio interfaces, third-party audio interfaces, or no hardware at all when using the built-in audio capabilities of a Mac or PC. This first-ever software-only option for Pro Tools delivers customers the most open, flexible and feature rich version in history, while also providing top professional features customers have requested. Also, new support for the Avid EUCON™ open Ethernet protocol now enables customers to expand control surface options to include Avid’s Artist Series and Pro Series audio consoles and controllers (formerly known as Euphonix® consoles and controllers). Continue reading
The long and eagerly awaited RME Babyface, a new ultra-mobile USB 22-channel audio interface, is now available. Equipped with the latest 192 kHz AD- and DA-converters and two reference class microphone preamps the bus-powered Babyface delivers two high end analog recording channels and four analog playback channels, plus ADAT and MIDI I/O in an attractively shaped enclosure.
The Babyface combines excellent analog circuit design with AD/DA converter chips of the latest generation. RME’s efficient SteadyClock jitter suppression technology ensures an AD- and DA-conversion of the highest reference quality. Continue reading
The trick to create the best rap beats is by learning from others but carving your own niche. These days, there is flood of new music in the market but more often than not – they are quite predictable and often somewhat copied from the ‘inspiration’ taken! The best thing would be to be inspired but inspired to create your own foot-tapping beat. Technology has made life easier for us and easier still for rappers who are trying to take this up as a career! Using technology you can make the coolest rap beats; specific softwares are available for the same. Continue reading
Brainworx bx_XL is a very interesting mastering limiter. Unlike its most competitors, it works with M / S principle. This gives a totally new perspective to the limiting compared to the normal stereo. Except that the signal can be divided using M / S principle, the mid signal can be further divided into in two frequency bands and the crossover frequency can be freely adjusted.
How well does the Brainworx bx_XL mastering limiter work in practice? I did a quick comparison with one of its competitors. When you drive signal really hard to the limiter, of course in some point you will hear audible side-effects. Put to the extreme, Brainworx bx_XL sounds warm but the sound just doesn’t breathe anymore. But still, this limiter plug-in takes considerable amount of signal in before disturbing side effects start to grow obtrusive.
There is a little thing to complain, too. Despite of the fact that the user interface is looking cool, I think it could be lighter or the colors could be adjustable. Well, this feature doesn’t affect the sound quality and I guess some users may like it just how it is.
Overall, the greatest benefit of this plug-in is its large various controls over the signal yet being just a limiter. The argument that you can get a lot more sound levels out of it compared to its competitors, however, is not true. You can get much the same, but there is no significant advantage in terms of loudness. Anyway, Brainworx bx_XL is a very good limiter and I would consider buying it.
Pros:
- Offers much control over the signal being just a limiter
Cons:
- The darkness of the user interface
Verdict: 4 / 5
iZotope Releases RX 2: Complete Audio Repair Suite Offers introductory pricing on professional tools to repair, restore and enhance audio for music, broadcast, video and more
Cambridge, MA (September 29, 2010) – iZotope, Inc., a leader in audio DSP processing, has released RX 2 and RX 2 Advanced, updates to their award-winning audio repair software suites. With a range of new features and functionality, iZotope has expanded the scope of RX into any field where audio is recorded or restored by both consumers and professionals. Additionally, iZotope is offering introductory pricing on RX 2 and RX 2 Advanced purchases and upgrades throughout October 31, 2010. Continue reading
The new flagship of RME´s audio interfaces – the Fireface UFX – starts shipping.
The high-end audio interface provides 60 channels of audio, digitally controlled high-end preamps, reference class converters and supports full 192 kHz operation.
The new RME ADI-6432R BNC starts shipping.
The ADI-6432R BNC provides 64 channels of format conversion from MADI to AES-3id* and vice versa.
Based on RME’s highly successful MADI-AES/AES-MADI converter ADI-6432, the newly developed ADI-6432R BNC offers broadcasters ease of integration and fail-safe operation through the utilization of industry standard BNC connectors and dual redundant power supplies, while offering 64 channels of I/O capability. The BNC version targets broadcast and professional users who require AES-3id connections – coaxial 75 Ohm cables with up to 300m length.
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