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Behringer teases ARP 2600 clone

Following Korg’s announcement of their re-release of the famed ARP 2600 synth (dubbed the ARP 2600 FS), Behringer has confirmed it will indeed be launching a 2600 clone of its own.

Unlike Korg’s version, Behringer’s clone will be rack-mounted with colored, dimmable LEDs. It will also contain both the original machine’s 4012 ladder filter, as well as the 4072 filter included in later versions of the 2600.

Pricing and release date are TBA. Back to the future indeed!

from EMusician www.emusician.com/gear/behringer-teases-arp-2600-clone
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Behringer teases ARP 2600 clone

Following Korg’s announcement of their re-release of the famed ARP 2600 synth (dubbed the ARP 2600 FS), Behringer has confirmed it will indeed be launching a 2600 clone of its own.

Unlike Korg’s version, Behringer’s clone will be rack-mounted with colored, dimmable LEDs. It will also contain both the original machine’s 4012 ladder filter, as well as the 4072 filter included in later versions of the 2600.

Pricing and release date are TBA. Back to the future indeed!

from EMusician www.emusician.com/gear/behringer-teases-arp-2600-clone
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QSC K Series Inducted into the NAMM TECnology Hall of Fame

QSC K Series Loudspeakers Inducted into the NAMM TEC Hall of Fame at NAMM 2020.
(L to R) George Petersen, NAMM TEC Hall of Fame Ceremony Host; Ray van Straten, QSC Sr. Director Global Marketing, QSC Live Sound; Joe Pham, QSC President and CEO; Gerry Tschetter, QSC Vice President, Professional Product Development; Pat Quilter, QSC Founder; David Scheirman, NAMM TEC Hall of Fame Ceremony Host.

COSTA MESA, CA (January 22, 2020) — QSC is proud to announce that K Series active loudspeakers have been inducted into the TECnology Hall of Fame at the 2020 Winter NAMM Show in Anaheim, California. Founded in 2004 by former Mix magazine editor George Petersen, the TECnology Hall of Fame honors and recognizes audio products that have made a significant contribution to the advancement of recording, live sound, and audio technology. To be eligible for consideration, products must have been on the market for at least ten years.

Launched in 2009, the QSC K Series sported a best-in-class 1,000 watts of extremely clean amplification in an ABS enclosure that combined a 1.75-inch compression tweeter with either an 8-, 10-, or 12-inch woofer. A dual-12-inch KSub active subwoofer completed the line. The K Series remarkably delivered both studio-quality sound as well as powerful and even coverage at a then unheard-of light physical weight. Along with its other groundbreaking features such as Directivity Matched Transition (DMT), Intrinsic Correction Tilt-Direct pole cup and versatile DSP Presets, K Series made its mark as having raised the bar for what performers and live sound professionals should expect from an active loudspeaker. More recently, the company released the QSC K.2 Series, further demonstrating the company’s commitment to maintaining its dominance in the category.

“At the launch of K Series, QSC was already at the forefront of audio technology, widely accepted and appreciated as a manufacturer of high-quality, high-performance amplifiers and processors,” says Ray Van Straten, Senior Director of Global Marketing, QSC Live Sound. “But it was the K Series that not only put us on the map as a loudspeaker manufacturer, but truly established QSC as a global leader. The fact that NAMM and the TECnology Hall of Fame are validating that legacy is incredibly gratifying to the many talented people and teams at QSC who brought this product to market, as well as our channel partners and customers worldwide who, to this day, place their trust in us to provide quality, professional solutions that deliver great experiences.”

“Every innovation invited into the TECnology Hall of Fame has made a major contribution to how sound is created and reproduced — even years after its debut,” says George Petersen.

About the TECnology Hall of Fame

Founded in 2004 by George Petersen and presented since 2015 by the NAMM Museum of Making Music, the TECnology Hall of Fame honors and recognizes audio products and innovations that have made a significant contribution to the advancement of audio technology. Inductees to the TECnology Hall of Fame are selected by a panel of more than 50 recognized audio experts, including authors, educators, engineers, and other professionals.

About QSC

Founded over five decades ago, QSC is globally-recognized leader in the design, engineering and manufacture of award-winning high-performance loudspeakers, digital mixers, power amplifiers, audio processors, digital cinema solutions, and the Q-SYS™ software-based audio, video and control platform. Offering reliable, scalable and flexible solutions for professional installed, portable, production, corporate and cinema applications, QSC puts customers first with its highly-acclaimed sales, service, and support networks worldwide.

www.qsc.com

#playoutloud

#qscmoments

from EMusician www.emusician.com/thewire/qscnammtechofkseries2020
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Feb. 1 CRAS Open House Open to Potential Students & Their Families

Three CRAS Graduates Will Also Be On Hand for the Feb. 1 Open House, as Well as Participate in an Open Panel Forum Jan. 31 for Current CRAS Students

Gilbert, Ariz., Jan. 22, 2020 – The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), a leading institution for audio engineering education, will be opening the doors to its Gilbert, Ariz. campus (1205 N. Fiesta Blvd.) to prospective students, parents, and the media on Saturday, Feb. 1 from 10am – 4pm. Three CRAS graduates will be on hand for the Open House, and will also be part of an Open Panel Forum held for current CRAS students the evening of Jan. 31.

“There are a host of opportunities for our students once they graduate, and we want to give them an idea of what’s out there first hand for them once they enter the open market,” said Kirt Hamm, CRAS administrator. “Besides our mandatory internship program, getting our students in touch with our graduates who either are working for others, or who have made the leap into self employment, is huge. That’s what this grad panel is about in our upcoming Open House. Continued education, networking, and learning what it takes for going out on one’s own by those who have done it already is of enormous value for any student.”

Hamm added that CRAS also wants prospective students and their parents to discover everything there is to know about a CRAS education, and with hard work and dedication just how successful they can be.

Members of the February Open House Grad Panel include:

· Skyla Rose Wuebber; 2014 CRAS graduate; currently works as a full-time Audio Engineer at AV Concepts (AVC) in Tempe, Ariz. As an audio engineer at AVC, she travels the world helping design cutting-edge technology and audio solutions to support corporate events for companies such as Google, Oracle, and VidCon. Wuebber has designed and mixed many large-scale PA systems for arena-sized audiences. She has worked with many renowned artists, such as Fall Out Boy, Charlie XCX, Alice Cooper, Rebelution, Iration, and Snoop Dog, as well as corporate leaders such as Bill Clinton, Jimmy Carter, Joe Biden, Al Gore, and many more.

Nicholai Crees

· Nicholai Crees; 2018 CRAS graduate; currently working as a Design Engineer in the Media and Entertainment department for Diversified. Crees works on designing and maintaining broadcast systems for a wide array of clients. Prior to this, he was a Maintenance and Studio Support Engineer with ABC Disney. He has worked with companies such as Prinerica, the VA, Gulfstream, Dimensional Fund Advisors, and Auburn University. He has also worked on the shows Good Morning America, World News Tonight, and Around the Horn.

· Bryan Hosack; 2015 CRAS graduate; currently an Audio Fleet Supervisor for Carnival Cruise Lines (CCL). He started his job with CCL in 2016 as an A1 Audio Technician in charge of mixing up to 12 IEM mixes as well as FOH for main lounge production shows. He was also in charge of mixing a variety of music acts as well as maintenance of all audio systems on board. His current position as supervisor is traveling the fleet of 26 vessels to ensure company standards are being met for the audio department, which entails conducting trainings and coaching audio technicians on board, advanced trouble shooting of equipment issues, and follow up visits for dry dock and contracted audio work.

At the February Open House, guests will be able to interact with CRAS faculty and get a taste of the curriculum and the state-or-the-art audio gear spread throughout its numerous classrooms as well as its 42-foot Mobile Broadcast Unit. They will also be able to participate in live demonstrations in many of these real world audio recording studios, live sound venue, and labs.

The Conservatory of Recording Arts & Sciences is composed of two nearby campuses in Gilbert and Tempe, Ariz. A CRAS education includes Broadcast Audio, Live Sound, Audio Post for Film and TV, Music Production, Commercial Production and Video Game Audio, all taught by award-winning instructors who have excelled in their individual fields. CRAS’ structured programs, and highly qualified teaching staff, provide a professional and supportive atmosphere, which is complemented by its small class sizes allowing for individual instruction and assistance for students in engineering audio recordings. CRAS has been providing quality vocational training in Audio Recording for more than three decades. The curriculum and equipment are constantly being updated to keep pace with the rapid advancements in the music and sound recording industries. CRAS’ course offerings and subject matter have always centered around the skills and knowledge necessary for students’ success in the Audio Recording industries.

The 11-month program is designed to allow every student access to learn and train in all of the Conservatory’s studios which are comprised with state-of-the-art audio recording and mixing gear, the same equipment used in today’s finest studios and remote broadcast facilities, including Pro Tools 12, API Legacy consoles, SSL G+ and AWS consoles, Studer Vista consoles, and much more. All students must complete a 280-hour industry internship to graduate from the Master Recording Program II that may ultimately lead to industry employment.

“We want everyone to see, hear, and feel how our 11-month program focuses exclusively on what a student needs to know to begin living their passion in any one of the many facets of the Recording Arts,” Hamm concluded.

For more information on the Conservatory of Recording Arts & Sciences, please visit www.cras.edu, contact Kirt Hamm, administrator, at 1-800-562-6383, or email to info@cras.edu.

About The Conservatory of Recording Arts & Sciences

Based in the heart of The Valley of the Sun with two campuses in Gilbert and Tempe, Ariz., The Conservatory of Recording Arts & Sciences (CRAS) is one of the country’s premier institutions for audio education. The Conservatory has developed a unique and highly effective way to help the future audio professional launch their careers in the recording industry and other related professional audio categories.

-30-

from EMusician www.emusician.com/thewire/feb-1-cras-open-house-open-to-potential-students-their-families
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Martin Audio MLA Solves Off Site Noise Problems at Dusk Music Festival

Martin Audio MLA Compact was deployed by Soundwave Inc. for the Dusk Music Festival in Tucson, Arizona’s Armory Park to prevent off site noise.

Soundwave Inc. recently supplied a Martin Audio MLA Compact system for the Dusk Music Festival in Tucson, Arizona’s Armory Park.

The two-day festival featured a variety of EDM, R&B and Indie Alternative Pop and Rock artists including Kaskade, Rezz, Two Door Cinema Club, Arizona, Cray, Fitz and The Tantrums, Goldroom, Malaa, Tokimonsta, Wax Motif, What So Not and more.

Asked about challenges for the event, Soundwave’s Mark Pacheco mentions that because the festival site is located in downtown Tucson, offsite noise abatement was a particular concern. “Armory Park is surrounded by businesses and residential neighborhoods and the PA for the main stage faces straight into the downtown area with commercial buildings like hotels and office buildings.

“In fact,” Mark adds, “offsite noise abatement was such a big deal that some of the neighbors started a coalition to stop the event this year and were on the local news complaining about it. The promoter, Page Repp, a successful architect who’s been doing the festival for four years with a large EDM promotion company out of Phoenix named Relentless Beats, finally got the coalition to agree to the event under certain conditions which were all about controlling the sound levels and offsite noise.

“Bottom line, we literally couldn’t have done the gig without MLA. The system included 12 MLA Compact a side for a throw of over 300 ft. covering the audience area while staying within compliance with the city’s requirements. We wanted to clock in between 100 to 105dB at FOH a hundred feet away from the stage but keep it to 70dB or less beyond the site.”

Festival promoter Repp provides more specifics about how his team and Martin Audio engineers dealt with the offsite noise: “Using local engineers and the team from Martin Audio, we plotted out how to best control the sound ahead of time, and Mark worked with Martin Audio’s Joe Lima to dial it in specifically during the show. We had a lot of pressure on us because if we didn’t get it right, we wouldn’t be able to come back.

“To make sure we stayed within the city’s noise parameters,” Page explains, “we had a team of five people do onsite and offsite acoustic monitoring in real time so if they turned it up at FOH, we’d know exactly what the result would be one, two or three blocks away beyond the festival site. We never violated the normal sound ordinance at our prescribed locations. Our goal was 70dB or less at the closest site and we ended up averaging about 66dB and were below that for most of the time. We had low 60s a couple of streets away and low 50s beyond that. In every single instance, ambient traffic noise would peak louder than the festival.

“The MLA system’s ability to reduce the levels very specifically using the Hard Avoid® feature was a big help. We could experience the effect walking around the audience area and when we’d get to the back of the crowd, the sound would die down dramatically after that point. We were able to set up Hard Avoid on the sides with residential neighborhoods which definitely allowed us to control that effectively as well while there was no diminishment at all for the 6000 audience members in front of the stage.

“Finally, I love the way the MLA sounds,” says Page. “I’ve never heard any system that sounds as good as it does. It’s amazing, especially for live bands––crisp, clean and responsive.”

Echoing Page’s sentiments, Mark sums up with his feelings about the system’s audio performance: “In terms of the sound quality, Martin Audio has a certain tonality that’s worked for me over the years with all kinds of music. MLA sounded fantastic on site and the coverage was smooth and uniform front to back and side to side. In fact, the FOH engineer for one of the main acts, Two Door Cinema Club, thought the system was the best-sounding street festival PA he’s ever used for the band.”

Photos: Please credit Luis Colato

For more about Martin Audio, please click to: www.martin-audio.com

from EMusician www.emusician.com/thewire/martin-audio-mla-solves-off-site-noise-problems-at-dusk-music-festival
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The Bassline You’ve Been Waiting For: Erica Synths Introduces DB-01

Riga, Latvia, January 20, 2020 — Erica Synths announces its new DB-01 desktop synthesizer, just in time for NAMM 2020. From basslines and rave sounds, to massive drones and drums, the Erica Synths Bassline DB-01 synthesizer lets you explore new territories of sound and performance techniques. With the DB-01, you can go from a melody to noise and back in no time at all.

The DB-01, which is priced at €460, features Erica Synths’ signature analog sound engine, along with an advanced sequencer for more expressive creativity and sound exploration. The new synthesizer extends Erica Synths’ family of desktop units such as Acidbox, Fusion Box, Pico System III and Zen Delay and is packed with features to help inspire your sonic journey:

Features

  • Aggressive LP/BP filter design from the Acidbox
  • One knob overdrive for even more destructive sound
  • Transistor based suboscillator
  • Independent amplitude, filter cutoff and pitch envelopes
  • BBD based detune for massive swarm sound
  • Syncable LFO with multiple waveforms for FM and VCF modulation
  • Noise source
  • Intuitive, easy to use sequencer for up to 64 step patterns
  • Sequence transposing
  • Pattern randomization
  • Arpeggiator
  • Modulation track with VCF cutoff automation
  • Built in and user defined scales with microtonal possibilities
  • Analog clock in and out
  • CV/Gate output/input
  • MIDI IN and THRU – play it with a keyboard!
  • 4 banks of 16 patterns memory
  • Compact, durable aluminium enclosure

The DB-01 will be available in Spring 2020 and priced at €460. For more information, please visit the Erica Synths product page.

ABOUT ERICA SYNTHS

Erica Synths team of visionaries, engineers and musicians have been working hard to bring you modules and instruments that will set your modular system apart from mass in terms of how it sounds, looks and functions.

from EMusician www.emusician.com/thewire/erica-db01
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The Bassline You’ve Been Waiting For: Erica Synths Introduces DB-01

Riga, Latvia, January 20, 2020 — Erica Synths announces its new DB-01 desktop synthesizer, just in time for NAMM 2020. From basslines and rave sounds, to massive drones and drums, the Erica Synths Bassline DB-01 synthesizer lets you explore new territories of sound and performance techniques. With the DB-01, you can go from a melody to noise and back in no time at all.

The DB-01, which is priced at €460, features Erica Synths’ signature analog sound engine, along with an advanced sequencer for more expressive creativity and sound exploration. The new synthesizer extends Erica Synths’ family of desktop units such as Acidbox, Fusion Box, Pico System III and Zen Delay and is packed with features to help inspire your sonic journey:

Features

  • Aggressive LP/BP filter design from the Acidbox
  • One knob overdrive for even more destructive sound
  • Transistor based suboscillator
  • Independent amplitude, filter cutoff and pitch envelopes
  • BBD based detune for massive swarm sound
  • Syncable LFO with multiple waveforms for FM and VCF modulation
  • Noise source
  • Intuitive, easy to use sequencer for up to 64 step patterns
  • Sequence transposing
  • Pattern randomization
  • Arpeggiator
  • Modulation track with VCF cutoff automation
  • Built in and user defined scales with microtonal possibilities
  • Analog clock in and out
  • CV/Gate output/input
  • MIDI IN and THRU – play it with a keyboard!
  • 4 banks of 16 patterns memory
  • Compact, durable aluminium enclosure

The DB-01 will be available in Spring 2020 and priced at €460. For more information, please visit the Erica Synths product page.

ABOUT ERICA SYNTHS

Erica Synths team of visionaries, engineers and musicians have been working hard to bring you modules and instruments that will set your modular system apart from mass in terms of how it sounds, looks and functions.

from EMusician www.emusician.com/thewire/erica-db01
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SonoTone Introduces Fusion Series Premium Electric Guitar & Bass Strings

Anaheim, California, January 18, 2020 — SonoTone, the Massachusetts-based manufacturer of boutique, premium guitar strings, has debuted its Fusion series of electric guitar and bass strings, offering serious musicians, hobbyist players and vintage guitar collectors the opportunity to outfit their new, used or vintage instruments with strings formulated to stretch the tonal potential of any guitar.

Now the string of choice for professional guitar players like Camilo Velandia, in addition to a growing legion of professional and amateur musicians, vintage instrument collectors and tone aficionados, SonoTone Fusion series strings will project a sound that is more flexible and harmonically vibrant — with a punchy, responsive attack to give players enhanced expressiveness and articulation.

In addition to improving a guitar’s overall sound, players will feel the difference as soon as SonoTone Fusion series strings have settled in to the guitar. Made with the highest-quality materials available, SonoTone premium strings combine a higher percentage of iron and nickel, as well as a custom wrap, strengthening the strings’ magnetic properties while providing plenty of warmth. Whether players use SonoTone Fusion series strings for country, rock, jazz, blues, fusion or all of the above, SonoTone strings remain pliable and vibrant for the entire duration each string-set’s lifespan.

Now available directly from www.sono-tone.com in the U.S. and in select European countries through Fulfillment by Amazon, as well as in Japan through the manufacturer’s distribution partner, SonoTone Fusion series acoustic guitar strings are available in three gauge sets (9-42, 10-46, 10-52, 11-48) for $18.99 each; Fusion series standard 4-string bass guitar strings (45-105) are available for $69.99 each.

Fusion series offers enhanced comfort and playability

The SonoTone Fusion series represents the culmination of over three years of experimentation with various materials and manufacturing techniques by SonoTone founder P.K. Pandey. Having spent more than 25 years on a quest for impeccable tone, both as a studio recording engineer and A/V systems design/build engineer, Pandey’s journey eventually led him to reconsider the fundamental medium and point-of-contact between the player and the guitar, the material source of the instrument’s “voice” — the taut, vibrating metal wires fastened to the bridge on one end and to the headstock on the other — i.e., the guitar strings.

Starting from this fundamental level, Pandey tested different metals, amalgams, and manufacturing processes until he eventually found the hard-won formula, known only to him, which at last recreated the vintage tone and feel of the guitars he remembered playing as a kid.

Unlike many contemporary, machine-made strings produced in bulk quantities outside the U.S. at mass-market, commodity prices, SonoTone Fusion strings use only the highest-quality materials available, with additional measures taken throughout the manufacturing process to optimize string behavior, playability, tuning stability and longevity — without using any coatings, so that only the pure elements that make up the string-wire ring out, unencumbered, through the entire body of the guitar.

To find out how SonoTone Fusion series strings will enhance the sound of your own new, used or vintage instrument, please visit www.sono-tone.com for more information.

from EMusician www.emusician.com/thewire/sonotone-fusion
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SonoTone Introduces Fusion Series Premium Electric Guitar & Bass Strings

Anaheim, California, January 18, 2020 — SonoTone, the Massachusetts-based manufacturer of boutique, premium guitar strings, has debuted its Fusion series of electric guitar and bass strings, offering serious musicians, hobbyist players and vintage guitar collectors the opportunity to outfit their new, used or vintage instruments with strings formulated to stretch the tonal potential of any guitar.

Now the string of choice for professional guitar players like Camilo Velandia, in addition to a growing legion of professional and amateur musicians, vintage instrument collectors and tone aficionados, SonoTone Fusion series strings will project a sound that is more flexible and harmonically vibrant — with a punchy, responsive attack to give players enhanced expressiveness and articulation.

In addition to improving a guitar’s overall sound, players will feel the difference as soon as SonoTone Fusion series strings have settled in to the guitar. Made with the highest-quality materials available, SonoTone premium strings combine a higher percentage of iron and nickel, as well as a custom wrap, strengthening the strings’ magnetic properties while providing plenty of warmth. Whether players use SonoTone Fusion series strings for country, rock, jazz, blues, fusion or all of the above, SonoTone strings remain pliable and vibrant for the entire duration each string-set’s lifespan.

Now available directly from www.sono-tone.com in the U.S. and in select European countries through Fulfillment by Amazon, as well as in Japan through the manufacturer’s distribution partner, SonoTone Fusion series acoustic guitar strings are available in three gauge sets (9-42, 10-46, 10-52, 11-48) for $18.99 each; Fusion series standard 4-string bass guitar strings (45-105) are available for $69.99 each.

Fusion series offers enhanced comfort and playability

The SonoTone Fusion series represents the culmination of over three years of experimentation with various materials and manufacturing techniques by SonoTone founder P.K. Pandey. Having spent more than 25 years on a quest for impeccable tone, both as a studio recording engineer and A/V systems design/build engineer, Pandey’s journey eventually led him to reconsider the fundamental medium and point-of-contact between the player and the guitar, the material source of the instrument’s “voice” — the taut, vibrating metal wires fastened to the bridge on one end and to the headstock on the other — i.e., the guitar strings.

Starting from this fundamental level, Pandey tested different metals, amalgams, and manufacturing processes until he eventually found the hard-won formula, known only to him, which at last recreated the vintage tone and feel of the guitars he remembered playing as a kid.

Unlike many contemporary, machine-made strings produced in bulk quantities outside the U.S. at mass-market, commodity prices, SonoTone Fusion strings use only the highest-quality materials available, with additional measures taken throughout the manufacturing process to optimize string behavior, playability, tuning stability and longevity — without using any coatings, so that only the pure elements that make up the string-wire ring out, unencumbered, through the entire body of the guitar.

To find out how SonoTone Fusion series strings will enhance the sound of your own new, used or vintage instrument, please visit www.sono-tone.com for more information.

from EMusician www.emusician.com/thewire/sonotone-fusion
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NAMM 2020 Synth Roundup

Our friends at MusicRadar checked-out the latest synths from Korg, Sequential, Moog and Nord at NAMM 2020. Read their roundup HERE.

from EMusician www.emusician.com/gear/namm-2020-synth-roundup
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