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CRAS Grad’s Resume Written in Platinum & Gold

Katz’ only goal as an engineer was to receive one Platinum Album in his lifetime. He achieved that in less than three years after graduating CRAS.

Case Study – April 6, 2020

Early on in his childhood, Robert Katz realized he had a love for music. He just never realized it was ingrained in his DNA. And now, he gratefully thanks his parents and grandparents for the Platinum and Gold records on his resume.

Robert Katz

The son of a serviceman, Katz was born on Clark Air Force Base in the Philippines in 1988. When his father’s service ended later that year, the family moved to Orlando, Fla. where they stayed for the next nine years. His grandparents were only a couple hours away, so the immediate family unit was close, and he points to his grandparent’s old out-of-tune upright piano as the starting point for his love for music and, ultimately, his career.

The family moved to Las Vegas, Nev. in 1997, where Katz began paying even closer attention to music. “Growing up, my first love was playing baseball,” Katz said. “Music had been slowly taking over that passion for years, so I finally made the pivotal decision to quit baseball, and strictly focus on music and, specifically, music production.”

He explained that his father was the kind of guy that would buy all of the latest home stereo equipment and spend hours tweaking it to sound as good as possible. “I guess I inherited the sonic-tweakhead mentality from my dad,” he joked.

Katz also then became more aware of just how musically inclined many in his family were. “My mom played piano and sang and my dad played guitar and saxophone,” he reminisced. “So, anytime I showed any interest in music, my parents were extremely helpful and supportive. I found out later in life that my great uncle was a drummer, my grandfather on my dad’s side played guitar, and my grandfather on my mom’s side played trumpet. You could say that music kind of ran in the family.”

The aforementioned out-of-tune piano in his grandparent’s house was just the beginning. “At age four I’d pull out the ‘piano for beginners’ books and spend hours trying to learn what notes were, how to read music on the most basic level, and I’d get excited every time that I was able to play a phrase correctly. My love for music continued by singing in a couple school talent shows in elementary school, and I found myself playing any instrument that I could get my hands on. I eventually learned to read music with ease. My dad gave me my first electric guitar for my 11th birthday. I took lessons, started writing my own songs, and played in bands.”

Between the love of both gear and music, Katz’ progression to make a career in the engineering side of the business was beginning to take shape.

“When I was 16, my band wanted to record a demo,” he said. “We went to a local kid’s home studio, and that’s what sparked my interest in recording. After that experience, I bought my first DAW, Cakewalk Home Studio 2 XL. I had no idea what I was doing, but it was exciting. After three years of learning and experimenting on my own, I decided that I wanted to pursue music production as a career.”

Katz had expressed this interest in attending a recording school to his friends. One of them had a friend who had attended The Conservatory of Recording Arts & Sciences (CRAS), and who was then working at a studio in Los Angeles. After doing a little research, it seemed like the perfect place for Katz.

“Living in Las Vegas, I had my eye on The Studio at the Palms located at The Palms Hotel and Resort after I discovered that one of the albums I had was recorded there,” he explained. “I looked up the studio’s equipment and realized that if ever wanted to work there, I would need to know how to use large format consoles and tape machines. It didn’t take a lot of research to realize that CRAS was the best place for hands on learning. The school’s emphasis put on analog recording in the curriculum was exactly what I needed if I wanted to work in a world class studio. After learning that CRAS taught exactly what I needed to learn, had the equipment I needed to learn on, wasn’t too long of a program, was relatively inexpensive, as well as provided internship placement assistance…it was a no-brainer.

So, Katz applied to CRAS and was accepted.

CRAS, Katz said, is as close to a perfect learning environment as possible. “The teachers are experienced engineers that not only know, but actually use what they’re teaching us. Prioritizing knowledge and concepts in the curriculum is perfectly tailored toward an actual understanding of real-world audio workflow…from the most basic concepts to the most advanced techniques. CRAS expands upon your current knowledge while providing extra courses and certification programs to keep you learning and engaged throughout the program. The ability to have hours and hours of hands-on experience, run real sessions and, most importantly, make mistakes and learn from them, sets CRAS apart from any other program out there. Adding the required internship with placement-assistance guarantees an all-encompassing experience only available when you attend CRAS.”

Kratz graduated CRAS in April 2008 after interning The Mix Room in Burbank, Calif. He then set his sights back on The Studio at The Palms.

“I called The Studio at the Palms immediately following my internship,” Katz explained. “I spoke directly with Zoe Thrall, the director. She was in the process of hiring a new production assistant and I ended up getting the job along with another CRAS graduate. I lucked out because nobody had been hired there for a year and a half prior, and nobody was hired for year and a half after I started. I know that being a CRAS graduate gave me the edge I needed to get the position over the other applicants. I landed my dream job at The Studio at the Palms, and that’s where I stayed for more than 11 years working my way up to engineer.”

At the beginning of 2020, Katz ventured out on his own, crediting the experiences and opportunities acquired through being one of the head engineers at such a prestigious studio.

Katz’ only goal as an engineer was to receive one Platinum Album in his lifetime. He achieved that in less than three years after graduating CRAS.

And now, Katz’ resume is one any engineer would love to boast, including working on 4x Platinum single with Ellie Goulding for Burn, 2x Platinum album with Rihanna’s Loud, Platinum single with Britney Spears’ Make Me, Platinum album with Zayn’s Mind of Mine, Gold Album with Jason Derulo’s Future History, Gold Album with Madonna’s MDNA, 2x Platinum Album with Imagine Dragons’ Night Visions, Platinum Single with Imagine Dragons’s It’s Time, Platinum Album with both Ellie Goulding’s Delirium and Halcyon, and has worked with many more top artists.

What advice does he have for CRAS students? Listen!

“CRAS gives you every tool you need to enter the world of audio,” he said. “Once you leave CRAS, you will be among people who have been working in the industry for decades. Look at these people as your next level of education. They know how to survive in one of the most competitive, ever-evolving industries in the world. Every person that you meet will have a unique experience and outlook that you can learn from. Never be too arrogant to learn from those around you. Remember, learning what you don’t like about someone’s workflow or approach is equally as beneficial as learning what you do like. The entire field of audio is based on your ability to listen.”

Not everyone wants to be in the music business. Some want to be in video games, post for movies and television, broadcast, live events, etc. Whatever the case may be, Katz concluded, “If you set goals, work hard, and sprinkle in a little luck here and there, you’re going to have a long career.”

# # #

About The Conservatory of Recording Arts & Sciences

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, film and TV audio, music, and video game audio, all taught by award-winning instructors who have all excelled in their individual fields, including sound reinforcement, audio recording and production, digital recording, troubleshooting/maintenance, and music business.

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 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.

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.

-30-

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Danley Sound Labs Responds to the COVID-19 Crisis – Let’s Stay Connected

GAINESVILLE, GEORGIA: Danley Sound Labs, designer and manufacturer of unconventional loudspeakers and subwoofers, announces to its partners, friends, and clients that it has taken appropriate measures to work within the parameters of the new normal created by the onset of the COVID-19 virus.

At Danley, our priority has always been to create and supply the most unique loudspeakers coupled with dedicated and honest customer support and service,” said Jeff Pulliam, general manager at Danley Sound Labs. “We have now implemented measures to ensure the health and welfare of all our employees. However, as Danley builds its products in low-density production facilities in Georgia and North Carolina, we have the capability of providing many of our products during this unprecedented time. Our OS, GO2 and Nano lines are readily available. Wooden products will take a little longer. As many members of our team, including our engineers are working from home, there may be little delay in returning messages. Email is a sure bet, as everyone at Danley remains connected at home and at the production facilities. Like everyone, we are dearly looking forward to returning to normal!”

To call during this time, please contact Jeff Pulliam at (877) 419-5805

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

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Danley Sound Labs Responds to the COVID-19 Crisis – Let’s Stay Connected

GAINESVILLE, GEORGIA: Danley Sound Labs, designer and manufacturer of unconventional loudspeakers and subwoofers, announces to its partners, friends, and clients that it has taken appropriate measures to work within the parameters of the new normal created by the onset of the COVID-19 virus.

At Danley, our priority has always been to create and supply the most unique loudspeakers coupled with dedicated and honest customer support and service,” said Jeff Pulliam, general manager at Danley Sound Labs. “We have now implemented measures to ensure the health and welfare of all our employees. However, as Danley builds its products in low-density production facilities in Georgia and North Carolina, we have the capability of providing many of our products during this unprecedented time. Our OS, GO2 and Nano lines are readily available. Wooden products will take a little longer. As many members of our team, including our engineers are working from home, there may be little delay in returning messages. Email is a sure bet, as everyone at Danley remains connected at home and at the production facilities. Like everyone, we are dearly looking forward to returning to normal!”

To call during this time, please contact Jeff Pulliam at (877) 419-5805

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

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Danley Sound Labs Responds to the COVID-19 Crisis – Let’s Stay Connected

GAINESVILLE, GEORGIA: Danley Sound Labs, designer and manufacturer of unconventional loudspeakers and subwoofers, announces to its partners, friends, and clients that it has taken appropriate measures to work within the parameters of the new normal created by the onset of the COVID-19 virus.

At Danley, our priority has always been to create and supply the most unique loudspeakers coupled with dedicated and honest customer support and service,” said Jeff Pulliam, general manager at Danley Sound Labs. “We have now implemented measures to ensure the health and welfare of all our employees. However, as Danley builds its products in low-density production facilities in Georgia and North Carolina, we have the capability of providing many of our products during this unprecedented time. Our OS, GO2 and Nano lines are readily available. Wooden products will take a little longer. As many members of our team, including our engineers are working from home, there may be little delay in returning messages. Email is a sure bet, as everyone at Danley remains connected at home and at the production facilities. Like everyone, we are dearly looking forward to returning to normal!”

To call during this time, please contact Jeff Pulliam at (877) 419-5805

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

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St. Mark’s School of Texas Switches Over to Danley Sound Labs Campus-Wide: Football Stadium, Basketball Gym, Weight Room, and Locker Room

DALLAS, TEXAS: With roots stretching back to 1906, St. Mark’s School of Texas is a prestigious boys day school in Dallas. In addition to rigorous and diverse academics that prepare students for influential careers, St. Mark’s is well-known for its athletics. The St. Mark’s Lions compete in the Southwest Preparatory Conference, and nearly nine out of every ten students participate in at least one varsity sport. Impressed by the fidelity and impact of a Danley Sound Labs demo, school officials asked the integration experts at Dallas’ Romeo Music to design and install Danley systems at the football field, the basketball gym, the weight room, and the locker room. When an EF-3 tornado destroyed the recently-completed systems in the gym and locker room, Romeo Music and Danley Sound Labs “moved heaven and earth” to rebuild the sound reinforcement system in an alternative gymnasium in time for the start of the basketball season.

“It was about a year ago that we first provided a series of Danley demos at St. Mark’s football field,” explained Kevin Deal, manager of integrated systems and accounts at Romeo Music. “Their existing system had broken components and an overall ‘honky’ sound, and they were working hard to find a loudspeaker manufacturer to install not just at the football field, but throughout campus. We’ve had success with Danley in the past. Danley boxes offer excellent sound quality and plenty of output. Importantly, the total cost of a Danley system is significantly less than anything comparable from other manufacturers.”

The Lions play football and track at Hunt Stadium, which seats approximately five-hundred people. It has a large home bleacher section with a building immediately behind it. The smaller visitors’ side is topped by the press box, and additional field space extends beyond the visitors’ side. The Romeo Music installation crew placed five Danley OS80 fully-weatherized loudspeakers in an exploded line on the side of the building behind the home bleachers. Four of the OS80s angle slightly down to cover the home bleachers, and the fifth fires across to cover the field itself and the visitors’ side. A beefy Danley BC412 subwoofer placed atop the building behind the home side bleachers fills out the low end to deliver a rich, full-frequency experience.

Two Danley OS12CX fully-weatherized loudspeakers on delays above the press box cover the additional field space, and two more OS12CXs had covered the concession area until it was destroyed by the tornado (those speakers were recovered and will be reinstalled when the concession area is rebuilt). St. Mark’s staff operate the system from a Mackie 1604 on the visitors’ side press box. The mixer feeds a Xilica QR1 DSP which sends signal to the main speakers on the home side via a Dante run using fiber under the field. One Danley DNA 10k4 Pro and one Danley DNA 5k4c provide a combined eight channels and 15,000 Watts of amplification, onboard DSP (with Danley model-specific presets), and optional Dante connectivity.

“David Dini, the Headmaster at St. Mark’s School of Texas, is very particular about what he has on campus,” Deal said. “The Hunt Stadium project was a huge success, and so we went forward with Danley designs in the Hicks Athletic Center for basketball and volleyball, the Mullen Fitness Center weight room, and the locker room. Once he was familiar with Danley’s sound, he wanted it everywhere.” The gym used six Danley SM60F loudspeakers and one Danley TH118XL subwoofer powered by an eight-channel Danley DNA 10k8 Pro amplifier. The weight room uses three Danley Go2 8CX loudspeakers and one Danley TH112 subwoofer powered by a QSC amplifier. The locker room used two Danley Cube loudspeakers and one Danley THmini subwoofer powered by a QSC amplifier.

Toward the end of October and just 72 hours after completing those systems, an EF-3 tornado ripped through Dallas and destroyed the concession stand and the Hicks Athletic Center, among other things. Fortunately, no one was injured. With the start of basketball season just weeks away, the school decided to shift varsity activities to Spencer Gymnasium, which had previously been used for the middle school and didn’t have a sound system at all. “There was only a three-week window,” Deal said. “I contacted Danley and explained the situation. The team at Danley and my installation crew delivered and installed a basically-identical system in Spencer Gymnasium. We finished commissioning with ten minutes to spare before the first basketball practice!”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

from EMusician www.emusician.com/thewire/st-marks-school-of-texas-switches-over-to-danley-sound-labs-campus-wide-football-stadium-basketball-gym-weight-room-and-locker-room
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St. Mark’s School of Texas Switches Over to Danley Sound Labs Campus-Wide: Football Stadium, Basketball Gym, Weight Room, and Locker Room

DALLAS, TEXAS: With roots stretching back to 1906, St. Mark’s School of Texas is a prestigious boys day school in Dallas. In addition to rigorous and diverse academics that prepare students for influential careers, St. Mark’s is well-known for its athletics. The St. Mark’s Lions compete in the Southwest Preparatory Conference, and nearly nine out of every ten students participate in at least one varsity sport. Impressed by the fidelity and impact of a Danley Sound Labs demo, school officials asked the integration experts at Dallas’ Romeo Music to design and install Danley systems at the football field, the basketball gym, the weight room, and the locker room. When an EF-3 tornado destroyed the recently-completed systems in the gym and locker room, Romeo Music and Danley Sound Labs “moved heaven and earth” to rebuild the sound reinforcement system in an alternative gymnasium in time for the start of the basketball season.

“It was about a year ago that we first provided a series of Danley demos at St. Mark’s football field,” explained Kevin Deal, manager of integrated systems and accounts at Romeo Music. “Their existing system had broken components and an overall ‘honky’ sound, and they were working hard to find a loudspeaker manufacturer to install not just at the football field, but throughout campus. We’ve had success with Danley in the past. Danley boxes offer excellent sound quality and plenty of output. Importantly, the total cost of a Danley system is significantly less than anything comparable from other manufacturers.”

The Lions play football and track at Hunt Stadium, which seats approximately five-hundred people. It has a large home bleacher section with a building immediately behind it. The smaller visitors’ side is topped by the press box, and additional field space extends beyond the visitors’ side. The Romeo Music installation crew placed five Danley OS80 fully-weatherized loudspeakers in an exploded line on the side of the building behind the home bleachers. Four of the OS80s angle slightly down to cover the home bleachers, and the fifth fires across to cover the field itself and the visitors’ side. A beefy Danley BC412 subwoofer placed atop the building behind the home side bleachers fills out the low end to deliver a rich, full-frequency experience.

Two Danley OS12CX fully-weatherized loudspeakers on delays above the press box cover the additional field space, and two more OS12CXs had covered the concession area until it was destroyed by the tornado (those speakers were recovered and will be reinstalled when the concession area is rebuilt). St. Mark’s staff operate the system from a Mackie 1604 on the visitors’ side press box. The mixer feeds a Xilica QR1 DSP which sends signal to the main speakers on the home side via a Dante run using fiber under the field. One Danley DNA 10k4 Pro and one Danley DNA 5k4c provide a combined eight channels and 15,000 Watts of amplification, onboard DSP (with Danley model-specific presets), and optional Dante connectivity.

“David Dini, the Headmaster at St. Mark’s School of Texas, is very particular about what he has on campus,” Deal said. “The Hunt Stadium project was a huge success, and so we went forward with Danley designs in the Hicks Athletic Center for basketball and volleyball, the Mullen Fitness Center weight room, and the locker room. Once he was familiar with Danley’s sound, he wanted it everywhere.” The gym used six Danley SM60F loudspeakers and one Danley TH118XL subwoofer powered by an eight-channel Danley DNA 10k8 Pro amplifier. The weight room uses three Danley Go2 8CX loudspeakers and one Danley TH112 subwoofer powered by a QSC amplifier. The locker room used two Danley Cube loudspeakers and one Danley THmini subwoofer powered by a QSC amplifier.

Toward the end of October and just 72 hours after completing those systems, an EF-3 tornado ripped through Dallas and destroyed the concession stand and the Hicks Athletic Center, among other things. Fortunately, no one was injured. With the start of basketball season just weeks away, the school decided to shift varsity activities to Spencer Gymnasium, which had previously been used for the middle school and didn’t have a sound system at all. “There was only a three-week window,” Deal said. “I contacted Danley and explained the situation. The team at Danley and my installation crew delivered and installed a basically-identical system in Spencer Gymnasium. We finished commissioning with ten minutes to spare before the first basketball practice!”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

from EMusician www.emusician.com/thewire/st-marks-school-of-texas-switches-over-to-danley-sound-labs-campus-wide-football-stadium-basketball-gym-weight-room-and-locker-room
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For Less Than Half of What Other Companies Were Bidding, Emmaus Media & Design Installs Immensely Successful Danley Jericho Horn Sound Reinforcement System at Christian Life Assembly

CAMP HILL, PENNSYLVANIA: Christian Life Assembly is a thriving church in Camp Hill, Pennsylvania. Its pie wedge-shaped sanctuary seats approximately 2,000, a capacity that is met many times over during the staging of its regionally-famous Christmas pageant. However, the church struggled to deliver high-impact services and feedback-free performances. Its thirty-eight-box distributed loudspeaker system couldn’t deliver the goods. Local AVL integration firm Emmaus Media & Design came up with a plan to replace those 38 loudspeakers with just five Danley boxes, including two Danley J2-96 Jericho Horns, as well as new Danley systems in the youth and the kids’ rooms – all for less than half of what other firms bid for the sanctuary system alone.

“Danley’s well-designed point-source loudspeakers can do the work of numerous line array elements, which makes a Danley system way less expensive than a comparable conventional system,” explained Tim James, owner of Emmaus Media & Design. “On top of that, Danley’s phase coherence and fidelity make their boxes sound better than conventional designs. The pattern control is amazing. In short, Danley boxes cost way less, sound way better, and give me all the pattern control I need, so why mess with anything else?”

James served as the technical director at Christian Life Assembly for six years and thus knew the frustrations caused by the old system. “The thirty-eight loudspeakers fired straight down from the ceiling in three concentric delay rings and were original to the now-fifteen-year-old sanctuary,” he said. “The comb filtering was terrible. You were effectively hearing multiple speakers no matter where you sat. When the church was doing more choir and orchestral support, it was passable as true reinforcement, but as they asked more of it in support of more contemporary music, its worst qualities came out. The sound was indistinct and distant.”

Christian Life Assembly had been considering an upgrade for years and were finally pushed to do so as more and more of the existing system’s components failed. When the other companies that bid couldn’t come close to James’ quote, he set about designing the system he had always wished for when he was the technical director. The main sanctuary has a stereo pair of beefy Danley J2-96 Jericho Horns, each powered by its own 20,000-Watt Danley DNA 20k4 Pro amplifier with integrated DSP and model presets. A pair of Danley SH60’s provide mezzanine fill, and a single Danley BC415 subwoofer flown in the center of the room gets underneath the already low response of the Jericho Horns. Ashly DSP provides the front-end conditioning and Powersoft amplifiers power the fills and subwoofer.

That’s not the only place that Danley figures into the overhaul at Christian Life Assembly. Four Danley SM100M loudspeakers serve as monitors, giving the performers on stage the same high-quality sound that the congregants now enjoy. The youth room benefits from big-impact Danley loudspeakers: two Danley SM96s and two Danley SM60F combined with a repurposed subwoofer. Even the kids’ room – the church’s original sanctuary – has four Danley SM100 loudspeakers.

Where the old system required six tall racks of amplifiers and their own dedicated, climate-controlled room, the new Danley system only requires a single rack. James was able to move that rack closer to the catwalk, minimizing cable runs. In fact, the Emmaus Media & Design crew removed over 3,000 feet of loudspeaker wire that was no longer needed. The church has reclaimed the old amp room and is renovating it to serve as a greenscreen video production studio.

“When we first fired up the new Danley system in the sanctuary, I had to verify that the nearfields that we used to use at the mix position weren’t actually on – it sounded that present!” James said. “We were able to do away with the balcony fills and the under-balcony fills, and things sound way better in both of those locations. This was no small improvement. Everyone is thrilled. Christian Life Assembly sells over 19,000 tickets to their Christmas Pageant, and in the past, it was all the engineer could do keep the twenty open mics from feeding back. This year, he was happy to report that he was able to focus on making the mix sound good, which was all the easier with the new Danley fidelity.”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

from EMusician www.emusician.com/thewire/for-less-than-half-of-what-other-companies-were-bidding-emmaus-media-design-installs-immensely-successful-danley-jericho-horn-sound-reinforcement-system-at-christian-life-assembly
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ADDAC System Announces 106 T-NOISEWORKS Eurorack Module

Lisbon, Portugal, March 31, 2020 — ADDAC System announces the last synthesizer module in its T-Networks series, 106 T-NOISEWORKS. The new Eurorack module, which will be available in mid-April for a price of €160, features a straightforward 4-voice module with frequency and decay controls for each voice. In addition to these voices ADDAC System has included an additional noise source in the design, and created two different circuits that explore the timbre of a T-Network when used to filter noise.

With two different circuits in this module, voices (1) to (3) have a pre-VCA T-Network filter, while on voice (4) the T-Networks filter is applied post-VCA. Further, at each voice input stage, there is a switch that controls which type of input to use. Since this signal is used to control an internal VCA, the type of defined setting is important:

  • Trigger: Any incoming CV will be converted into a 1ms trigger as soon as it crosses its fixed threshold.
  • Mute: This disconnects the incoming signal, effectively muting the voice.
  • Envelopes: This can be used with CV sources as well as gate sources, and simply follows the input signal.

This incoming signal will then be processed by a slew circuit which adds a decay factor — allowing the user to set the “Tail” of each voice. The Trigger mode is mostly dedicated for percussive sounds, while the Envelope mode is open to any external envelope control and able to control noise swooshes, swirls, crackles and pops simply out of T-Networks filtered noise. Audio inputs are also welcomed to be used as a Trigger/Envelope input. In fact the sonic results of using this method can be very surprising!

Timbre selector

The first (3) voices feature a Timbre selector switch. In Snare mode all frequencies coming from the T-Networks filter pass thru to the output. In Hat mode, it adds a high pass circuit which removes the mid/bottom frequencies (characteristic of the snare strike) creating a higher spectrum output that is sonically closer to a Hat timbre. All of these (3) voices are also differently tuned from each other to offer more sonic options. Voice (4) meantime is closer to a typical T-Networks circuit, but this time a peculiar one where the noise is gated by the VCA and then sent through the T-Networks filter.

Features: (4) Voices, each with:

  • Frequency control , decay control , timbre type (voices 1 to 3)
  • Frequency range switch, Low/Mod/High (Voice 4) Input
  • Audio Output
  • Also and overall Summing Mix output with Volume control and (2) different output types (Normal/Dirt)
  • Tech Specs: 4HP 4cm deep 40mA +12V 40mA -12V

The 106 T NOISEWORKS module will also be available as a full DIY kit. For more information, please visit the ADDAC System website.

About ADDAC System

ADDAC System develops advanced instruments for sonic expression. The company started back in 2009 with an ambition to explore the potential crossover between analog synthesizers and computers. Because its first creations sparked a lot of attention, ADDAC decided to work hard and put them in customers’ hands. Today our product line is focused on a new breed of hybrid synths, that make use of the best of both the digital and analog worlds. We’ve grown to be able to reach thousands of enthusiastic clients, friends and collaborators. Always looking into conceptualizing and developing the most exquisite instruments, we hope you’re able to join and share this passion with us. Our solutions can be found in many personal studio throughout the world, owned by musicians in several planes of stardom. We especially appreciate seeing them being used in a very wide range of musical genres.

from EMusician www.emusician.com/thewire/addac-106
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ADDAC System Announces 106 T-NOISEWORKS Eurorack Module

Lisbon, Portugal, March 31, 2020 — ADDAC System announces the last synthesizer module in its T-Networks series, 106 T-NOISEWORKS. The new Eurorack module, which will be available in mid-April for a price of €160, features a straightforward 4-voice module with frequency and decay controls for each voice. In addition to these voices ADDAC System has included an additional noise source in the design, and created two different circuits that explore the timbre of a T-Network when used to filter noise.

With two different circuits in this module, voices (1) to (3) have a pre-VCA T-Network filter, while on voice (4) the T-Networks filter is applied post-VCA. Further, at each voice input stage, there is a switch that controls which type of input to use. Since this signal is used to control an internal VCA, the type of defined setting is important:

  • Trigger: Any incoming CV will be converted into a 1ms trigger as soon as it crosses its fixed threshold.
  • Mute: This disconnects the incoming signal, effectively muting the voice.
  • Envelopes: This can be used with CV sources as well as gate sources, and simply follows the input signal.

This incoming signal will then be processed by a slew circuit which adds a decay factor — allowing the user to set the “Tail” of each voice. The Trigger mode is mostly dedicated for percussive sounds, while the Envelope mode is open to any external envelope control and able to control noise swooshes, swirls, crackles and pops simply out of T-Networks filtered noise. Audio inputs are also welcomed to be used as a Trigger/Envelope input. In fact the sonic results of using this method can be very surprising!

Timbre selector

The first (3) voices feature a Timbre selector switch. In Snare mode all frequencies coming from the T-Networks filter pass thru to the output. In Hat mode, it adds a high pass circuit which removes the mid/bottom frequencies (characteristic of the snare strike) creating a higher spectrum output that is sonically closer to a Hat timbre. All of these (3) voices are also differently tuned from each other to offer more sonic options. Voice (4) meantime is closer to a typical T-Networks circuit, but this time a peculiar one where the noise is gated by the VCA and then sent through the T-Networks filter.

Features: (4) Voices, each with:

  • Frequency control , decay control , timbre type (voices 1 to 3)
  • Frequency range switch, Low/Mod/High (Voice 4) Input
  • Audio Output
  • Also and overall Summing Mix output with Volume control and (2) different output types (Normal/Dirt)
  • Tech Specs: 4HP 4cm deep 40mA +12V 40mA -12V

The 106 T NOISEWORKS module will also be available as a full DIY kit. For more information, please visit the ADDAC System website.

About ADDAC System

ADDAC System develops advanced instruments for sonic expression. The company started back in 2009 with an ambition to explore the potential crossover between analog synthesizers and computers. Because its first creations sparked a lot of attention, ADDAC decided to work hard and put them in customers’ hands. Today our product line is focused on a new breed of hybrid synths, that make use of the best of both the digital and analog worlds. We’ve grown to be able to reach thousands of enthusiastic clients, friends and collaborators. Always looking into conceptualizing and developing the most exquisite instruments, we hope you’re able to join and share this passion with us. Our solutions can be found in many personal studio throughout the world, owned by musicians in several planes of stardom. We especially appreciate seeing them being used in a very wide range of musical genres.

from EMusician www.emusician.com/thewire/addac-106
via IFTTT

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ADDAC System Announces 106 T-NOISEWORKS Eurorack Module

Lisbon, Portugal, March 31, 2020 — ADDAC System announces the last synthesizer module in its T-Networks series, 106 T-NOISEWORKS. The new Eurorack module, which will be available in mid-April for a price of €160, features a straightforward 4-voice module with frequency and decay controls for each voice. In addition to these voices ADDAC System has included an additional noise source in the design, and created two different circuits that explore the timbre of a T-Network when used to filter noise.

With two different circuits in this module, voices (1) to (3) have a pre-VCA T-Network filter, while on voice (4) the T-Networks filter is applied post-VCA. Further, at each voice input stage, there is a switch that controls which type of input to use. Since this signal is used to control an internal VCA, the type of defined setting is important:

  • Trigger: Any incoming CV will be converted into a 1ms trigger as soon as it crosses its fixed threshold.
  • Mute: This disconnects the incoming signal, effectively muting the voice.
  • Envelopes: This can be used with CV sources as well as gate sources, and simply follows the input signal.

This incoming signal will then be processed by a slew circuit which adds a decay factor — allowing the user to set the “Tail” of each voice. The Trigger mode is mostly dedicated for percussive sounds, while the Envelope mode is open to any external envelope control and able to control noise swooshes, swirls, crackles and pops simply out of T-Networks filtered noise. Audio inputs are also welcomed to be used as a Trigger/Envelope input. In fact the sonic results of using this method can be very surprising!

Timbre selector

The first (3) voices feature a Timbre selector switch. In Snare mode all frequencies coming from the T-Networks filter pass thru to the output. In Hat mode, it adds a high pass circuit which removes the mid/bottom frequencies (characteristic of the snare strike) creating a higher spectrum output that is sonically closer to a Hat timbre. All of these (3) voices are also differently tuned from each other to offer more sonic options. Voice (4) meantime is closer to a typical T-Networks circuit, but this time a peculiar one where the noise is gated by the VCA and then sent through the T-Networks filter.

Features: (4) Voices, each with:

  • Frequency control , decay control , timbre type (voices 1 to 3)
  • Frequency range switch, Low/Mod/High (Voice 4) Input
  • Audio Output
  • Also and overall Summing Mix output with Volume control and (2) different output types (Normal/Dirt)
  • Tech Specs: 4HP 4cm deep 40mA +12V 40mA -12V

The 106 T NOISEWORKS module will also be available as a full DIY kit. For more information, please visit the ADDAC System website.

About ADDAC System

ADDAC System develops advanced instruments for sonic expression. The company started back in 2009 with an ambition to explore the potential crossover between analog synthesizers and computers. Because its first creations sparked a lot of attention, ADDAC decided to work hard and put them in customers’ hands. Today our product line is focused on a new breed of hybrid synths, that make use of the best of both the digital and analog worlds. We’ve grown to be able to reach thousands of enthusiastic clients, friends and collaborators. Always looking into conceptualizing and developing the most exquisite instruments, we hope you’re able to join and share this passion with us. Our solutions can be found in many personal studio throughout the world, owned by musicians in several planes of stardom. We especially appreciate seeing them being used in a very wide range of musical genres.

from EMusician www.emusician.com/thewire/addac-106
via IFTTT