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Carter Burwell Breezes into New WSDG Studio

Long Island, NY (January 21, 2020)—Having worked out of a WSDG-designed studio in Tribeca since 1999, film composer Carter Burwell returned to the architectural, acoustic and engineering design team to commission a new studio in an ultra-modern home he was remodeling on a bluff overlooking the Atlantic Ocean near Montauk Point on Long Island, NY.

Engaging WSDG while his home renovation was still on the drawing boards provided Burwell with many advantages. Founding partner John Storyk, partner, COO and project manager Joshua Morris and the design team made acoustic and ergonomic recommendations early in the process that maximized the efficiency of the new addition to the house and enhanced the studio’s recording and listening quality.

A Half-Century of Innovations: John Storyk Looks Back at 50 Years of Studio Design

Working with an open floor plan, WSDG prescribed a 600-sq.-ft. studio in a separate wing attached to the second floor of Burwell’s 4,420-sq.-ft. home, which was being renovated by architect Maziar Behrooz. Acoustically isolated from the living/entertaining quarters, the studio is large enough to host visiting filmmakers, and small enough to make an inconspicuous footprint on the home.

“Carter was happy with the gear complement from his original Tribeca studio but opted for an Avid S6 32 fader console in his new room,” says Morris. “He stayed with Genelec for the surround monitoring system, 8351A mains and 8300 surrounds. His composing keyboard can alternate positions between the ocean-facing console — and a 65in. flat screen that flips down from its motorized ceiling mount — to a second location in the rear of the room with an equally commanding view. Motorized sheer and blackout shades were installed to block sunlight for composing and mixing sessions.”

Burwell’s scoring credits range from Todd Haynes’ Carol and Martin McDonagh’s Three Billboards Outside Ebbing, Missouri (both Academy Award nominees) to Spike Jonze’s Being John Malkovich and all but one of the Coen Brothers’ films, including Fargo and The Big Lebowski.

“Carter Burwell has a penchant for clean, uncluttered workspaces,” Storyk remarks. “We learned that early on with his Tribeca studio. Outfitted with acoustic doors and windows and set apart from the living and entertaining areas, this new room should provide Carter with all the serenity and visual inspiration his creativity requires. And, when he feels the need to get back to nature, he can hit the deck for fresh ocean air and the spectacular view.”

WSDG – Walters-Storyk Design Group • www.wsdg.com

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Carter Burwell Breezes into New WSDG Studio

Long Island, NY (January 21, 2020)—Having worked out of a WSDG-designed studio in Tribeca since 1999, film composer Carter Burwell returned to the architectural, acoustic and engineering design team to commission a new studio in an ultra-modern home he was remodeling on a bluff overlooking the Atlantic Ocean near Montauk Point on Long Island, NY.

Engaging WSDG while his home renovation was still on the drawing boards provided Burwell with many advantages. Founding partner John Storyk, partner, COO and project manager Joshua Morris and the design team made acoustic and ergonomic recommendations early in the process that maximized the efficiency of the new addition to the house and enhanced the studio’s recording and listening quality.

A Half-Century of Innovations: John Storyk Looks Back at 50 Years of Studio Design

Working with an open floor plan, WSDG prescribed a 600-sq.-ft. studio in a separate wing attached to the second floor of Burwell’s 4,420-sq.-ft. home, which was being renovated by architect Maziar Behrooz. Acoustically isolated from the living/entertaining quarters, the studio is large enough to host visiting filmmakers, and small enough to make an inconspicuous footprint on the home.

“Carter was happy with the gear complement from his original Tribeca studio but opted for an Avid S6 32 fader console in his new room,” says Morris. “He stayed with Genelec for the surround monitoring system, 8351A mains and 8300 surrounds. His composing keyboard can alternate positions between the ocean-facing console — and a 65in. flat screen that flips down from its motorized ceiling mount — to a second location in the rear of the room with an equally commanding view. Motorized sheer and blackout shades were installed to block sunlight for composing and mixing sessions.”

Burwell’s scoring credits range from Todd Haynes’ Carol and Martin McDonagh’s Three Billboards Outside Ebbing, Missouri (both Academy Award nominees) to Spike Jonze’s Being John Malkovich and all but one of the Coen Brothers’ films, including Fargo and The Big Lebowski.

“Carter Burwell has a penchant for clean, uncluttered workspaces,” Storyk remarks. “We learned that early on with his Tribeca studio. Outfitted with acoustic doors and windows and set apart from the living and entertaining areas, this new room should provide Carter with all the serenity and visual inspiration his creativity requires. And, when he feels the need to get back to nature, he can hit the deck for fresh ocean air and the spectacular view.”

WSDG – Walters-Storyk Design Group • www.wsdg.com

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Gateway Mastering Adopts Sonoris Review Software

Damwald, Netherlands (January 21, 2020)—Gateway Mastering Studios in Portland, ME is using a customized and branded version of the Sonoris DDP Player, dubbed Gateway Player, to streamline its client review process.

“We strive to provide clients with masters that are both creatively and technically perfect, and Sonoris software helps us to back up that work with equally exceptional service,” said Adam Ayan, a Grammy Award-, five-time Latin Grammy Award- and TEC Award-winning mastering engineer who works at Gateway Mastering Studios.

Manley is the Gateway to Ayan’s Sound

“Serving as an extension of our in-studio services, Sonoris software helps us to make the master approval process simple and seamless for our clients. It also allows us to feel confident that when clients hit play, they’re experiencing audio in much the way they’d hear it if they came into the studio.”

The Gateway Player can import both DDP and disk image files generated by engineering working on the studio’s Pyramix digital audio workstation. When clients want only WAV files, the team at Gateway Mastering uses the Sonoris software to export WAV files that can then be sent for client review.

More often, Ayan and his colleagues send clients the small Gateway Player app along with installers and a disk image file. Installing the app on a Mac or PC allows clients to play back audio files, export WAV files and burn CDs. Because the software doesn’t require a license, clients can pass the player on to other reviewers at will.

“The Gateway Player has turned out to be a great solution for reviewing album projects,” added Ayan. “It allows us and our clients to hear the transitions between songs and to get a macro view of the project. The software offers a convenient way to get our arms around different ways of hearing it.”

Sonoris • www.sonorissoftware.com

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ITU Recommends ATSC 3.0

Washington, DC (January 21, 2020)—The International Telecommunications Union (ITU) has adopted the Advanced Television Systems Committee’s ATSC 3.0 as a recommended digital broadcast standard, paving the way for countries around the world to evaluate and use the IP-based digital broadcast standard, the first of its kind in the world.

Telos Alliance Bows New Products at AES and NAB New York

ATSC 3.0 is designed to deliver everything from 4K Ultra HD to robust mobile signals and also encompasses NGA or Next Generation Audio features, enabling new business models and giving consumers a better experience. Developed by hundreds of industry experts who sought to create a state-of-the-art broadcast system based on the same Internet Protocol language used by over-the-top services, ATSC 3.0 greatly expands flexibility and adaptability for broadcasters, allowing them to transmit data that will both enhance TV broadcasts and provide new revenue opportunities.

The next step is to update the ITU Digital Handbook with best practices for implementation of ATSC 3.0. ATSC members are poised to continue supporting international standards efforts, including through the new ATSC Planning Team 6 on Global Recognition of ATSC 3.0.

“ATSC appreciates the efforts of the U.S. Delegation to the ITU, led by the U.S. FCC, and we congratulate the ITU on its careful review and decision to include ATSC 3.0 as an official ITU standard.  The system is currently commercially deployed in South Korea where audiences have been enjoying high-quality Ultra HD video and next generation audio from ATSC 3.0 broadcasts since 2017. U.S. commercial deployment begins in earnest this year,” said Madeleine Noland, President of ATSC.

ATSC • www.atsc.org

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NAMM 2020 By the Numbers

Anaheim, CA (January 21, 2020)—Held this past weekend, the NAMM Show brought together pros from all corners of the pro audio and musical instrument industries for four days to discover new gear, examine hot trends, network and enjoy great music. With the statistics now out, it’s clear the show was a success.

In all, NAMM 2020 hosted more than 2,000 exhibiting member companies, representing 7,000 brands, across all areas of The NAMM Show campus. Of the 115,888 NAMM Members and invited registrants on hand, international members accounted for nearly 20% percent growth over two years.

Seen on the Scene: NAMM 2020 Media Day
Seen on the Scene: NAMM Show 2020, Day One
Seen on the Scene: NAMM Show 2020, Day Two
Seen on the Scene: NAMM Show 2020, Day Three

The Anaheim Convention Center North building, which hosted the vast majojrity of Pro Audio manufacturers present at NAMM, was packed throughout the event. Three years into the addition of the ACC North edifice to the show, convention-goers have gotten used to the new arrangement and actively seek out the venue and the companies presenting there.

“NAMM is a major show for Shure. Not only does it allow us to connect with the community and its musicians… it gives us the opportunity to introduce new products to distributors from around-the-world. Year-after-year, we leave reenergized and inspired,” said Abby Kaplan, vice president of Global Sales for Musician and Consumer Audio.

Rusty Waite, president of K-Array, said, “This is our third year, and as NAMM is more focused on pro audio and live sound companies, the [show attendees] are a good mix for business. [NAMM] is one of those shows where you have to be there.”

New-to-NAMM company Voyage Audio’s owner, Colin Ritchie, says that he chose to debut his company as “It’s a large trade show that puts our product and brand in front of the right audience. We’ve had many inquiries from overseas and hoped to meet with some of the folks we’ve been in contact with.”

There was more to NAMM 2020 than exhibitors, however, as educational opportunities abounded. More than 200 pro audio sessions engaged emerging and established professionals from all aspects of production and performance, presenting a myriad of opportunities to grow their careers in preparation for the future of all things sound.

At A3E: The Advanced Audio + Applications Exchange, 13 sessions, and 13 workshops explored how advanced audio applications are transforming the music industry, production, and performance. Future-focused sessions included “The Future of Game Audio: Music and Sound Design for Mobile Gaming,” where A3E explored the tools and techniques that are specific to mobile gaming and surveyed the landscape of opportunity for audio developers, musicians and sound designers; “The Future Indie Artist: New Technology for Independent Success,” which focused on emerging technology that every gigging musician must know to maximize their revenue, and more.

AES Academy at NAMM (formerly AES@NAMM) returned for its third year, with hands-on training, technical presentations, and career development from leading pro audio experts. In total, 11 Academy subject areas—Audio Education, Audio Career, Control Room, Electronic Dance Music (EDM), House of Worship, In-Ear Monitor, Line Array, Live Console, Microphone, Measurement and Optimization, and Wireless Academy—were presented by top thought-leaders, including Sylvia Massy, Leslie Ann Jones, Karrie Keyes, and Mark Frink, among others.

At the popular Main Stage: Studio, acclaimed producer, engineer, author, and technologist Bobby Owsinski returned to offer practical advice and insider tips for improving recordings and mixes, and at Main Stage: Live, AES Academy attendees had the opportunity to learn from industry-leading FOH mix engineers in an intimate, casual and extremely informative series of events.

Colleen Harper, executive director of AES, reflected on this year’s event: “The AES is uniquely positioned to provide authoritative audio training and education for NAMM attendees and our west coast membership, which is reflected in this year’s strongest-ever registration for Audio Engineering Society events during The NAMM Shows. The Society appreciates the resources and opportunities that NAMM made available for the AES Academy as we assembled leading audio experts to bring in-depth session content to our attendees, be they long-time AES members or our new members who now have access to AES resources for on-going professional growth.”

For audio pros seeking big-picture sessions with big names, TEC Tracks uncovered topics ranging from “Mastering in L.A.” to “Recording Vocals Outside of the Studio” with world-famous producer/engineers Ken Caillat, Joe Chicarelli and special guests as they discussed their favorite vocal mic chains in getting optimal sound in less than optimal settings. Other highlights include “Making Virtual Instruments Sound Real,” with award-winning producer/mixer/engineer Robert Venable (Twenty One Pilots, MuteMath, Kelly Clarkson); “Elise Trouw, Up-Close and Personal,” as interviewed by Steve Baltin, where she discussed the melding of live instrumentation and electronic music through looping, the ability to be a one-person show using technology and how this plays into being a touring artist;

Other sessions included “Birth of a Record Special Ed-ition: Remembering Ed Cherney.” Hosted by Mr. Bonzai, the session honored the highly-talented and skilled engineer and producer with stories behind his work from his many industry friends; training from Audinate, the maker of Dante, with three training courses spanning Thursday and Friday, designed for all levels of users of the popular media networking technology, and on Saturday, a special five session track for house of worship professionals was presented by TEC Tracks.

If you missed out, fear not—the industry reconvenes at Summer NAMM 2020, July 9-11, in Nashville, TN, and at The 2021 NAMM Show January 21-24 in Anaheim, California.

NAMM • www.namm.org

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MPSE Announces Golden Reel Winners

Hollywood, CA (January 21, 2020)—The Motion Picture Sound Editors named this year’s Golden Reel winners at its 67th MPSE Awards on Sunday, January 19, recognizing outstanding achievement in sound editing in 23 categories.

Academy Award-nominated producer Amy Pascal presented the 2020 MPSE Filmmaker Award to Marvel Studios executive vice president of production Victoria Alonso (with re-recording mixer Kevin O’Connell and supervising sound editor Steven Ticknor as honorary presenters). The 2020 MPSE Career Achievement Award was presented to Academy Award-winning supervising sound editor Cecelia “Cece” Hall by two-time Academy Award-winning supervising sound editor Stephen H. Flick.

MPSE Golden Reel Awards Nominees Announced

The opening address was given by MPSE president-elect Mark Lanza. “This is an exciting time for film, television and games,” he said. “Business models, formats, and distribution are all changing. Original scripted TV shows have set a record in 2019. There were 532 original shows this year. This number is expected to surge in 2020. Our editors and supervisors are paving the way and making our product and the user experience better every year.”

Presenters included Grammy Award-winning recording artist Melissa Manchester, actors Nadia Gray, Michael Nardelli and Valery Ortiz, directors Michael Angelo Covino and Janina Gavankar, Avid Technology CEO Jeff Rosica, game creative director Stig Asmussen, Cinema Audio Society (CAS) president Karol Urban, EIPMA president Bernard Weiser, Vaughn Film Festival co-founder and chair Antonio Ienco, Eleven Ninety One Entertainment creative director Alex Lappano, and Hollywood Reporter technical editor Carolyn Giardina.

This year’s Golden Reel winners are as follows:

 

Filmmaker Award

Victoria Alonso

 

Career Achievement Award

Cecelia “Cece” Hall

 

CATEGORY WINNERS

 

Outstanding Achievement in Sound Editing – Animation Short Form

3 Below “Tales of Arcadia”

Supervising Sound Editor: Otis Van Osten

Sound Designer: James Miller

Dialogue Editors: Jason Oliver, Carlos Sanches

Foley Artists: Aran Tanchum, Vincent Guisetti

Foley Editor: Tommy Sarioglou

 

Outstanding Achievement in Sound Editing – Non-Theatrical Animation Long Form

Lego DC Batman: Family Matters

Supervising Sound Editor: Rob McIntyre, D.J. Lynch

Sound Designer: Lawrence Reyes

Sound Effects Editors: Ezra Walker

ADR Editor: George Peters

Foley Editor: Aran Tanchum, Derek Swanson

Foley Artists:  Vincent Guisetti

 

Outstanding Achievement in Sound Editing – Feature Animation

Toy Story 4

Supervising Sound Editor: Coya Elliott

Sound Designer: Ren Klyce

Supervising Dialogue Editor: Cheryl Nardi

Sound Effects Editors: Kimberly Patrick, Qianbaihui Yang, Jonathon Stevens

Foley Editors: Thom Brennan, James Spencer

Foley Artists:  John Roesch, MPSE, Shelley Roden, MPSE

 

Outstanding Achievement in Sound Editing – Non-Theatrical Documentary

Serengeti

Supervising Sound Editor: Paul Cowgill

Foley Editor: Peter Davies

Music Editor: Alessandro Baldessari

Foley Artists: Paul Ackerman

 

Outstanding Achievement in Sound Editing – Feature Documentary

Echo in the Canyon

Sound Designer: Robby Stambler, MPSE

Dialogue Editor:  Sal Ojeda, MPSE

 

Outstanding Achievement in Sound Editing – Computer Cinematic

Call of Duty: Modern Warfare (2019)

Audio Director: Stephen Miller

Supervising Sound Editor: Dave Rowe

Supervising Sound Designer: Charles Deenen, MPSE Csaba Wagner

Supervising Music Editor:  Peter Scaturro

Lead Music Editor:  Ted Kocher

Principal Sound Designer: Stuart Provine

Sound Designers: Bryan Watkins, Mark Ganus, Eddie Pacheco, Darren Blondin

Dialogue Lead: Dave Natale

Dialogue Editors: Chrissy Arya, Michael Krystek

Sound Editors: Braden Parkes, Nick Martin, Tim Walston, MPSE, Brent Burge, Alex Ephraim, MPSE, Samuel Justice, MPSE

Music Editors: Anthony Caruso, Scott Bergstrom, Adam Kallibjian, Ernest Johnson, Tao-Ping Chen, James Zolyak, Sonia Coronado, Nick Mastroianni, Chris Rossetti

Foley Artists: Gary Hecker, MPSE, Rick Owens, MPSE

 

Outstanding Achievement in Sound Editing – Computer Interactive Game Play

Call of Duty: Modern Warfare (2019)

Audio Director: Stephen Miller

Senior Lead Sound Designer: Dave Rowe

Senior Lead Technical Sound Designer: Tim Stasica

Supervising Music Editor:  Peter Scaturro

Lead Music Editor:  Ted Kocher

Principal Sound Designer: Stuart Provine

Senior Sound Designers: Chris Egert, Doug Prior

Supervising Sound Designers: Charles Deenen, MPSE, Csaba Wagner

Sound Designers: Chris Staples, Eddie Pacheco, MPSE, Darren Blondin, Andy Bayless, Ian Mika, Corina Bello, John Drelick, Mark Ganus

Dialogue Leads: Dave Natale, Bryan Watkins, Adam Boyd, MPSE, Mark Loperfido

Sound Editors: Braden Parkes, Nick Martin, Brent Burge, Tim Walston, Alex Ephraim, Samuel Justice

Dialogue Editors: Michael Krystek, Chrissy Arya, Cesar Marenco

Music Editors: Anthony Caruso, Scott Bergstrom, Adam Kallibjian, Ernest Johnson, Tao-Ping

Foley Artists: Gary Hecker, MPSE, Rick Owens, MPSE

 

Outstanding Achievement in Sound Editing – Non-Theatrical Feature

Togo

Supervising Sound Editors: Odin Benitez, MPSE, Todd Toon, MPSE

Sound Designer: Martyn Zub, MPSE

Dialogue Editor: John C. Stuver, MPSE

Sound Effects Editors: Jason King, Adam Kopald, MPSE, Luke Gibleon, Christopher Bonis

ADR Editor: Dave McMoyler

Supervising Music Editor: Peter “Oso” Snell, MPSE

Foley Artists: Mike Horton, Tim McKeown

Supervising Foley Editor: Walter Spencer

 

Outstanding Achievement in Sound Editing – Special Venue

Vader Immortal: A Star Wars VR Series “Episode 1”

Supervising Sound Editors: Kevin Bolen, Paul Stoughton

Sound Designer: Andy Martin

Supervising ADR Editors: Gary Rydstrom, Steve Slanec

Dialogue Editors: Anthony DeFrancesco, Christopher Barnett, MPSE Benjamin A. Burtt, MPSE

Foley Artists: Shelley Roden, MPSE Jana Vance

 

Outstanding Achievement in Sound Editing – Foreign Language Feature

Parasite

Supervising Sound Editor: Choi Tae Young

Sound Designer: Kang Hye Young

Supervising ADR Editor: Kim Byung In

Sound Effects Editors: Kang Hye Young

Foley Artists: Park Sung Gyun, Lee Chung Gyu

Foley Editor: Shin I Na

 

Outstanding Achievement in Sound Editing – Live Action Under 35:00

Barry “ronny/lily”

Supervising Sound Editors:  Sean Heissinger, Matthew E. Taylor

Sound Designer:  Rickley W. Dumm, MPSE

Sound Effects Editor: Mark Allen

Dialogue Editors:  John Creed, Harrison Meyle

Music Editor:  Michael Brake

Foley Artists:  Alyson Dee Moore, Chris Moriana

Foley Editors:  John Sanacore, Clayton Weber

 

Outstanding Achievement in Sound Editing – Episodic Short Form – Music

Wu Tang: An American Saga “All In Together Now”

Music Editor: Shie Rozow

 

Outstanding Achievement in Sound Editing – Episodic Short Form – Dialogue/ADR

Modern Love “Take Me as I Am”

Supervising Sound Editor: Lewis Goldstein

Supervising ADR Editor: Gina Alfano, MPSE

Dialogue Editor:  Alfred DeGrand

 

Outstanding Achievement in Sound Editing – Episodic Short Form – Effects/Foley

The Mandalorian “Chapter One”

Supervising Sound Editors: David Acord, Matthew Wood

Sound Effects Editors: Bonnie Wild, Jon Borland, Chris Frazier, Pascal Garneau, Steve Slanec

Foley Editor: Richard Gould

Foley Artists: Ronni Brown, Jana Vance

 

Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award)

Heatwave

National Film and Television School

Supervising Sound Editor: Kevin Langhamer

 

Outstanding Achievement in Sound Editing – Single Presentation

El Camino: A Breaking Bad Movie

Supervising Sound Editors: Nick Forshager, Todd Toon, MPSE

Supervising ADR Editor: Kathryn Madsen

Sound Effects Editor: Luke Gibleon

Dialogue Editor: Jane Boegel

Foley Editor: Jeff Cranford

Supervising Music Editor: Blake Bunzel

Music Editor: Jason Tregoe Newman

Foley Artists: Gregg Barbanell, MPSE, Alex Ullrich

 

Outstanding Achievement in Sound Editing – Episodic Long Form – Music

Game of Thrones “The Long Night”

Music Editor: David Klotz

 

Outstanding Achievement in Sound Editing – Episodic Long Form – Dialogue/ADR

Chernobyl “Please Remain Calm”

Supervising Sound Editor: Stefan Henrix

Supervising ADR Editor:  Harry Barnes

Dialogue Editor: Michael Maroussas

 

Outstanding Achievement in Sound Editing – Episodic Long Form – Effects/Foley

Chernobyl “1:23:45”

Supervising Sound Editor: Stefan Henrix

Sound Designer: Joe Beal

Foley Editors: Philip Clements, Tom Stewart

Foley Artist:  Anna Wright

 

Outstanding Achievement in Sound Editing – Feature Motion Picture – Music Underscore

JoJo Rabbit

Music Editor: Paul Apelgren

 

Outstanding Achievement in Sound Editing – Feature Motion Picture – Musical

Rocketman

Music Editors: Andy Patterson, Cecile Tournesac

 

Outstanding Achievement in Sound Editing – Feature Motion Picture – Dialogue/ADR

1917

Supervising Sound Editor: Oliver Tarney, MPSE

Dialogue Editor: Rachael Tate, MPSE

 

Outstanding Achievement in Sound Editing – Effects / Foley

Ford v Ferrari

Supervising Sound Editor: Donald Sylvester

Sound Designers: Jay Wilkenson, David Giammarco

Sound Effects Editor: Eric Norris, MPSE

Foley Editor: Anna MacKenzie

Foley Artists: Dan O’Connell, John Cucci, MPSE, Andy Malcolm, Goro Koyama

 

MPSE • www.mpse.org

 

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CEO Joe Lamond Talks NAMM’s 2020 Vision, Part 2

PSNEurope editor Daniel Gumble caught up with NAMM president and CEO Joe Lamond just days before the show started to discuss his ambitions for 2020 and the opportunities that lie ahead….

 

Why are trade shows in general still so vital to the industry?

The music, sound and entertainment products industry operates in a complex adaptive system, which means a perfect understanding of the individual parts does not convey an understanding of the whole system. Each industry player in the system observes the other players and makes decisions to improve their chances based on those observations. Which companies have increased or decreased their exhibits, what are the main themes in educational sessions, which new products generate the most excitement, and which major headlines, announcements and awards are making waves? From these clues, each industry participant will draw up strategies towards their own personal definition of the “end zone.” No one knows what 2020 and beyond will look like, but I do know that the clues will be found when the global industry gathers at the NAMM Show. The amount of educational content (seminars, conferences, etc.) has increased year after year.

 

What do you have in store on that front for 2020?

With over 300 educational sessions scheduled from TEC Tracks, AES Academy at NAMM, A3E and Audinate’s Dante training, I would be hard-pressed to pick just a few to note. But I suspect that members seeking to expand their competitive advantage and to learn from expert presenters through the carefully curated sessions will find the opportunity to do so at the NAMM Show. The key is planning ahead and scheduling the sessions you really want to see and then building the rest of your itinerary from there.

 

How big a factor is this type of content in the show’s overall appeal to visitors?

Both exhibitors and attendees alike are putting much more value on this than in years past. The educational alliances with other like-minded organizations like A3E, AES, and ESTA share in a vision to create more music makers and a desire to serve our respective industry and its members – especially when it comes to our mutual desire to continue to support the professional development of members. At NAMM, we believe that the three key ingredients of a successful NAMM show include a robust trade show floor with the latest innovative products, relevant and high value education and the socializing and networking that happens at all the concerts, parties and meet-ups across the various hotel lobby bars that remind us all of our shared passion for music and our true purpose as we dedicate our lives to this great industry.

 

As we enter the 2020s, what have been some of the key moments for NAMM over the past 10 years, and what are your predictions for the years ahead?

As Pete Townshend once sang in ‘Music Must Change,’ ‘Deep in the back of my mind is an unrealized sound, every feeling I get from the street says it soon could be found.’ The keyword there being change. We tend to think that just because things have been the way they are for a while, that they will always be that way. That is just about the time when everything changes and the new comes in. Will the next decade look like the last? I doubt it, and besides, who would really want that anyway?

 

What are the biggest opportunities for NAMM in the current market?

Fulfill our vision of a world where every child has a right to learn music and where every adult is a defender of that right. Oh, and world peace…

 

What are the biggest challenges?

I’m a drummer, so I like to think of things in terms of rhythm. The ideal world seems logical to me in a comfortable 4/4 beat or possibly a nice ¾ waltz. The world today is something right out of a King Crimson nightmare or possibly Frank Zappa’s ‘The Black Page.’ Keeping NAMM the stable and reliable partner for our member companies and the global industry through all of this is Job Number One. Although NAMM came into being in 1901 (think of how much has changed since then), I feel like we’re running a 119-year-old start-up. Each year is experimental—how exciting!

 

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CEO Joe Lamond Talks NAMM’s 2020 Vision, Part 2

PSNEurope editor Daniel Gumble caught up with NAMM president and CEO Joe Lamond just days before the show started to discuss his ambitions for 2020 and the opportunities that lie ahead….

 

Why are trade shows in general still so vital to the industry?

The music, sound and entertainment products industry operates in a complex adaptive system, which means a perfect understanding of the individual parts does not convey an understanding of the whole system. Each industry player in the system observes the other players and makes decisions to improve their chances based on those observations. Which companies have increased or decreased their exhibits, what are the main themes in educational sessions, which new products generate the most excitement, and which major headlines, announcements and awards are making waves? From these clues, each industry participant will draw up strategies towards their own personal definition of the “end zone.” No one knows what 2020 and beyond will look like, but I do know that the clues will be found when the global industry gathers at the NAMM Show. The amount of educational content (seminars, conferences, etc.) has increased year after year.

 

What do you have in store on that front for 2020?

With over 300 educational sessions scheduled from TEC Tracks, AES Academy at NAMM, A3E and Audinate’s Dante training, I would be hard-pressed to pick just a few to note. But I suspect that members seeking to expand their competitive advantage and to learn from expert presenters through the carefully curated sessions will find the opportunity to do so at the NAMM Show. The key is planning ahead and scheduling the sessions you really want to see and then building the rest of your itinerary from there.

 

How big a factor is this type of content in the show’s overall appeal to visitors?

Both exhibitors and attendees alike are putting much more value on this than in years past. The educational alliances with other like-minded organizations like A3E, AES, and ESTA share in a vision to create more music makers and a desire to serve our respective industry and its members – especially when it comes to our mutual desire to continue to support the professional development of members. At NAMM, we believe that the three key ingredients of a successful NAMM show include a robust trade show floor with the latest innovative products, relevant and high value education and the socializing and networking that happens at all the concerts, parties and meet-ups across the various hotel lobby bars that remind us all of our shared passion for music and our true purpose as we dedicate our lives to this great industry.

 

As we enter the 2020s, what have been some of the key moments for NAMM over the past 10 years, and what are your predictions for the years ahead?

As Pete Townshend once sang in ‘Music Must Change,’ ‘Deep in the back of my mind is an unrealized sound, every feeling I get from the street says it soon could be found.’ The keyword there being change. We tend to think that just because things have been the way they are for a while, that they will always be that way. That is just about the time when everything changes and the new comes in. Will the next decade look like the last? I doubt it, and besides, who would really want that anyway?

 

What are the biggest opportunities for NAMM in the current market?

Fulfill our vision of a world where every child has a right to learn music and where every adult is a defender of that right. Oh, and world peace…

 

What are the biggest challenges?

I’m a drummer, so I like to think of things in terms of rhythm. The ideal world seems logical to me in a comfortable 4/4 beat or possibly a nice ¾ waltz. The world today is something right out of a King Crimson nightmare or possibly Frank Zappa’s ‘The Black Page.’ Keeping NAMM the stable and reliable partner for our member companies and the global industry through all of this is Job Number One. Although NAMM came into being in 1901 (think of how much has changed since then), I feel like we’re running a 119-year-old start-up. Each year is experimental—how exciting!

 

from ProSoundNetwork.com www.prosoundnetwork.com/business/ceo-joe-lamond-talks-namms-2020-vision-part-2
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Top Pro Audio Exhibitors Talk NAMM 2020, Part 2

Following the introduction of its dedicated pro audio section three years ago, the industry has taken to NAMM like never before. PSNEurope hears from some of this year’s top exhibitors about the show’s ever-growing appeal to newcomers and what keeps existing attendees coming back for more…

 

David Bruml, sales director, Funktion-One

After a successful first year, we decided to return for 2019. It was remarkable to see the development of the show in a year. NAMM 2019 was, undoubtedly, amongst the most positive trade shows in all of my many years of exhibition experience. Such a remarkably diverse mix of people from all sectors of the music industry and beyond—from major musicians, through to top level entertainment venues, tour and event production companies, sound rental users and system integrators.

All trade shows are melting pots of potential connections, but NAMM excelled in this regard—the organizers clearly have a highly developed sense for how to choreograph and stage a great convention. Since being involved with the show we have been highly impressed with the caliber of both its organization and the visitors it attracts. It’s important for Funktion-One to be present with our US distributor, Coherent Distribution, at the US exhibition, and NAMM ticks most of the boxes for us in what we’re looking for from a major trade show. It has now become an established part of our exhibition calendar.

Find Funktion-One and Coherent Distribution, together with FFA Audio and NST Audio in Area ACC North Level 2, booth 18007, where its Vero VX will make its US trade show debut at NAMM 2020, while the booth will also feature the F124 bass enclosure and loudspeakers from the Evo Series.

 

Will Eggleston, USA technical marketing, Genelec

Going to NAMM is like going to the Mardi Gras of music shows. It’s not just the sounds, but the color and vibrancy of all those who attend. Over the past 24 years, Genelec has remained inside NAMM and seen the changes morph with the times. We began the NAMM journey in a small demo room overlooking Halls B and C, then moved to Hall E for a couple of years where we met more new customers than ever before and then to Hall A which also had great traffic.

Now, with the recent addition of the new ACC North Hall, our position reflects the advancing importance of pro audio and participation at NAMM. NAMM brings us close to our varied customer base, be it basement hobbyist, professional musician, or even the ever-expanding audio production client. It is also held in Southern California, so it is a short drive for customers from the film, video, post-production, TV, etc. sectors to meet with us and check out our latest offerings.

NAMM has grown with the times and attending the show gives us the best opportunity to match faces with names and spend valuable one-on-one time making sure their purchases are best suited for their clients or our users. NAMM is now also the home of the TEC Awards, which has always been an important event for Genelec as we have fortunately had the honor and privilege to be recognized by our peers for Genelec Oy’s hard work, dedication and innovation.

 

Pascal Dietrich, chief marketing officer, KLANG:technologies

NAMM has become one of the main trade shows to internationally launch new products. The location, the positive vibe, the variety of people and products you can find make it so special and interesting to attend—for both visitors and exhibitors. Especially for KLANG, being a specialist in in-ear monitor mixing, we need to provide hands-on demos for sound engineers and musicians. There is no other trade show offering this opportunity and attracting high class attendees from around the world.

With a stronger focus on pro audio, it offers a highly professional and much calmer atmosphere for valuable in-depth discussion. Emerging collaborations like the Audio Engineering Society bring the educational and workshop part to the show. Of course, KLANG will be contributing to the AES in-ear monitoring academy.

At this year’s NAMM show, KLANG and DiGiCo will be launching exciting new integration options, following the company’s acquisition last year and, of course, there will be a few surprises, too.

 

James King, director of marketing, Martin Audio

Martin Audio is really looking forward to being back at NAMM after its first foray to the show in 2019. The show, with its additional pro audio focus, support and marketing, has become an instant hit, not only as a US based show but one that is drawing increased international interest. The show’s organizers have won a significant battleground, simply by doing the one thing that too many other shows with arrogant attitudes fail to do: listen. They have been very proactive in understanding the needs and challenges of the pro audio industry and have tried to accommodate this or have provided alternative suggestions wherever possible.

From our perspective, we weren’t ready to embark on a major stand presence, but we were keen to be able to demonstrate our products. As a result, the organizers were supportive of us participating in The Loudspeaker System Showcase in the Arena—which this year will feature our WPS line array and new BlacklineX powered systems—all without the need for a booth.

This year they were also helpful in accommodating us with a meeting room, no. 19317, off the show floor so we could more easily meet with clients and have meaningful discussions away from the louder parts of the show. The show is also the perfect opportunity for brand partnerships and so we have once again tied up with D’Angelico Guitars and their wonderful showcase of established artists and new talent.

Another of our Wavefront Precision models, WPM, will provide sound reinforcement for all performances while in their smaller demo area, BlacklineX Powered will be utilized. We know from conversations with other exhibitors that 2020 will see a record level of attendance internationally as many brands are using both the timing of this event and its growing reputation to be a launch platform for the year and are therefore encouraging their international customers to attend.

 

John McMahon, SVP president of marketing, Meyer Sound

Meyer Sound has increased its presence at NAMM this year. The dedicated audio hall has been a great draw, so we are expanding with a demo space in 2020. The timing of NAMM is ideal for many of our customers before the 2020 touring and festival circuit begins in earnest. It also gives our North American team a chance to jumpstart the new year ahead of our major European show, ISE, which takes place in February.

Between these two shows, 2020 will launch with incredible momentum, building on the great success of our new ULTRA-X40 point source loudspeaker in 2019. In the demo room, there will be listening opportunities with our ULTRA-X40 point source loudspeaker, the UPQ-D1 loudspeaker, the LINA compact linear line array loudspeaker, and the Amie precision studio monitors.

Since we will be in Southern California in January, we decided to take advantage of the typically beautiful weather with an outdoor terrace space for hospitality. We will welcome attendees to our Sonic Lounge following the demos. We will also be offering a pair of Amie precision studio monitors for show attendees to enter to win. With both the Parnelli Awards and TEC Awards happening alongside NAMM, we can celebrate the successes of the previous year as we launch into the new one. We are honored this year to be up for the Indispensable Technology Audio award for the ULTRA-X40.

Additionally, several of our collaborators are up for recognition. Trade shows in general are a great place to connect with customers from around the world. In a digital world, there is still nothing that generates business like quality face time and listening opportunities. We always welcome the chance to provide listening experiences and find that demos at trade shows can get our latest product heard by a large number of existing and potential customers in a short timeframe.

 

Paul Tapper, CEO, NUGEN Audio

NAMM represents our single best opportunity annually to connect with our pro audio customers—to hear what’s important to them and showcase the unique technology and tools that NUGEN Audio can offer. We aim our products, support and sales primarily at professionals and semi-professionals within the music industry. NAMM delivers a fantastic, concentrated burst of meetings, planned and unplanned, with exactly those we’re aiming at serving. It is always an amazingly exciting and stimulating time, which generates ideas that take the rest of the year to explore and realize.

At NAMM 2020, the NUGEN Audio booth (14101) will once again be in the ACC North Hall, in the newly created pro audio area. The focus of this area generates considerable benefits for attendees and exhibitors, making it easier for people to find what they are looking for by bringing related solutions together in one space.

 

Maurice Patist, president, PMC USA

Apart from the fact that January in Southern California is much warmer than it is in the UK, there are many good reasons why it pays for a company like PMC to be at the NAMM show. It is a very well organized show that has become increasingly attuned to the pro audio market. It now attracts a really good cross-section of professional equipment manufacturers and that, in turn, makes it more appealing to a wider range of people. Many of today’s musicians have their own project studios so it makes sense for a big convention like NAMM to cater for all their needs, whether that’s a new guitar or drum kit or a new pair of studio monitors. Also, people come from all over the world to attend NAMM and that’s another advantage for a manufacturer like PMC.

At this show, we can be visible to a much larger audience and meet customers that we might not otherwise reach. As our loudspeaker products are very high quality, we always have an acoustically controlled demo space on our booth (16117) so that visitors can hear how good they are to work with and how quickly you can get ideal results.

As we are working closely with Dolby as a strategic partner for its Atmos immersive audio solution, our NAMM demo room will feature a 7.1.4 Dolby Atmos enabled PMC monitoring system that will allow visitors to hear the full benefits of Dolby Atmos music mixing. Indeed, NAMM’s West Coast location is genuinely important to PMC, and for much more serious reasons than just the warm weather.

 

Matt Czyzewski, president, Renkus-Heinz

NAMM is unique thanks to the intelligent, engaged, and broad audience it serves. While NAMM has always been about the music, its base today is broad thanks to the fact that we experience music in our lives in many different ways: the car, the coffee shop, the office, the local pub, arenas, and on our own personal devices and home systems. Because of this, NAMM serves as a chance to listen to the needs of musicians, integrators, and end users across retail, hospitality, house of worship, and more. It’s an opportunity to find a shared focus on how we all serve the same client: the audience that consumes sound and music. Renkus-Heinz is right in the middle of that shared goal of putting the audience at the heart of professional audio.

At booth 17907, we will be highlighting the ICLive X Series and Directivity Control Series. The reason those two series will be featured is that we see them as collaborative products designed based on feedback we’ve received from the musicians, integrators and end users we’ve met at past NAMM shows.

 

Mick Olesh, EVP sales and marketing, Waves

Our booth (15302) welcomes all visitors and users, and we recognize that they relish and value the benefit from having Waves product specialists on hand, offering one-on-one demonstrations of new products as well as catalogue items. In addition, Waves features daily presentations by top artists, producers and engineers from every genre out there, that engagingly elaborate on the tools of the trade and invaluable “behind the scenes” tips and tricks.

On the studio front, being able to demonstrate in real time, such products as the Waves Abbey Road Studio 3 plug-in, Waves’ expanding line of virtual instruments and a new line of all-encompassing distortion plug-ins to name but a few—offers an opportunity for users and media contributors to receive first hand in-depth explanations and a rare setting for asking questions on how these tools function and how they benefit the users requirements and workflow. From a business point of view, while today’s phone and video networking technology enables working with people the world over, face-to-face personal meetings have an undisputable added value. Waves’ business involvement with third party brands, especially its technology being used and embedded in numerous branded audio products, makes personal meetings all the more productive. NAMM has become a decisive format for introducing new products and we are excited to introduce an impressive choice of new Waves developments and tools at the January 2020 show. In addition, we look forward to, and cherish, meeting personally with the community of Waves users, learning from the essential feedback they offer us and meeting up with our colleagues within the pro audio industry.

 

Robert Hofkamp, director of U.S. operations, Void Acoustics

Void Acoustics is again looking forward to showcasing some of its touring, commercial and club professional audio system ranges at NAMM 2020. In its third consecutive year exhibiting at this show, the US team will be based at booth 17603 and deliver daily live demonstrations in the demo hall. NAMM forms an integral part of Void’s annual marketing strategy.

As the first audio industry show of the year, NAMM serves as a great launchpad for releasing new products. The audience turnout is always impressive, with attendees present from all over the world. Year on year, the show continues to grow, and with that growth all exhibitors benefit from exposure to an ever-increasing new customer base and the latest technological developments in the audio industry.

Given NAMM’s popularity and optimal timing at the start of the year, Void uses this show as an anchor point for connecting with existing clients, as well as attracting new customers. The recent addition of the dedicated pro audio halls has made NAMM our number one US show of the year. The timing is brilliant and the show offers us maximum return on our investment.

NAMM • www.namm.org

from ProSoundNetwork.com www.prosoundnetwork.com/business/top-pro-audio-exhibitors-talk-namm-2020-part-2
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Seen on the Scene: NAMM Show 2020, Day Three

Anaheim, CA (January 19, 2020)—Every year, the MI field—and now increasingly the pro-audio industry—descends on the NAMM Show 2020 in Anaheim, CA. Day

Seen on the Scene: NAMM Show 2020, Day Two

Thee of the show had audio pros flocking to see new products, gain insights from recording legends, explore new ways to handle live sound and much more. Here’s just some of what we saw!

Universal Audio has an entire immersive experience at NAMM to take visitors to the future and introduce them to Luna, a full-fledged Mac-based recording system due out this Spring, that integrates with Apollo interfaces and offers built-in Neve summing, a Studer-associated multitrack tape emulation, new instruments with Moog, and more.
Legendary engineer Eddie Kramer (Hendrix, Zeppelin, Beatles, Bowie, Clapton, etc.) shares his knowledge with a packed house at the Mix with the Masters booth at NAMM.

Seen on the Scene: NAMM, DAY 3

The Amphion booth at NAMM features not only the company’s distinctive studio monitors but also its new Amp700 Class D power amplifier. Shipping and available for US$1,800, the Amp700 provides 2x350w at 8ohms and 2x700w at 4 ohms.
Literally towering over the rest of the show floor are Applied trusses for loudspeaker hangs
BAE Audio’s trademark UK phone booth rack is always packed with interesting offerings, and this year is no exception. Taking the center space of the entire rack is the new BAE 73EQL 500 Series unit, and a few racks above it sits the now-completed UK Sound line of ’73 offerings.
Countryman Associates is showing its B3 omnidirectional lavalier mic, illustrating the microphone’s water resistance by making it swim with the fishes.

Roland Stenz, CEO of Eve Audio (and formerly of ADAM Audio…), is presenting nearly its entire line of professional studio monitors, from the diminutive-but-powerful SC203 up to the SC3012. He also has our favorite sneakers of the show.
At NAMM, this simple display is illustrating how IsoAcoustics’ new $99 Stage 1 Board isolates guitar amps and stage monitors, cleaning up their sound. The Tedeschi Trucks Band has a bunch of them on tour under its wedges.
Rupert Neve may have spent decades making some of the recording industry’s most legendary gear, but let’s face it—you haven’t really ‘made it’ until you have your own bobblehead.
Sontronics has been catching podcasters’ attention at NAMM with its new Podcast Pro dynamic mic specially developed for podcast and broadcast applications. Sporting tight supercardioid pattern for side rejection, the UK-made mic is tweaked for capturing spoken word, requires no EQ according to Sontronics, and is compatible with typical mic stands.
Also on-hand for podcasters is the new Zoom LiveTrak L-8 mixer, designed specifically for podcasting.
SPL’s booth has a lot of mastering gear on offer, including the brand-new Mercury mastering D/A converter, located on the right.

Warm Audio is unveiling its new Direct Box Active and Direct Box Passive, both built around custom-wound CineMag USA transformers.
Pedro Rodriguez, founder and CEO of Heritage Audio, pauses with the company’s entire line of offerings, including, at top, the new Heritage Audio HA-609A, a tracking/mixing diode bridge compressor.
Here at the NAMM Show? Stop by OUR booth (#28, in the hall) and get a free copy of the latest issue of PSN and all the other great Future titles.

from ProSoundNetwork.com www.prosoundnetwork.com/business/seen-on-the-scene-namm-show-2020-day-three
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