AES Show A Hit, Will Visit Vegas in 2021

Behind-the-scenes industry talent facilitated a variety of online experiences letting a worldwide audience of attendees “Listen, Learn and Connect” during AES Show 2020

New York, NY (November 25, 2020)—Taking place online this year, the Audio Engineering Society’s AES Show Fall 2020 Convention welcomed thousands of virtual visitors for its livestreamed and on-demand sessions featuring top names in audio engineering and production. Hot on the heels of that success, it has been announced that next year, as trade shows return to in-person events, the AES Show 2021 will co-locate with the annual NAB Show, October 11–13, 2021, in Las Vegas.

Typically held in New York City, the AES Show co-located with NAB New York 2017 through 2019, but with the traditionally Las Vegas-based NAB Show moved from April to October of 2021, the AES Show 2021 will be held at the Westgate Hotel (AKA the former Las Vegas Hilton), adjacent to the Las Vegas Convention Center where NAB Show will be held October 9–13, 2021. NAB New York will not take place in 2021.

“Our October co-location with NAB Show New York for the past few years has proven mutually beneficial for attendees and exhibitors alike,” said Colleen Harper, AES Executive Director. “We all miss the engagement and excitement of the in-person AES Show and look forward to once again interacting at the convention with professional audio manufacturers and our colleagues.”

In the meantime, the recent virtual AES Show 2020 was no slouch when it came to interactions. Delivering the AES Show to nearly 4,400 attendees worldwide over a full month of livestreamed events, various forms of on-demand content, and interactive live discussions and Q&A required a host of engineers, along with help from the Central Sound team at Arizona PBS. Video and live feeds took over multiple control rooms at Central Sound for audio and video production, utilizing a variety of production software and services such as the Adobe Creative Suite, OBS, StreamYard, Source Elements, Rendezvous Conferencing, and Zoom, which were further switched and encoded via Wirecast for distribution on various platforms. Streamguys was the primary CDN and streaming solution partner for the live technical convention.

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“The logistics of funneling a worldwide audience the hundreds of sessions that make up an AES Convention across three websites were daunting,” said Central Sound at Arizona PBS Manager, Executive Producer and Engineer Alex Kosiorek, who headed up streaming and on-demand content delivery. “Our team of committed professionals rose to the occasion to ensure the success of a multi-faceted, complex online event.”

Highlights included featured livestreamed events with FINNEAS, Jackson Browne and Friends, Imogen Heap, and the AES Show opening statement from New York State Lieutenant Governor Kathleen Hochul, as well as the Platinum Panels series, hosting top recording engineers, producers, and mastering engineers. Special Events Chair Lisa Roy commented, “More than ever, leading artists, engineers and producers were enthusiastic about supporting the AES Show and reaching out to their peers around the world, to share their knowledge and to share their message of us all working together to navigate these troubled times. Inspiration and insights were shared in abundance!”

Once again, AES Show attendees were also treated to a series of AES Show TechTours, now in virtual form and dubbed “7 Audio Wonders of the World,” taking visitors to an international host of some of the most iconic studios around the globe. Featured tours included Skywalker Sound (Nicasio, CA), Galaxy Studios (Mol, Belgium), The Village Studios (Los Angeles, CA), Blackbird Studios (Nashville, TN), Abbey Road Studios (London, UK), United Recording Studios (Los Angeles, CA), and Capitol Studios (Los Angeles, CA), and included live Q&A sessions with studio hosts and talent. AES Show TechTours Chair John Krivit stated, “Unbound by the virtual nature of AES Show 2020, attendees had unparalleled insider access to world-leading facilities followed by engaging dialog with the staff and engineers who provide the environments for chart-topping creativity.

For the AES Convention’s trademark open-session roundtable discussions, topics included Hip-Hop and R&B, Immersive and Spatial Audio, Audio History, Networked Audio, Sound Reinforcement, Game Audio and XR, Immersive Music, and an Audio Builders Workshop session. AES Show Sound Reinforcement Track Chair and Historical Track Co-Chair Dan Mortensen, who also hosted several of the discussion, commented, “People were so eager to reconnect with their peers and mentors, particularly enjoying getting ‘face-time’ with special guests like legendary Woodstock engineer Bill Hanley, who not only stopped in but graciously went overtime to continue the conversation. My AES Section (Pacific Northwest) has discovered that one of the few upsides of these times is the easy ability to very personally network in real time with people who are sitting literally anywhere in the world and share our mutual love of audio on an ongoing basis. These roundtable discussions showed that this capability is translatable to a full-sized Convention.”

All presentations will remain online and open to registered attendees through November 30, with additional Partner Showcase exhibitions and virtual booths remaining open through December 18.

AES Show 2020 • www.AESShow.com

Original Resource is ProSoundNetwork.com

Røde Launches Vlogger Kit Range

Rode Vlogging Kit
As the number of podcasters bringing a visual side to their offerings rises, Røde launches a series of Vlogger kits.

Sydney, Australia (November 25, 2020)—Røde Microphones has introduced a series of three Røde Vlogger Kits, centered around a Røde VideoMic, tripod, phone grip, LED light and accessories.

Intended to be an all-in-one mobile filmmaking kit, the range caters to every type of smartphone, with options for iPhone, which includes a Røde VideoMic Me-L with a Lightning connector, and Android devices, which features the new Røde VideoMic Me-C with a USB-C connector. There is also a Universal Edition, which includes a Røde VideoMicro for use with smartphones that feature a 3.5mm input, such as older iPhones and Android models. This can also be used with Lightning and USB-C equipped smartphones using a certified adaptor.

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In addition to these compact microphones, each Kit includes the new Røde Tripod 2, a three-position tripod with a gimbal head, the new Røde SmartGrip, a lightweight all-metal mount with rubberised grips, and the new Røde MicroLED on-camera light, which slots onto the SmartGrip.

Røde’s history as a microphone manufacturer informs its vlogging kits, as the key feature is a Røde VideoMic directional microphone, intended to reduce background noise while focusing on what they are pointed at, ensuring audio is clean and intelligible. They include a furry windshield for filming outdoors.

The Tripod 2 supports both handheld and tabletop use and its gimbal head allows for flexible positioning. The MicroLED and its diffuser and eight coloured filters ensure vloggers can adapt to any recording environment, with over four hours of operation available on a single charge.

The Kits are currently shipping worldwide and will be available in-store in the coming weeks.

Røde Microphones • www.rode.com

Original Resource is ProSoundNetwork.com

Every Pro Sound News Holiday Gift Guide Ever!

Pro Sound News Holiday Gift GuideWe’ve compiled pro audio gift guides since 2007, believe it or not, so here’s links to every guide we’ve ever done. Looking back at them is fascinating—2007’s is the funniest, while 2009’s is probably the coolest (celebrities weigh in with gift ideas, and then there’s the letter from a soundman’s mom). Some feature products you’d never buy today (a pocket translator? There’s apps for that now), and of course, the further back you go, the links are less likely to work, but that shouldn’t stop you from Googling for that item—good gift ideas for audio folks are eternal. Find something fun for the audio pro in your life—or yourself!

The Pro Sound News Holiday Gift Guide, 2020 Edition!

The Pro Sound News Holiday Gift Guide, 2019 Edition!

The Pro Sound News Holiday Gift Guide, 2018 Edition!

The Pro Sound News Holiday Gift Guide, 2017 Edition!

The Pro Sound News Holiday Gift Guide, 2016 Edition!

Russ Long’s 2015 Holiday Gift Guide

Pro-Audio Gift Help: PSN’s 2014 Book/DVD Reviews

The Gift That Keeps On Gigging (2013)

We took a year off in 2012; in the wake of Hurricane Sandy, we were running pretty low on holiday spirit.

What to Give a Live-Sound Roadie for the Holidays, 2011 Edition!

What To Get A Live Sound Pro for the Holidays, 2010 Edition!

2009’s guide had four parts:

What To Get A Live Sound Roadie for the Holidays. 2009 Edition—Part 1 (Practical Presents)

What To Get A Live Sound Roadie for the Holidays, 2009 Edition—Part 2 (Musical and Unusual Presents)

What To Get A Live Sound Roadie for the Holidays, 2009 Edition—Part 3 (Advice from the Pros)

What To Get A Live Sound Roadie for the Holidays, 2009 Edition—Part 4 (The Letter from ‘MOM’)

What to Get A Live Sound Roadie for the Holidays, 2008 Edition!

What To Get A Live Sound Guy For Christmas (2007)

…and for good measure,

Mr. Bonzai Unveils Christmas Tree, John Lennon’s Tooth

Original Resource is ProSoundNetwork.com

2021 Grammy Production Nominations Announced

2021 Grammy AwardsLos Angeles, CA (November 24, 2020)—The Recording Academy has announced the nominations for its 63rd Annual Grammy Awards, including production, engineering, mixing, remixing and mastering acknowledgements.

The 63rd Grammy Awards will air on January 30, 2021 on CBS. Grammy-nominated comedian Trevor Noah, from The Daily Show, will host the broadcast. The Recording Academy has not yet announced details of the ceremony, which will likely take place under COVID-19 restrictions.

This year’s production nominees are:

 

Record of the Year

Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.

“Black Parade” – Beyoncé • Beyoncé & Derek Dixie, producers; Stuart White, engineer/mixer; Colin Leonard, mastering engineer

“Colors” – Black Pumas • Adrian Quesada, producer; Adrian Quesada, engineer/mixer; JJ Golden, mastering engineer

“Rockstar” – DaBaby Featuring Roddy Ricch • SethinTheKitchen, producer; Derek “MixedByAli” Ali, Chris Dennis & Liz Robson, engineers/mixers; Susan Tabor, mastering engineer

“Say So” – Doja Cat • Tyson Trax, producer; Clint Gibbs, engineer/mixer; Mike Bozzi, mastering engineer

“Everything I Wanted” – Billie Eilish • Finneas O’Connell, producer; Rob Kinelski & Finneas O’Connell, engineers/mixers; John Greenham, mastering engineer

“Don’t Start Now” – Dua Lipa • Caroline Ailin & Ian Kirkpatrick, producers; Josh Gudwin, Drew Jurecka & Ian Kirkpatrick, engineers/mixers; Chris Gehringer, mastering engineer

“Circles” – Post Malone • Louis Bell, Frank Dukes & Post Malone, producers; Louis Bell & Manny Marroquin, engineers/mixers; Mike Bozzi, mastering engineer

“Savage” – Megan Thee Stallion Featuring Beyoncé • Beyoncé & J. White Did It, producers; Stuart White, engineer/mixer; Colin Leonard, mastering engineer

 

Album of the Year

Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist.

Chilombo – Jhené Aiko • Fisticuffs & Julian-Quán Việt Lê, producers; Fisticuffs, Julian-Quán Việt Lê, Zeke Mishanec, Christian Plata & Gregg Rominiecki, engineers/mixers; Jhené Aiko Efuru Chilombo, Julian-Quán Việt Lê, Maclean Robinson & Brian Keith Warfield, songwriters; Dave Kutch, mastering engineer

Black Pumas (Deluxe Edition) – Black Pumas • Jon Kaplan & Adrian Quesada, producers; Adrian Quesada, Jacob Sciba, Stuart Sikes & Erik Wofford, engineers/mixers; Eric Burton & Adrian Quesada, songwriters; JJ Golden, mastering engineer

Everyday Life – Coldplay • Daniel Green, Bill Rahko & Rik Simpson, producers; Mark “Spike” Stent, engineer/mixer; Guy Berryman, Jonny Buckland, Will Champion & Chris Martin, songwriters; Emily Lazar, mastering engineer

Djesse Vol.3 – Jacob Collier • Jacob Collier, producer; Ben Bloomberg & Jacob Collier, engineers/mixers; Jacob Collier, songwriter; Chris Allgood & Emily Lazar, mastering engineers

Women in Music Pt. III – HAIM • Rostam Batmanglij, Danielle Haim & Ariel Rechtshaid, producers; Rostam Batmanglij, Jasmine Chen, John DeBold, Matt DiMona, Tom Elmhirst, Joey Messina-Doerning & Ariel Rechtshaid, engineers/mixers; Rostam Batmanglij, Alana Haim, Danielle Haim, Este Haim & Ariel Rechtshaid, songwriters; Emily Lazar, mastering engineer

Future Nostalgia – Dua Lipa • Koz, producer; Josh Gudwin & Cameron Gower Poole, engineers/mixers; Clarence Coffee Jr. & Dua Lipa, songwriters; Chris Gehringer, mastering engineer

Hollywood’s Bleeding – Post Malone • Louis Bell & Frank Dukes, producers; Louis Bell & Manny Marroquin, engineers/mixers; Louis Bell, Adam Feeney, Austin Post & Billy Walsh, songwriters; Mike Bozzi, mastering engineer

Folklore – Taylor Swift • Jack Antonoff, Aaron Dessner & Taylor Swift, producers; Jack Antonoff, Aaron Dessner, Serban Ghenea, John Hanes, Jonathan Low & Laura Sisk, engineers/mixers; Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering engineer

 

Best Historical Album

Celebrated, 1895-1896 – Unique Quartette • Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer

Hittin’ the Ramp: The Early Years (1936 – 1943) – Nat King Cole • Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer

It’s Such a Good Feeling: The Best of Mister Rogers – Mister Rogers • Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer

1999 Super Deluxe Edition – Prince • Michael Howe, compilation producer; Bernie Grundman, mastering engineer

Souvenir – Orchestral Manoeuvres in the Dark • Carolyn Agger, compilation producer; Miles Showell, mastering engineer

Throw Down Your Heart: The Complete Africa Sessions – Béla Fleck • Béla Fleck, compilation producer; Richard Dodd, mastering engineer

 

Production, Non-Classical

Best Engineered Album, Non-Classical

Black Hole Rainbow – Devon Gilfillian • Shawn Everett & Ivan Wayman, engineers; Bob Ludwig, mastering engineer

Expectations – Katie Pruitt • Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer

Hyperspace – Beck • Drew Brown, Andrew Coleman, Shawn Everett, Serban Ghenea, David Greenbaum, Jaycen Joshua & Mike Larson, engineers; Randy Merrill, mastering engineer

Jaime – Brittany Howard • Shawn Everett, engineer; Shawn Everett, mastering engineer

25 Trips – Sierra Hull • Shani Gandhi & Gary Paczosa, engineers; Adam Grover, mastering engineer

 

Producer of the Year, Non-Classical

Jack Antonoff — “August” (Taylor Swift), “Gaslighter” (The Chicks), “Holy Terrain” (FKA Twigs Featuring Future), “Mirrorball” (Taylor Swift), “This Is Me Trying” (Taylor Swift), “Together” (Sia)

Dan Auerbach — “Cypress Grove” (Jimmy “Duck” Holmes), “El Dorado” (Marcus King), “Is Thomas Callaway” (CeeLo Green), “Singing For My Supper” (Early James), “Solid Gold Sounds” (Kendell Marvel), “Years” (John Anderson)

Dave Cobb — “Backbone” (Kaleo), “The Balladeer” (Lori McKenna), “Boneshaker” (Airbourne), “Down Home Christmas” (Oak Ridge Boys), “The Highwomen” (The Highwomen), “I Remember Everything” (John Prine), “Reunions” (Jason Isbell and the 400 Unit), “The Spark” (William Prince), “You’re Still The One” (Teddy Swims)

Flying Lotus — “It Is What It Is” (Thundercat)

Andrew Watt — “Break My Heart” (Dua Lipa), “Me And My Guitar” (A Boogie Wit Da Hoodie), “Midnight Sky” (Miley Cyrus), “Old Me” (5 Seconds Of Summer), “Ordinary Man” (Ozzy Osbourne Featuring Elton John), “Take What You Want” (Post Malone Featuring Ozzy Osbourne & Travis Scott), “Under The Graveyard” (Ozzy Osbourne)

 

Best Remixed Recording

A remixer’s award. (Artists names appear in parentheses for identification.) Singles or tracks only.

“Do You Ever (Rac Mix)” — Rac, Remixer (Phil Good)

“Imaginary Friends (Morgan Page Remix)” — Morgan Page, Remixer (Deadmau5)

“Praying for You (Louie Vega Main Remix)” — Louie Vega, Remixer (Jasper Street Co.)

“Roses (Imanbek Remix)” — Imanbek Zeikenov, Remixer (Saint Jhn)

“Young & Alive (Bazzi Vs. Haywyre Remix)” — Haywyre, remixer (Bazzi)

 

Production, Immersive Audio

Best Immersive Audio Album

“Due [to] the COVID-19 pandemic, the Best Immersive Audio Album Craft Committee was unable to meet. The judging of the entries in this category has been postponed until such time that we are able to meet in a way that is appropriate to judge the many formats and configurations of the entries and is safe for the committee members. The nominations for the 63rd GRAMMYs will be announced next year in addition to (and separately from) the 64th GRAMMY nominations in the category.”

 

Production, Classical

Best Engineered Album, Classical

Danielpour: The Passion Of Yeshua – JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus • Bernd Gottinger, engineer

Gershwin: Porgy and Bess – David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus • David Frost & John Kerswell, engineers; Silas Brown, mastering engineer

Hynes: Fields – Devonté Hynes & Third Coast Percussion • Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers

Ives: Complete Symphonies – Gustavo Dudamel & Los Angeles Philharmonic • Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers

Shostakovich: Symphony No. 13, ‘Babi Yar’ – Riccardo Muti & Chicago Symphony Orchestra • David Frost & Charlie Post, engineers; Silas Brown, mastering engineer

 

Producer of the Year, Classical

Blanton Alspaugh

David Frost

Jesse Lewis

Dmitriy Lipay

Elaine Martone

 

Recording Academy • www.grammy.com

Original Resource is ProSoundNetwork.com

Shure Acquires Stem Audio

shure acquires stem audioChicago, IL (November 24, 2020)—Expanding its footprint in the conferencing audio ecosystem market, Shure has acquired California-based Midas Technology, Inc., also known as Stem Audio, which specializes in providing a suite of products including table, ceiling and wall microphones as well as loudspeakers, control interfaces and hubs.

With the acquisition of Stem Audio, Shure aims to further expand and diversify its solution offering for organizations of all sizes, while Stem will gain access to the global infrastructure and support capabilities that Shure provides.

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“We both believe in ecosystems. Working together, we aim to provide customers with better options to deploy great audio in more spaces, more cost effectively and more quickly,” said Chris Schyvinck, president and CEO, Shure. “Shure and Stem Audio understand the importance of good quality audio and taking care of customers, so this acquisition is a great fit for both organizations.”

According to Shure, the addition of the company complements Shure’s product offering and provides customers with a greater choice of products as their needs evolve. “We’re thrilled to be joining a company with an unrivaled pedigree and history in manufacturing audio products,” said Jacob Marash, CEO and founder, Stem Audio. “Shure’s scale and global reach will help make Stem Audio products more available to customers, providing improved value, quality and support.”

The two companies will continue to operate separately as integration plans for sales and support are finalized. Future plans for the respective product portfolios will be shared later. In the meantime, customers will continue to buy and receive support for Stem Audio products from Stem Audio’s current channels, including StemAudio.com in the U.S. market.

This acquisition also includes Midas’ Phoenix Audio Technologies brand.

Shure • www.shure.com

Original Resource is ProSoundNetwork.com

Damien Gerard Studios Takes First Origin Down Under

Damien Gerard StudiosNew South Wales, Australia (November 24, 2020)—Damien Gerard Studios became Australia’s first client for the new Solid State Logic Origin after relocating to West Gosford in New South Wales.

“Once we had completed the move into the new larger facility, the old Soundcraft 2400 series console was probably our weak link compared to the quality we had elsewhere in our outboard and mic inventory, which had upgraded considerably with the move,” explains studio manager Marshall Cullen. “My new business partner Jason Stenning and I began looking at vintage consoles that might be available — including Sylvia Massy’s old Neve in the USA — but the economics of it didn’t stack up.”

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Cullen had reportedly heard good things about the Origin, and was swayed by the advantages of buying a new console, including a warranty and a modern power supply design. Local AV distributor Amber Technology organized the testing and delivery of the new desk. Since the day Damien Gerard’s new control room came online, the studio has been busy with tracking, mixing and mastering, as well as hosting solo artists and voiceover sessions.

The studio’s large live room, which can accommodate 20 or more musicians, has recently done a number of sessions with people live streaming or recording and filming live for post production. “Having the workflow of the console with 64 faders in front of you, the split paths and being able to fly different ins and outs where it’s needed has really helped those sessions,” says Cullen. “Also having an engineer on the left-hand side of masters and plenty more faders for a producer or assistant on the right-hand side has been a great boon.”

Solid State Logic • www.solidstatelogic.com

Original Resource is ProSoundNetwork.com

Butch Vig Goes Native at United

Pictured in United Recordings Studio A are (l-r) Dinos Vallianatos, Priscilla Jimenez, Zane Gedler, Ryan Gruss, James Ellington, Mike Fasano, Butch Vig, Wesley Seidman, and Billy Bush.
Pictured in United Recordings Studio A for Butch Vig Drums are (l-r) Dinos Vallianatos, Priscilla Jimenez, Zane Gedler, Ryan Gruss, James Ellington, Mike Fasano, Butch Vig, Wesley Seidman, and Billy Bush. David Goggin

Hollywood, CA (November 23, 2020)—Native Instruments recently teamed up with drummer/producer Butch Vig at United Recording to record a variety of kits and one-shots for Butch Vig Drums, the first in a new line of artist-created Play Series instruments.

Butch Vig Drums were recorded at United Recording’s Studio A in Hollywood just before Los Angeles issued its Safer at Home order. Vig was joined by engineer Billy Bush, United staff engineer Wesley Seidman and drummer Mike Fasano. Also on hand were Native Instruments product owner Dino Vallianatos and The Loop Loft founder Ryan Gruss.

Steve Albini Gets Fuzz on Tape at United

“When Butch and I decided to partner on this project, we discussed our options for studios, and United’s iconic Studio A quickly became our #1 choice,” said Gruss. “We knew it would allow us to capture a more ‘wide open’ sound by placing the drums out in the middle of the live room and also a ‘dry and tight sound’ by utilizing the various vocal booths. In addition to that flexibility, the acoustics in that particular studio are unparalleled. Original owner/designer Bill Putman was a sonic genius and the results you get when recording at United speak for themselves.”

The United Recording sounds were further processed through a bespoke selection of analog and digital preamps, compressors, stomp boxes and more at Vig’s home studio, GrungeIsDead. The result is Butch Vig Drums, which includes 21 individual drum kits, each with 16 one-shots created using Vig’s distinctive approach to percussive sound design. Each kit also comes with 16 preset MIDI patterns, which can be triggered using a MIDI controller or edited within any DAW using drag and drop technology.

Vig is best known as a co-founding member of the alternative rock band Garbage and the producer of seminal albums such as Nirvana’s Nevermind, Smashing Pumpkins’ Siamese Dream and Green Day’s 21st Century Breakdown.

United Recording • www.unitedrecordingstudios.com

Original Resource is ProSoundNetwork.com

Antares’ Auto-Tune Hybrid Launches

Antares’ Auto-Tune Hybrid

Santa Cruz, CA (November 23, 2020)—Antares Audio Technologies has introduced Auto-Tune Hybrid, a new edition created solely for Avid Pro Tools platforms.

Hybrid is reportedly optimized for Avid’s DSP-based hardware to give users more processing power but also works on native systems when Pro Tools users aren’t using such hardware. It is optimized for low-latency tracking on Avid DSP hardware, including Carbon, HDX and VENUE | S6L systems, offers Basic and Advanced real-time pitch correction, and also sports Classic Mode for the “Auto-Tune 5 sound.” Compatible with the Auto-Key: Key Detection plug-in, it also offers MIDI control of pitch and other parameters.

Antares’ Auto-Tune Pro Ships

Auto-Tune Hybrid, which retails for $399.99, is included at no additional cost to subscribers of Auto-Tune Unlimited monthly or annual plans. Hybrid is one of numerous planned upgrades and releases to be included in Auto-Tune Unlimited.

Antares Audio Technologies • www.autotune.com

Avid • www.avid.com

Original Resource is ProSoundNetwork.com

Audix Unveils TM2 Acoustic Coupler for In-Ear Monitors

Audix TM2 Acoustic Coupler
Audix TM2 Acoustic Coupler

Wilsonville, OR (November 23, 2020)—Audix has introduced its new TM2, an integrated acoustic coupler for in-ear monitors (IEMs), designed to help live sound and studio engineers test IEM performance for performers.

Ear simulator “couplers” are measurement devices typically used by manufacturers of IEMs for capturing key metrics during research & development, final production and quality control of IEMs. Featuring precision-machined brass and aluminum components, the TM2 includes adapters to fit a range of IEMs, including custom molds.

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Monitor engineers are often faced with questions from performers regarding the functionality of their IEMs with no reliably consistent method to test them in their environment. With the TM2 and readily available measurement software such as Rational Acoustic’s SMAART or Studio Six Digital’s Audio Tools, a monitor engineer can easily confirm the functionality of each performer’s IEMs before a show. As another example, it’s also appropriate for house of worship applications, where the TM2 can be used to check the performance of the IEMs of every member of the praise team on a regular basis.

With its included adaptors, the TM2 can fit any size of in-ear monitor. It can also be connected to an acoustic calibrator for greater measurement precision. The unit comes in a durable, compact chassis, as well as a calibration file and a three-year warranty.

Audix • www.audixusa.com

Original Resource is ProSoundNetwork.com