Beim Vorverstärker wurde die Bauteilebestückung runderneuert, und er bietet jetzt 8 unabhängige Stereo-Eingänge und 4 Ausgänge. Zudem wurde das neue Gehäuse an das Aussehen der anderen Produkte der 1000er Serie angepasst. Die neue Version ist ab sofort für 6500 Euro im Handel. Dem DAC/Streamer DS-10 hat Gold Note einen zusätzlichen analogen Line-Eingang in Form einer Miniklinke spendiert, an den zum Beispiel ein Phono-Vorverstärker angeschlossen werden kann. So dient der DS-10 Plus nun als vollwertiger Vorverstärker auch für Freunde analoger Quellen. Für das klangliche Tüpfelchen auf dem i bietet Gold Note optional ein externes Netzteil für die Modelle DS-10 „classic“ und „Plus“ an, das über einen 8-poligen DIN-Stecker den Strom zuliefert. Es nennt sich „PSU-10 EVO“ (für „Evolution“) und wird ab Juni für 950 Euro erhältlich sein. Der DS-10 Plus soll ebenfalls im Juni für 2890 Euro auf den Markt kommen.
The South Africa sessions featured Yugen Blakrok, Nono Nkoane, Tubatsi Moloi, Gally Ngoveni, Sibusile Xaba, Soundz of the South Collective, DJ Mabheko and Thabang Tabane, with Watts Prophets and Antibalas contributing from LA and New York respectively.
Coinciding with the announcement, Ahead Of Our Time has also shared first single ‘Future Toyi Toyi’, with a DJ Stingray remix and ‘Gqom version’, backed with ‘Crystallise’ – forthcoming on 7″.
A portion of Keleketla!’s profits will be donated to charity In Place of War, which aims to utilise the creative arts to help current sites of conflict.
Head here to pre-order a copy in advance of Keleketla!’s 3rd July release, check out the artwork and tracklist below.
1. Future Toyi Toyi
2. International Love Affair
3. Shepherd Song
4. Freedom Groove
6. Broken Light
8. Papua Merdeka
9. Swift Gathering
Original Resource is The Vinyl Factory https://thevinylfactory.com/news/tony-allen-dele-sosimi-shabaka-hutchings-keleketla-album/
Rogers announced they now are selling direct to customers, following PS Audio's earlier move in this direction. Hard to argue with this though it means even more challenges for audio dealers. In many ways, it's inevitable. Magazines constantly defend their reviews by telling readers to go hear for themselves before buying but it's becoming harder and harder to do so. I've remarked here before how even in an urban market, the availability of audiophile products is limited, even when a dealer apparently exists. Esoteric gear, and let's face it, all audiophile gear is esoteric to the masses, is not amenable to convenient audition. What this means for the long-term health of the industry is anyone's guess but I think manufacturers have little chance of growing their market by proceeding with business as usual.
Rogers also announced a factory-reconditioned listing space on site too, offering a chance to get a used item with some assurances, another nice touch. So, never heard Rogers gear myself but their phono stages and integrated amps were always of interest. I hope this works for them.
Original Resource is AudioMatters http://feedproxy.google.com/~r/blogspot/IPuyM/~3/e0w7jmKqNyk/rogers-high-fidelity-now-factory-direct.html
New York, NY (May 21, 2020)—Products funded on Kickstarter are never a sure thing until they arrive on your doorstep, but MaonoCaster—a portable podcast production studio currently scheduled to ship in July—aims to be an intriguing entry-level addition to the burgeoning podcast mixer market. The $129 unit has attracted more than $300,000 in pre-orders on Kickstarter to date.
The MaonoCaster is aimed at entry-level users interested in podcasting, Twitch streaming and so on. The diminutive, aluminum alloy unit—roughly 8.3 x 7 x 2.5 inches—is a four-channel mixer with built-in battery, a handful of on-board effects, sample trigger buttons and more. The unit supports up to four sources at the same time via eight 3.5mm ports (six on the rear and two on the front for real-time monitoring), two phantom-power XLR ports and a single Type-C port that supports pass-through charging and data transfer. The unit does not support USB mics.
The internal 5000mah battery is expected to support eight hours of non-stop use, and is charged via the Type-C port and takes roughly six hours to charge.
The unit sports four vocal effect preset buttons (‘baby,’ ‘male, ‘female,’ ‘robot’), four sound effect preset pads (stinger, cheering, clapping, suspense), a censorship beep button, and three programmable pads for users to upload their own sound effects or jingles to using a MaonoCaster PC app. No Macintosh or smartphone version of the app is available.
Also in the effects area are buttons for side chain, which music-ducking beneath mic inputs, and music-only, which provides a karaoke-like effect on audio passing through the mixer. The unit also features a selection of on-board reverb effects—Studio, KTV, Church, Hall, Valley and Room.
On Kickstarter through June 25, the MaonoCaster had an initial fundraising goal of $5,000, which it blew past within a few hours of launching.
New York, NY (May 21, 2020)—The brainchild of host Sean Braswell, a renaissance man of sorts who holds a Ph.D. from Oxford University and a law degree from Harvard, each episode of the new Flashback: History’s Unintended Consequences podcast shows how actions that seem inconsequential can eventually lead to surprising outcomes.
“We like to joke that he’s OZY’s in-house cool history professor,” says Flashback executive producer Rob Culos, who leads the creative direction behind original audio programs at OZY. “When you listen to an episode, it’s as if you’re sitting in Poli-Sci 506 and you are learning how a decision that was made had a ripple effect 50 years later.”
In the first two episodes of the 10-part first season, Braswell connects Henry Ford to the Oklahoma City bombing of 1995, and shows how the YMCA unwittingly helped launch the tobacco black market. Co-produced by OZY and iHeartRadio, Flashback is currently ranked No. 3 on the Apple Podcasts chart for History podcasts and hovers around the top 50 overall.
That kind of success doesn’t happen by accident—Culos and the Flashback team had the podcast series in development for six months prior to launching. Production began in January 2020, so when the COVID-19 crisis hit and people began to shelter at home, eight episodes were already completed and two were still in production for season one.
The COVID-19 pandemic has doubled the number of Americans who work remotely to nearly 60 percent of the workforce—but the team behind the new Flashback: History’s Unintended Consequences podcast series was already ahead of the game.
“We had already been working and producing this show remotely, so our workflow was largely set up,” says Culos. “Our producers are in San Francisco, Washington D.C., L.A. and Atlanta, and have at-home studios. We had already done the groundwork for it to work.”
Even so, a new production process had to be invented from the ground up. The first order of business was to firm up assets, cataloging what was needed to continue producing the show. In a typical interview situation, they provide guests with best practices on ways to record local audio, which they later sync to the host’s audio.
“Oftentimes, we’re talking to folks that have done this before and might have a handheld Zoom recorder, or they might have some little thing they got at Radio Shack 20 years ago that will do wonders,” he says. “Outside of that, we have them use their phone and tell them to do the basics like hold it up as you’re talking on the phone and go into Airplane Mode. That file is our backup.”
Luckily, the production team is accustomed to being flexible with how it sources audio. The production staff also recognize that the audio characteristics of a phone call or a VoIP app like Zencastr can be aesthetic choices in themselves. Culos says they often lean into those variables to enliven the podcast.
“We’ve actually put small telephone filters onto telephone calls so it enhances that experience, and that’s before any of this [pandemic] hit,” he says.
Where consistency is key—such as with the host mics and certain interview sources—the producers use a Shure SM7B to keep the sound and timbre uniform across a variety of voices.
“We tried out probably six, seven, eight microphones across the board,” he says, “and we just found that the SM7B highlights each one of those. We don’t have to think about it. It just gets what we want to get, and it makes it easy.”
The sound design on Flashback is a more open-ended animal, as it is for many OZY shows. Culos and Braswell begin by passing songs back and forth for ideas—on season five of The Thread, OZY’s successful precursor to Flashback, they even hired a bluegrass band out of North Carolina to record custom music. This time around, the team didn’t want to stray too far from the formula they established for The Thread, but Culos knew he wanted more “punch” and a more modern treatment.
“We relied a lot on our two producers on the team, Iyore Odighizuwa and Chris Hoff, who each have a really good ear for music, and we created a folder of production music and ideas around themes and beds and vibes and motifs,” he explains. “I wanted it to be a cool documentary style but also fun and unexpected.”
For each episode, editing and production work are done through a somewhat gated group effort, with a small group focused on the first round of edits. Once a rough cut with sound design is completed, the team leader opens the project to a larger group to get line notes. They even have a process to smoothly navigate editing over the different platforms used by the producers.
“There have been times in the past where we’ve had to export stems and sessions from Pro Tools to Logic, which can get a little bit hairy,” he says. “But as long as you know the exact way to export your sessions, you should be fine.”
It has been months since we could go out to the movies with friends and family, but there still are ways to view movies with friends during this time of safe social distancing. At a basic level, you could coordinate a movie start time while having a FaceTime conversation on your phones. You could also start a movie and share your screen in Zoom, Discord, or Microsoft Teams. But a better option is to install a web browser extension that synchronizes the viewing experience alongside video-chat or text messaging.
Original Resource is Sound & Vision https://www.soundandvision.com/content/how-watch-together-netflix-party-and-twoseven
Mack Avenue Music Group and Octave Music are proud to announce a partnership with Vinyl Me, Please on Erroll Garner’s Magician as their May Classics Record of the Month. The record is also featured as the 11th release of the critically acclaimed year-long 12-album Octave Remastered Series featuring newly restored and expanded editions of classical Garner albums from the 1960s and ‘70s. Vinyl Me, Please’s package includes 180g black audiophile vinyl and an exclusive listening notes booklet by Ted Gioia.
Original Resource is Analog Planet https://www.analogplanet.com/content/mack-avenue-music-group-octave-music-partner-vinyl-me-please-errol-garners-magician
The album is taken from Satoshi and Makoto’s archive of sonic experimentation, with its 10 tracks created using the Casio CZ-5000 synth.
‘A Postcard in Summer’
In Safe Trip style, the release is accompanied by a string of “results”, including an analysis of the album’s colour profile, which reads as follows:
“If you assign a Pantone colour code to each different musical note featured on the artefact, all bar 734 of the 1,867 “spot” colours are present … most of the “musical colours” employed by Satoshi & Makoto were shades of purple, orange, red, green, yellow and pink.”
CZ-5000 Sounds & Sequences Vol II follows the release of the first volume, also on Safe Trip, in 2017.
Head here to pre-order a copy in advance of CZ-5000 Sounds & Sequences Vol II’s 24th July release, and check out the tracklist below.
2. Crawl Up
5. A Postcard In Summer
7. Dive Into Olive Oil
Original Resource is The Vinyl Factory https://thevinylfactory.com/news/satoshi-makoto-cz-5000-synth-volume-ii/