Tag Archives: Mix

Pro Sound News’ Top 10 Stories of All-Time

PSN Top 10 Stories of 2021Here are PSN‘s Top 10 most popular stories of all-time, as ranked by Google Analytics. PSN has merged with Mix over at Mixonline.com; find us there, and also check out the revamped Mix weekday newsletter (get your free subscription at https://bit.ly/3gVh4Gf).

10. Software Tech: 96 kHz vs. 44.1 kHz—Let’s Settle This By Craig Anderton. Ever since we’ve had a choice of sample rates, there’s been controversy over whether higher sample rates sound better.

9. Bringing the Grateful Dead’s Wall of Sound Back to Life By Clive Young. Tribute act Dead On Live teams with Asbury Audio to replicate the legendary Wall of Sound concert audio system.

8. Timbaland’s VA Studio Hits the Market By Clive Young. The R&B megaproducer’s Virginia Beach studio complex is up for sale, along with its gear.

7. Monitor Engineer Michael Mule, Dead at 57 By Clive Young. Monitor engineer Michael Mule worked with everyone from Iron Maiden to Anita Baker across a nearly 40-year career that began at CBGB.

6. Seen on the Scene: 2019 NAMM Show, Day One By Clive Young. Dive into our huge photo gallery for all the new products, sights and hoopla of Day One.

5. Bose S1 Pro Multi-Position P.A. System – A Real-World Review By Jordan Kaplan. Bose’s first portable PA under $1,000 delivers considerable bang for the buck.

4. Behind the Scenes of the Grammys’ Live Sound By Steve Harvey. Providing live sound for an audience composed of the top music artists and executives is no easy task.

3. AKM Factory Fire—A Pro-Audio Industry Disaster By Clive Young. An 82-hour fire in AKM’s semiconductor factory is already hurting numerous top pro-audio manufacturers around the globe.

2. Finneas on Producing Billie Eilish’s Hit Album in his Bedroom By Steve Harvey. Finneas O’Connell—Billie Eilish’s co-writer, producer, older brother and an artist in his own right—discusses recording her sonically adventurous debut at their family home.

1. Police Photos Reveal First Look Inside Prince’s Legendary Tape Vault By Clive Young. Prince’s tape vault, rumored to contain thousands of unreleased songs, was a musical urban myth until his 2016 death, when photos taken by police investigators revealed that the rumors were true.

Original Resource is ProSoundNetwork.com

Pro Sound News’ Top 5 Recording Stories of All-Time

PSN Top 5 Recording Stories of All-TimeHere are PSN‘s Top-5 most popular recording stories of all-time, as ranked by Google Analytics. PSN has merged with Mix over at Mixonline.com; find us there, and also check out the revamped Mix weekday newsletter (get your free subscription at https://bit.ly/3gVh4Gf).

5. Software Tech: 96 kHz vs. 44.1 kHz—Let’s Settle This By Craig Anderton. Ever since we’ve had a choice of sample rates, there’s been controversy over whether higher sample rates sound better.

4. Recording Studios Are Not Dying By Clive Young. USA Today says recording studios are a dying industry. That’s dead wrong—and here’s why.

3. Timbaland’s VA Studio Hits the Market By Clive Young. The R&B megaproducer’s Virginia Beach studio complex is up for sale, along with its gear.

2. Finneas on Producing Billie Eilish’s Hit Album in his Bedroom By Steve Harvey. Finneas O’Connell—Billie Eilish’s co-writer, producer, older brother and an artist in his own right—discusses recording her sonically adventurous debut at their family home.

1. Police Photos Reveal First Look Inside Prince’s Legendary Tape Vault By Clive Young. Prince’s tape vault, rumored to contain thousands of unreleased songs, was a musical urban myth until his 2016 death, when photos taken by police investigators revealed that the rumors were true.

Original Resource is ProSoundNetwork.com

PRO SOUND NEWS MOVES TO MIX

Dear Pro Sound News Reader—

PSN and Mix are merging. We are combining both iconic pro-audio news brands, bringing together the best features of each under the Mix name.

Starting in July, you’ll find all the great stuff you come here for—our Real-World Reviews, our trademark live sound coverage, industry analysis and more—over at mixonline.com.

To be clear, PRO SOUND NEWS is still bringing you the latest pro-audio coverage, just over at Mix. Same staff, same crucial news, different website and magazine.

PSN subscribers will start receiving Mix with its July, 2021 issue. Since we’re cramming two magazines into one, Mix will be growing in size, giving you even more to read and discover.

Also, starting July 6, the Mix SmartBrief email newsletter will increase to FIVE days a week to add all of PSN‘s coverage. Set up your free subscription now at https://bit.ly/3gVh4Gf so you can keep up on the latest pro audio news.

We’re looking forward to bringing you more of the great content you read PSN for, so we’ll see you in the pages of Mix!

Clive Young

Content Director, Pro Sound News (and now Mix!)

Original Resource is ProSoundNetwork.com

Why are PSN and Mix Merging?

psn and mix

I’m writing this editorial the night before we go to press with the June 2021 issue of Pro Sound News, and by the time you read it, you may have already heard about what’s happening here at PSN. It’s big: Pro Sound News and Mix are merging.

Starting in July, you’re going to find the news, content and feel of Pro Sound News infused into everything Mix does—its magazine, website, social media, email newsletter, events and more.

It’s a big step—and no simple trick when you’re dealing with two iconic brands, each with its own viewpoint and way of doing things. Still, the word I want to emphasize here is “merging.” As an industry, we all like to interpret or tell ourselves we can “read between the lines” when major news breaks (certainly that’s a big part of what PSN does), but this is a case of WYSIWYG—what you see is what you get. PSN is not shutting down and no one is getting axed. We’re merging.

Beginning with its July issue, Mix magazine will be larger, because we’re going to cram two magazines’ worth of content into it. Pro Sound News has always served up news and insight, particularly in live sound, and pros everywhere trust our Real-World Reviews. Meanwhile, Mix has always been known for its longer, deep-dive features and heavy focus on the recording world. Each brand has always played to its strengths—and now all those strengths are going to be under one banner.

Another example: PSN’s email newsletter comes out three times a week, while Mix’s comes out twice weekly; put them together and you get the new Mix SmartBrief newsletter. Starting July 6, it’ll move to a full weekday schedule (amazingly, 3+2=5). It will also adopt the format of PSN’s newsletter to bring you the latest pro-audio news, reviews and more, along with relevant articles from around the internet, hand-curated by audio pros, not algorithms.

Both brands started as magazines back in the 1970s, with Pro Sound News based in New York City and Mix set up in the Bay Area. You could probably make an argument that each one was a product of its surroundings, with PSN reflecting the scrappy, get-to-the-point attitude of the Big Apple and Mix sporting an immersive West Coast vibe captured in its longer articles and rich photography.

Of course, the industry changed dramatically in the decades that followed, and so did the two magazines. Mix and PSN were always competitive, but for the last nine years, we’ve actually been under the same corporate roof. In 2012, our parent company at the time bought Mix and told both brands to get along in a state of “co-opertition.” As time wore on, our editorial staffs discovered we had a lot in common … starting with a distaste for corporate jargon like “co-opertition.”

Now we get to be colleagues instead of competitors. Mix’s longtime leader, Tom Kenny, is rightfully respected across the industry, and going forward, we’ll be co-editors for all of Mix’s print, digital, social and event platforms. Things will be different, but they’ll also be exciting: We’re taking the best parts of Pro Sound News and Mix and creating a next-generation brand that can lead the industry for the next 40 years.

And that’s just the start. See you next month.

Original Resource is ProSoundNetwork.com

Prep for a Post-Pandemic World at the Pro Audio & Radio Tech Summit

Clive Young
Clive Young

For the pro-audio world, March marks the one-year anniversary of everything getting turned upside down by COVID-19. Since then, we’ve all been on a rollercoaster of times alternately hard and hopeful, but things are tentatively starting to look up. With the U.S. now vaccinating more than 1.5 million people a day and Dr. Fauci predicting all Americans could be eligible for vaccination as soon as April, “normal” isn’t around the corner, but it is finally on the horizon.

That means it’s time to roll up our sleeves—not only to get a shot, but to start preparing. “Normal” doesn’t happen with the flick of a switch; you won’t wake up one day and start mixing for a packed house again or find your studio booked solid just because the pandemic has subsided. It could happen—but only if we work for it, laying out the foundations for that kind of success, brick by brick, in the months leading up to it.

A big part of getting ready will figuring out how to incorporate all the radical pro-audio changes and advances we made over the last year. Frankly, that topic is so big that you can’t get all the insight you need from just Pro Sound News—which is why PSN has joined forces with Mix and Radio World to create the Pro Audio & Radio Tech Summit, an online expo taking place on Thursday, April 1 (no, this is not an April Fool’s joke).

The free one-day event will feature an exhibition floor, panel presentations, chat rooms and a host of media presentations showcasing the latest technologies and trends in pro audio and radio. Pro Audio & Radio Tech Summit will feature two individual program tracks within a single exhibition hall—in each program track, industry experts will explore how manufacturers and users are making use of both current and emerging technologies in order to keep the media coming.

Pro Audio & Radio Tech Summit Announced

The Pro Audio Track will feature sessions on remote production, the multipurpose House of Worship studio, the rise of immersive music, audio networking technologies, podcasting and Improved Audio for Education. Through expert panel presentations, sponsor demos and attendee networking, Pro Sound News and Mix will bring manufacturers, engineers, producers, musicians, educators and industry experts together to look at the state of music production as we come out of the most disruptive year in memory.

The Radio Track will feature sessions on hybrid radio, AoIP, virtualization, streaming, business continuity and trends in transmission. These topics will be of interest to any radio broadcast manager or engineer who manages technology or uses it to advance their careers and business missions.

One of the best things about a virtual event is that the doors don’t close at the end of the day; all of the content—and exhibit booths—will be accessible on-demand to attendees for a month after the event, so if you can’t make April 1 (or more likely, if there’s just too much good stuff to absorb in one sitting), you dig into the offerings at times that work best for you. Head over to www.proaudioradiotechsummit.com to sign up for free, and I hope you’ll join me and the rest of the team from Mix and Radio World on April 1.

Original Resource is ProSoundNetwork.com

Pro Audio & Radio Tech Summit Announced

Pro Audio & Radio Tech SummitNew York, NY (February 3, 2021)—This spring may not have all the usual trade shows and conferences in-person, but professionals across the pro audio and radio industries will gather together in April, as Pro Sound News, Mix and Radio World join forces to hold the first Pro Audio & Radio Tech Summit, an all-day virtual event to be held April 1.

“With the ‘return to normal’ now on the horizon, we have to start exploring how the massive changes we’ve made in pro audio over the last year will be incorporated into our ‘normal’ work going forward,” said Clive Young, editor of Pro Sound News. “The pandemic upended every aspect of how audio professionals work, but the industry rose to the challenge, changing established ways to fit the times while also creating new methods, workflows and tools to keep things moving forward. Our Summit, then, will draw insights from those trends and achievements, and look at how they can become crucial ingredients for continued success in the future.”

The free one-day event will feature an exhibition floor, panel presentations, chat rooms and a host of media presentations showcasing the latest technologies and trends in radio and pro audio. Pro Audio & Radio Tech Summit will feature two individual program tracks within a single exhibition hall. In each program track, industry experts will explore how manufacturers and users are making use of both current and emerging technologies in order to keep the media coming.

The Pro Audio Track will feature sessions on Remote Production, the multipurpose House of Worship studio, the rise of Immersive Music, Audio Networking technologies, and Improved Audio for Education. Through expert panel presentations, sponsor demos and attendee networking, Pro Sound News and Mix bring manufacturers, engineers, producers, musicians, educators and industry experts together to look at the state of music production as we come out of the most disruptive year in memory.

The Radio Track will feature sessions on hybrid radio, AoIP, virtualization, streaming, business continuity and trends in transmission. These topics will be of interest to any radio broadcast manager or engineer who manages technology or uses it to advance their careers and business missions.

For registration information, CLICK HERE.

Original Resource is ProSoundNetwork.com

Sound Design Legend Walter Murch to Keynote Mix Sound for Film & TV

Walter Murch
Walter Murch

Los Angeles, CA (September 15, 2020)—Mix Sound for Film & TV event has named Oscar-winning sound designer and film editor Walter Murch as its Day 1 Keynote speaker. Speaking at the two-day event, taking place September 25-26, 2020, Murch will discuss “The Role of Art and Technology.”

‘Apocalypse Now Final Cut’: Hearing It Again for the First Time

Set to begin at September 25 at 9:05 AM PST, the event will feature longtime journalist and supervising sound editor Larry Blake interviewing the dean of modern sound design, Walter Murch, who 50 years ago began his career on Francis Coppola’s Rain People. Murch continued working with the director on the soundtracks for The Conversation, Godfather I, II and III and Apocalypse Now. He won the rarest of double Oscars for Best Sound and for Best Film Editing on The English Patient. He is currently in London working on a documentary about the war in Iran.

Just Day One alone of the two-day event will also offer panels exploring post editorial during the shutdown; conversations with composers Will Bates (Hillary; Away) and Laura Karpman (Lovecraft Country; Why We Hate); The Sound of Greyhound; insight into sound creation on the upcoming high-profile sequels Ghostbusters: Afterlife and Venom: Let There Be Carnage; and lots more.

There is limited time remaining to secure your ticket. Registration closes at 5pm PT on September 24.

Mix Sound for Film & TV • https://www.mixsoundforfilm.com/2020

Original Resource is ProSoundNetwork.com

Newhope Church Livestreams with Waves

Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, NC, with the church’s Waves eMotion LV1 Live Mixer.
Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, NC, with the church’s Waves eMotion LV1 Live Mixer.

Durham, NC (July 8, 2020)—Under the COVID-19 pandemic, many houses of worship have turned to livestreaming to continue reaching their communities. Creating a fulfilling worship experience for viewers online is no simple task, as Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, North Carolina, has seen in recent times. While the church has livestreamed since before the health crisis, Bookhout has been using a variety of technologies, including a Waves eMotion LV1 Live Mixer and Waves plug-ins, to stream the church’s services and ensure they sound as intended.

“We’ve been broadcasting our services from our six campuses (Durham, Garner, Hillsborough, Wake Forest, Sanford, Kenya, and iCampus) for a while now, but since COVID, it’s become the most important thing we do on a weekly basis,” said Bookhout. “Sometimes we broadcast live using the eMotion LV1, and at other times we pre-record and then mix and master the broadcast using Logic, with all the same Waves plug-ins that we use on the LV1. Week in and week out, we use the Waves eMotion LV1 live mixer in our broadcast suite.”

Waves Launches FIT Controller for eMotion LV1 Live Mixer

“We are running four Dell TouchScreen monitors in our setup,” Bookhout says about the church’s system; “Our DiGiGrid MGO optical MADI interface transports 128 channels between two MADI cards in our Midas Neutron and the Waves SoundGrid network. We have a Waves SoundGrid Extreme Server to handle the plug-in processing; we have almost every Waves plug-in in our arsenal, and we are using many of them at any given time, so a powerful server is crucial. We also have a DiGiGrid IOC audio interface in our broadcast suite functioning as the LV1’s local I/O to transport audio to our studio monitors. We run 48 channels of the Waves SuperRack at front-of-house, using a Midas Pro X console, all I/Os being shared with the broadcast suite. So, we have 128 channels going on/off the Waves SoundGrid network, and the broadcast suite uses 72 channels while FOH has access to 48. We also utilize the SoundGrid Driver with a DAW for virtual sound check at both FOH and for broadcast, to get everything dialed in between our rehearsals and Sunday morning. That’s invaluable for us.”

On choosing the LV1 for streaming, Bookhout says, “We were already running SoundGrid through our Midas console at FOH, so adding LV1 for broadcast was a no-brainer. Also, the ability to run Waves plug-ins on every channel as well as on the master gives us every tool needed to create an incredible mix. When broadcasting to Facebook and YouTube, mastering is ultra-important, and we are able to achieve great results that we were only able to hear previously when mastering in a DAW.”

He sums it up: “Adding eMotion LV1 into our streaming/broadcast workflow has greatly improved our mix quality. Having the ability to drop any Waves plug-in on any channel at any time is powerful. When people tune in to our online broadcast, there is nothing more important than the mix. It doesn’t matter how good our video is; if the audio is sub-par, people will quickly leave and watch something else. Waves gives us every tool we need to build the best online streaming mix possible, which allows us to create incredible worship experiences, week in and week out.”

Waves • www.waves.com

Original Resource is ProSoundNetwork.com

FDA’s New Rivage Desk Rolls with COVID Times

Chad Heupel, director of the FDA's studio, with its new Yamaha Rivage PM10 digital mixing console.
Chad Heupel, director of the FDA’s studio, with its new Yamaha Rivage PM10 digital mixing console.

Washington, D.C. (July 8, 2020)—When the U.S. Food & Drug Administration (FDA) studio recently purchased a Yamaha Rivage PM10 digital mixing console, the aim was to put it to use in producing the organization’s large-scale live and recorded programming.

“The FDA studio has always supported public meetings and presentations, usually held in a hotel ballroom using a portable field studio set-up,” said Chad Heupel said. Heupel manages the FDA’s television studio—one of the largest operated by a government organization in the Washington, D.C. area—used to create employee training courses and public service announcements. The studio also produces live and recorded programming to support various initiatives with other federal agencies in the drug and medical devices industries.

Yamaha Rivage Desks Get Rupert Neve RMP-D8 Control

“Since COVID hit, all our meetings have gone virtual,” he said. “We’re still doing the public webcasts, but they’re no longer in a ballroom with remote-controlled cameras and 25 panelists sitting around a U-shaped table. Now we have a dozen channels of Skype that we feed mix-minuses to and bring in independent audio signals from each source. And, where we used to set up 20 microphones in the studio, now it’s 20 different mix-minus channels and 20 different audio sources. The studio control room is still running the audio board, but instead of the images coming in on camera, they’re coming in on dedicated Skype channels.”

As a result, the Rivage desk has been assigned to new uses in a COVID-19 world. The console arrived in June, 2020, when Washington, D.C. and the rest of the world was in lockdown. Heupel and team haven’t had a chance to use the PM10 yet for traditional in-studio productions. Instead, it’s been adapted for remote and online production.

The PM10’s Dante support also contributes to the studio’s new capabilities. “This console combined with Dante gives us infinite flexibility,” he said. “With the COVID shutdown, the ability to handle 144 channels in and out on a single network cable was exactly what we needed to keep us functioning.”

The studio used a Yamaha MC7L console for years and had no issues with that board.  However, when considering future growth, expanding production requirements and elevating the FDA’s perception, Heupel and team landed on the PM10. They worked with Austin Wydrzynski of Washington Professional Systems, a Yamaha dealer, to configure the console and make sure it would be expandable for the future. Now, while not handling live sound for an in-house audience, the desk still contributes to the quality of the FDA’s productions. “Higher-quality equipment is going to give us higher-quality content,” Heupel said. “That will, in turn, add credibility to the FDA’s message. Reliability is also key. We’re often delivering critical public information, live, so any type of system failure would erode confidence in our ability to protect and monitor public health and safety. For the production workload handled by the FDA studio, the PM10 is a perfect fit in every way.”

Yamaha Professional Audio • https://usa.yamaha.com/products/proaudio/

Original Resource is ProSoundNetwork.com