Los Angeles, CA (June 11, 2021)—Musicians have wanted to collaborate online with no syncing issues as long as the internet been around, and the latest service looking to conquer that challenge is Groovesetter, a real-time, multichannel audio collaboration platform for streaming, performing and recording over high-speed internet.
Noting that it offers “ultra-low latency, the service allows its subscribers to connect and interact from up to eight remote locations, allowing music creators to play, stream and record together from any location and capture digital data of the music production.
Groovesetter lays out simple interactive visual routing of audio signal flow and flexible connection settings. Optional virtual channels allow for cable-free, multi-channel connection between DAWs and OBS, all in the same session. With the low latency solution, it allows users to create combined interactive experiences on platforms such as Twitch, Facebook Live, & YouTube Live. Groovesetter’s metadata module makes the capture of information for each music session possible at the source of its creation.
Rouslan Ovtcharoff, CEO and co-founder, noted, “We’ve simplified a very complex connection process to an intuitive username and password experience and built useful tools into the platform that every creator will appreciate.”
A core team from Groovesetter’s technology partner BULPROS developed the platform. “We are excited to partner with Groovesetter and bring our deep technology expertise in the software development and the cloud infrastructure field to the creation of such an amazing audio platform for the music industry. I am thrilled with the fast and wide adoption of the Groovesetter platform by professionals and enthusiasts in the music field alike,” says Ivaylo Slavov, CEO of Bulpros.
“Some microphones sound fantastic on one singer and don’t sound fantastic on a similar singer,” says recording, mixing and mastering engineer and producer Ronan Chris Murphy. “That’s just because of a particular resonance in the voice of one singer compared to the other.”
Murphy can generally predict which microphones will work on a singer after hearing them sing or listening to previous recordings. He’s worked with a wide range of artists, including Gwar, King Crimson, Terry Bozzio, Steve Morse, Pete Teo and Jamie Walters, as well as on video games titles such as Assassin’s Creed: Brotherhood and Mafia III, so he has experience across multiple music genres. Even so, he says, “There are times where, because of various factors, predictions can be wrong.”
To zero in on the best choice from among the available alternatives, Murphy, who is also founder of Recording Boot Camp, a recording education business, will have the vocalist try as many as six microphones. “I always try my best to set up double-blind tests,” he says, because the eyes can deceive the ears. “You’re absolutely going to think the fancy Neumann sounds better—but in reality, that’s not always the case.”
None of the mics would be optimally positioned in an array of six, so Murphy tests two at a time through a matched pair of mic preamps. Eliminate one mic, replace it with the next choice, set up the double-blind again and continue the process. “You can get though six mics in under half an hour,” he says. “Especially if you’ve got somebody to help you.”
However, the quality and performance of a particular microphone is only part of the equation. There are two more important things to also keep in mind, he says: First, does the sound of the microphone suit the record that is being made? And, equally and perhaps even more importantly, he says, “Will this particular microphone get a better performance out of the singer?”
There are two sides to the performance issue, too. A singer may have spent the last several years handholding a dynamic mic playing live with a band before they cut their first record. “Now you’re going to try and capture on record that amazing thing they do. A lot of times, you put somebody in front of the big, shiny mic with headphones on and they’re out of their comfort zone,” says Murphy.
Conversely, a high-end mic can elevate a singer’s performance. He recalls a project where the shootout ended in a dead heat between a vintage Neumann he had rented and a Shure condenser. The singer had talked excitedly all week about using the Neumann. “So we spent a little extra money so that he could step up in front of that big, shiny microphone like he’d seen his idols do. It was worth it to get a better performance out of the artist.”
Check the microphones throughout the singer’s dynamic range, he also urges. Worse case, he says, “If I find somebody is great on one mic in the choruses and great on another in the verses, I’ll put up two mics, track both, then cut between the two in the mix.”
Even Murphy has been surprised by the results of shootouts, and advises checking any preconceptions at the door. “People are surprised that moving coil dynamics can beat out large diaphragm condensers or that an inexpensive condenser might beat out a more expensive one. There are times when a $100 microphone can sound significantly better than a $10,000 microphone. The great thing about double-blind testing is that it removes all that bias.”
The Seongnam Arts Center is a cultural hub in South Korea that prides itself on being a state-of-the-art, multi-purpose performance facility. Ease of use, durability and reliability of equipment are what make one venue the preferred choice over another for visiting performers, and this mounting pressure for technological excellence in Korea was a major driving force behind the Arts Center’s decision for an audio overhaul. Having recently installed a new audio system, the 1,808-seat capacity focused on an intercom systems upgrade comprised of Clear-Com’s®HelixNet® Digital Network Partyline and FreeSpeak II® Digital Wireless Intercom. The new system would be implemented across three performance halls: the Concert Hall, the Ensemble Theatre, and the largest of the three, the Opera House.
Seongnam Arts Center partnered with One-Up Solutions for the integration of the intercom upgrade, but there was some trepidation over transitioning from the existing analog system infrastructure, to a fully digital intercom system—a growing trend in Europe and other Western markets. One-Up referred them to Clear-Com’s work with the 2018 PyeongChang Winter Olympics, which had designated Clear-Com equipment as a standard by the International Olympic Committee (IOC), helping to put their minds at ease.
The venue had been using an analog intercom system that was already operating at max capacity, and demand for a bigger system, with more channels and more flexibility, was only continuing to grow. Andy Jae Hyung Ryu, Chief Technical Director of One-Up Solutions explained, “Based on the requirements of international and big performance teams we can predict that performance venues in Korea will need to provide larger systems which will mean that digital intercom systems will have higher demand…so they decided to upgrade.”
In the Opera House, the digital intercom system includes a HelixNet system and a FreeSpeak II system. The design for the new digital IP system took into consideration the existing cable infrastructure, and they were able to upgrade their analogue system to a digital system with 12 channels (64 endpoints) while still using the traditional three-pin XLR cable infrastructure that was already in place. A HelixNet HMS-4X main station is installed on the Stage Manager desk, backstage, and the desk station unit and belt pack are configured in various channels like sound, lighting, video desk, and broadcasting.
A FreeSpeak II FSII-Base-II wireless base station, linked with HelixNet, is also installed on the Stage Manager’s desk backstage. The FreeSpeak II wireless intercom system connects 25 wireless belt packs via several 2.4GHz antennas distributed throughout the venue for seamless roaming.
Deputy Director of the Seongnam Art Center Stage Management Department, Lee Byung-kook, comments on the effectiveness of implementing high performance intercom into the venue’s overall technology upgrade. “When everyone can communicate clearly and in real-time, it comes through in the performance. FreeSpeak II and HelixNet allow us to synchronize all aspects that make up the performance — lighting, sound, video, talent and more.” Seongnam Arts Center is one of the first venues in Korea to upgrade to a fully digital intercom system, making it a truly superior multipurpose performance space.
Baton Rouge, LA (July 7, 2020) — PreSonus Studio One 5 was introduced today, incorporating new elements into its long-running DAW including the introduction of Show Page, a new live performance environment; an extensive revamping of the Native Effects plug-in set; expanded mixer scenes; and more.
The Show Page environment allows users to essentially run a show from a single computer, combining tracks playback with patch management for virtual and real instrument players inside a single window. Studio One Song channel strips, mixdowns, and virtual instrument patches can be directly exported to the Show, while setlist items can be arranged and reworked in the moment. Providing a full-screen performance view, adaptive real-time controls and a large meter, the Show Page is intended to help users play with backing tracks, control virtual instruments, run plug-ins as a virtual effects rack and more.
Studio One’s Native Effects plug-in set under version 5 adds new features and improvements for many effects, along with a new interface with separate dark and light themes. All dynamics effects now have sidechain inputs, and plug-ins with a filter option now have the filter added to the sidechain input as well, enabling more control over the sidechain signal and eliminating the need to add a separate filter up front. Several plug-ins with a Drive parameter now have a State Space Modeled drive stage, aiming to provide analog-sounding saturation. The Pro EQ plug-in adds a linear-phase low-cut filter, 12th-octave spectrum display, and input and output meters with adjustable range and peak hold. Several other plug-ins have received have been updated to improve sound and/or usability.
Snapshots of the entire mixer can now be taken at any time, and can be recalled in a variety of different ways with various options. In addition to limiting scene recall to specific parameters, recalling a scene may be limited to selected channels only. A dedicated Listen bus has been added, letting users monitor Solo signals through a separate output channel or tune their room using calibration plug-ins while leaving the main mix unaffected.
Other new features include audio Clip Gain Envelopes, providing additional gain control to an audio clip. Meanwhile, aux inputs now allow external audio sources to be fed directly into the mixer without requiring an associated track, so external instruments can be used like virtual instruments within Studio One. Version 5 also adds support for key switch articulations, chasing external timecode (MTC), MPE and MIDI Poly Pressure support, recording in 64-bit floating-point WAV format, and cross-platform support for hardware-accelerated graphics.
A new dedicated Score View for the Note Editor, based on PreSonus’ Notion music composition and notation software, is available on its own or as a companion side-by-side view with the Piano and Drum views, allowing users to enter, view, and edit notes in standard music notation.
Studio One 5 Professional is available with a street price of $399.95; updates from Studio One 4 Professional are $149.95. For those subscribing to PreSonus Sphere, the new Version 5 is readily available as one of the numerous offerings there. Sphere membership rates are available at monthly ($14.95 U.S.) or annually ($164.95) rates.
Studio One Artist (Street price $99.95; update price: $49.95) now has built-in support for VST and AU plug-ins, ReWire, and PreSonus’ Studio One Remote control software for iPad and Android tablets. These features were formerly available for Studio One Artist only as separate Add-ons.