Awave ‘SCROOGE’ Moving Sale
Awave is moving to a bigger and more beautiful premises in Hawthorn.
Awave is moving to a bigger and more beautiful premises in Hawthorn.
The result of nearly three years of development, the new VRS8 Virtual Analog interface unifies Slate Digital’s software and hardware into a robust audio ecosystem called The Virtual Recording Studio. We used a “no compromise” design approach, resulting in a fantastic-sounding eight channel audio interface that leads the industry when it comes to components, specs, price and performance.
EIGHT ULTRA LINEAR PREAMPS
The start of any signal chain is extremely important, which is why the VRS8 features EIGHT high bandwidth Ultra Linear microphone preamps. These are the same ‘blank canvas’ design as the VMS-One preamp from our award-winning Virtual Microphone System, enabling you to use our modeling software to recreate the authentic sound of famous microphones and preamps. Each preamp has its own high-quality metal knob, so you can easily set levels like a regular analog preamp – instead of using single logic controller knobs and menus, as some of our competitors have chosen to do.
INDUSTRY BEST CONVERTERS
The next step in the signal chain is the converter itself. Instead of using budget components, the VRS8 offers mastering-quality conversion by incorporating the newest AKM AK5578 converter chips – offering a whopping industry-best 124db of dynamic range on all 8 inputs!
HIGH QUALITY COMPONENTS
The sound of an audio interface relies on much more than the converter chip itself – all of the components in the audio circuit have a direct result on the audio quality. Keeping to our “no compromise” design aesthetic, the VRS8 utilizes high-quality WIMA capacitors for the entire audio path.
LOW LATENCY NATIVE
Part of the goal behind creating the Virtual Recording Studio was to provide a near-realtime experience when using our analog modeled plugins while tracking. In order to achieve that goal, we created a new technology called LLN, which stands for “Low Latency Native”. LLN utilizes a custom hard-wired converter chipset, which reduces managed components in the audio path and allows an incredible .7 milliseconds of latency at 96K (with a 32 sample buffer). This latency spec allows you to monitor through mic and preamp emulations while tracking, giving you the ability to hear your audio in context while still allowing you to change your mind later.
XTC AUDIO CLOCK
The audio clock is the heart of any recording interface, which is why it was important that the VRS8 had a killer clocking system onboard. We use satellite-grade XTC clocking technology, utilizing four temperature-compensated crystal oscillators for ultra-stable audio performance, keeping your audio jitter and distortion free.
DISCRETE HEADPHONE AMPLIFIERS
Most engineers listen to music on headphones when working in the studio, but headphone amplifiers are the first place that manufacturers usually look to cut costs when building an interface. Instead of using typical designs that cost mere pennies, we use discrete amplifiers to ensure that your headphones sound robust and clear for all of your monitoring tasks. Not only that, we also added in two separate monitor mixes and the ability to use the VRS8 as a speaker switcher.
CROSS PLATFORM LOW LATENCY PERFORMANCE
The world of audio interfaces is rarely cross-platform when it comes to performance, meaning that Mac devices (using Thunderbolt) usually far outperform PC interfaces (using USB). While USB can be effective for two-channel designs, it requires more CPU overhead to manage, resulting in higher CPU usage and latency versus Thunderbolt – and the problem just gets worse as you add more channels. Unlike any other interface on the market, the VRS8 offers both Thunderbolt and PCIe connectivity for maximum cross-platform compatibility. The PCIe performance is the same as Thunderbolt. You can also link up to 6 VRS8’s via Thunderbolt to achieve 48 inputs and outputs.
NATIVE MIDI IO
Our “no compromise” design goal extended well into areas that other manufacturers simply ignore, which is evidenced by the VRS8’s native MIDI IO. Unlike USB MIDI interfaces (where MIDI information has to fight with your mouse, keyboard, and other USB traffic) MIDI IO on the VRS8 never touches the USB bus. You can count on hyper-accurate MIDI timing, and stuck sustain pedals when tracking keyboards and synths should become a thing of the past.
The Slate Digital Virtual Recording Studio Ships With A Year License Of The Everything Bundle. The Everything Bundle includes all of the award-winning Slate plugins, worth thousands of dollars. Using the VRS8 and VMS Microphones, you’ll be able to track through world-class microphones, preamps, equalizers, and more in real time.
THE VRS EXPERIENCE
Now you can experience the Slate Virtual Recording Studio including all of our microphone models. Click below to go to the VRS Experience page where you can download all the Slate plugins including demos of our VMS microphone plugins, as well as a multitrack session recorded with VMS mics through our VRS8 interface. When you download the plugins and the session, you can load up a track, and experiment with different world-class virtual microphones from the mic locker. Hear the vintage FET47F, 414, and ribbon 121. Try the vocals through the vintage tube 67s, 251, 47s and more.
Get a pair of amazing Focal SM9 Studio Monitors for $5999.00, when you trade ANY eligible model from brands including ADAM, DYN-AUDIO, KRK, EVENT, GENELEC, EVE, BAREFOOT, QUESTED, FOCAL, MACKIE, PMC, UNITY AUDIO, YAMAHA.*
These professional studio monitors normally retail for $12,398 A PAIR!
Call Awave on 03 9813 1833 or email firstname.lastname@example.org to organise you trade in deal today, before stock runs out.
*All monitors traded must be in pairs. Subject to full working & cosmetic condition – offer is limited while stocks last
Dave Smith Instruments today announced the Sequential Prophet X, a new, bi-timbral, 8-voice-stereo (16-voice mono) synthesizer that combines samples and synthesis. At the heart of its sound is a newly developed engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators with waveshape modulation — all processed through analog filters.
Dave Smith commented: “The Prophet X is a powerful evolution of the Prophet series. Musicians have been asking for samples through real analog flters for a long time. We’ve given them not only that, but also all of the synthesis capabilites and awesome sound you’d expect from a Prophet.”
For sample content, Dave Smith turned to acclaimed sound developers 8Dio, known for pioneering “deep sampling,” a detailed approach to sampling that aims to capture all of the nuances and idiosyncracies of a particular sound or instrument. 8Dio co-founder Troels Folmann put it this way: “We’re known for going anywhere and everywhere with sounds. We embrace all sounds as music and feel that if you can capture the musical soul of a sound, you can make it into an instrument. The Prophet X gives musicians a very immediate and responsive way to access this expressiveness.”
The 150 GB sample library in the Prophet X includes numerous acoustic and electronic instruments as well as an extensive collection of ambient and cinematic effects. Users can shape the samples through loop manipulation, sample stretching, and the synthesizer’s many sound-sculpting functions which include 4 envelope generators, 4 LFOs, a deep modulation matrix, and other tools. The Prophet X also provides 50 gigabytes of internal storage for importing additional samples. Several sample libraries will be available from 8Dio at launch. Support for user-created sample content is planned for December, 2018.
A dual-effects engine provides multiple reverbs, two delays (standard and BBD), a chorus, flanger, phase shifter, rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix as can the samples themselves. A polyphonic step sequencer allows up to 64 steps and up to 6 notes per step, per layer. The Prophet X features a premium-quality, five-octave, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, USB support, and three OLED displays.
Dave Smith summed up the new instrument: “Composers will love the Prophet X for soundtracks and synth geeks will love it for its sound mangling potential. But it’s really for everyone because it covers such a wide range of sounds. The new analog filter design we’re using is not only fantastic for synth sounds, but also does something special for the samples.” Added 8Dio co-founder Tawnia Knox: “The Prophet X has almost infinite posibilites. But more importantly, it has a soul. It’s alive. You can touch your sounds in a different way than you ever could.”
Trade up your mixing console for an analog masterpiece Audient 4816 for just $13,999.
Contact us for more information.
There are a few limitations of the original Fairchild that we set out to address. First, we have made careful adjustments to the circuitry that greatly improve the lifespan and reliability of the tubes. Additionally, we’ve added a whole host of exciting new features that have never before been available on a Fairchild. The UnFairchild sports 6 original preset Time Constants and 4 variable Time Constants (attack and release), MS function, side chain processing, a true bypass, fine adjustment of left/right balance, user adjustable “DC Threshold”, and “Feed-Back” vs. “Feed-Forward” functionality. With the UnFairchild, we’ve made this extraordinary circuit flexible enough to handle pretty much every compression task on any style of music.
Checkout the Unfarichild 670M II and more below.
Based in Southern California, BAE build hand-wired transformer-balanced outboard recording gear faithful to classic English and American designs.
We stock all BAE Audio’s extensive product range here at Awave which you can view here:
On Saturday, May 11th, API Co-Founder Saul Walker (1969-2016) was honored with the Recording AcademyTMTechnical GRAMMY® Award for his life-long achievements in the music industry as an exceptional designer, engineer, teacher, and mentor. In attendance at the Hollywood Dolby Theatre ceremony were API President Larry Droppa and Mr. Walker’s family, including his daughter Yren Berry who accepted the award on his behalf.
Although Mr. Walker founded API 50 years ago in 1969, his designs remain the backbone of API and continue to influence the music industry. API could not be more honored to continue his legacy 50 years later. API would like to thank the Recording AcademyTM and the GRAMMY®Awards for recognizing Saul Walker’s influence and accomplishments within the music industry.
JESSUP, MD: Renowned studio designer Wes Lachot has commissioned a custom 32-channel API 2448 console, now available for demo, at his Overdub Lane Recording studio facility in Durham, North Carolina.
In operation since 1983, Overdub Lane Recording has hosted countless sessions for artists such as Krist Novoselic (Nirvana), Meat Puppets, Tift Merritt, Alejandro Escovedo, The Mountain Goats, John McLaughlin, and Superchunk among many others. Lachot worked as an Engineer/Producer at Overdub throughout the 80s and 90s before forming his extremely successful studio design and acoustic consulting firm Wes Lachot Design Group.
Lachot previously installed a 48-channel API 1608 console in Overdub’s control room, which he expanded from its original 16 channels over time, and with the addition of the 2448, he firmly stands by the API sound.
“We’ve installed many big name consoles in studios over the years,” says Lachot. “But I’ve always thought that the APIs sounded the best.”
For more on Overdub Lane, including contact information, please visit www.overdublane.com.
Established 50 years ago, Automated Processes Inc. is the world leader in analog recording gear, and features the Vision, Legacy AXS, 2448, 1608-II, and THE BOX recording consoles, as well as its legendary line of analog signal processing equipment.
An ASP4816 console has been installed in a new performing arts centre at Emmanuel College in Victoria, Australia. “I wanted to bring the best of both analogue and digital to our wonderful new space,” explains tutor and studio technician, Peter Sassmanshausen, who specified the desk after six months’ in-depth research.
“The Audient ASP4816 is a beautiful console with a small footprint and a massive sound,” he says. “It was by far the stand-out console even amongst more expensive models, nothing seemed close to providing the heart and soul this desk has. The preamps were raved about – these I can vouch for 100%. They contain a warmth and are yet transparent.
“The complexity of routing, the in-line architecture and the EQs are laid out so well and in such a user-friendly manner, I knew the students would immediately adapt to its intuitive and creative nature.” Which – although it is still early days – they certainly seem to have. Peter recalls their initial reaction to the new studio setup: “They were amazed to find this wonderful addition to what is already a great facility. It’s still all very new for them, but I do feel they are grasping the concepts of routing, gain staging and EQ much quicker on the inline console rather than ‘in the box’.
“It has always been my goal to get an analogue console in front of the students and somehow bridge the gap between the practicality of analogue and the sheer capabilities of the digital realm,” he says and has managed that with aplomb. Integrating the Audient desk with the Slate Raven MTI2, which he describes as “a nice, modern twist”, it all fits neatly into a modified Argosy 90 series workstation.
As well as being integral to the music production course – all the students will be using the desk for assessments over the course of the year – the studio has already been used to record voiceovers for film and video publications for the college. Peter describes this as “an exciting process for both the students involved in performing the voiceovers and for those helping to record them.”
The brand new performing arts centre, The STAGE (Student Theatre for Arts and Growth at Emmanuel) opened in November 2018 and comprises a 250-seat theatre with tiered seating, band rehearsal areas, studios for individual tuition, a dance studio, a large multi-purpose classroom as well as the professional standard recording studio. “Since the opening of The STAGE we have had increased enrolments to study VCE VET Cert III in both Performance and Production,” says Peter who also tells us that the College is training several technicians to cater for outside bookings. “We are more than happy with the interest and outcome.”
He concludes, “I’m very privileged to be able to use and teach with such an iconic and outstanding console and even more excited to continue discovering everything the ASP4816 has to offer.” Audient wishes him and Emmanuel College every success in the future.
Rejoice, the unofficial start of Summer 2019 has arrived – Happy Memorial Day Weekend, everybody! We are very excited to announce that we are kicking this Summer off right with a completely updated version of the Neuro Mobile App. In keeping with our commitment to create the best possible user experience, we have completely revised the App’s look and feel. The updated Neuro App features a more intuitive control interface, in-depth pedal information pages, enhanced preset search capabilities, profile following, and more. If you don’t already have the Neuro Mobile App you can check it out for free at the App Store and Google Play – just search “Source Audio Neuro.”
And let us know what you think of the updates – even the criticisms. We are always looking for ways to make our gear more awesome.
The C4 Synth – our Eurorack modular synthesizer in a box – continues to edge closer and closer to completion. We just posted some fresh images of the Neuro Desktop’s C4 editing panel as well as a block diagram – they will give you some quick insight to the massive tonal possibilities beneath the hood of this pedal. Some of the cool features in the C4 Synth include four parallel Voices with a choice of three types of synth oscillator wave shapes, a synchronized pair of programmable 16 step sequencers, and over 20 modulating filters. The C4 is our most ambitious pedal to date and we cannot wait to hear the sounds you create with it.
If you’re anything like us, you look forward to Thursday because of (A.) its close proximity to the weekend and (B.) the inevitable release of another edition of the JHS Vlog. We had the great pleasure of meeting Josh Scott – the brilliant mastermind behind JHS pedals – at Winter NAMM 2019. After getting to know each other and expressing some mutual admiration we agreed to engage in a bit of pedal swapping. We shipped out a few Source Audio pedals and in about a week we received Josh’s Bonsai Drive (9 Tube Screamers in one box!) and the JHS Whitey Tighty and Pulp n’ Peel Compressors – killer, killer pedals.
And low and behold, a couple of weeks ago the Ventris Dual Reverb showed up in JHS’s Extraordinary Reverbs Vlog – you gotta love that. In the video Josh pulls some really great sounds from some really great reverb pedals, including a look at the Ventris’ Offspring engine. Enjoy!
Summit’s digital New Oxford Oscillators offer subtractive, FM and wavetable synthesis, and feed into genuine analogue dual filters, distortion and VCAs. The multitimbral engine enables merging and combining of two complete and independent patches, while up to 16 simultaneous voices deliver enough harmonic depth for even the richest of pads.
The best sounding synthesiser Novation has ever made
Summit doubles the power of Peak’s digital New Oxford Oscillators up to 16 voices and two parts, and adds a wealth of new features and a premium-quality five-octave keyboard. A synth much greater than the sum of its parts, it gives the serious producer or performer everything they need to design and play stunning basses, leads, arps, pads, effects and beyond.
Totally tactile sound design
Summit takes Peak’s architecture and workflow to new heights, with a swathe of extra front panel controls for hands-on wrangling of FM, effects, LFOs and more; dual filters with six LP/HP/BP combinations; audio input for processing external sources with the onboard effects; and auxiliary audio outputs.
The true stereo analogue signal path comprises dual analogue multimode filters, analogue VCAs and three stages of analogue distortion – pre- and post-filter, and post-VCA. With roots in the legendary OSCar, via Bass Station II, Summit’s analogue credentials are truly impressive.
Two Peaks in one synth – and then some
The 16-voice, multitimbral engine combines two simultaneous patches. Split or stack them for keyboard-divided or layered sounds, or switch the entire synth between two separate and independently controlled setups, perhaps using one as an effects processor for an external input source.
Also, Summit can use all your Peak patches
Our best keyboard ever
Five-octave, semi-weighted, velocity-sensitive keyboard with aftertouch – the same premium-quality keybed as introduced with our SL MkIII controller keyboard.
New Oxford educated
Digital New Oxford Oscillators are capable of subtractive, FM and wavetable synthesis. Waveforms are generated directly on the FPGA (Field Programmable Gate Array) chip, using 24MHz bitstream processing; and adjustable drift and divergence emulate the inherent and often desirable instability of analogue circuits.
True analogue filters and distortion
The New Oxford Oscillators output to true analogue filters, with origins in the classic OSCar synth, and three stages of analogue distortion give you ample saturation options.
Summit’s dual filter is switchable between six paired combinations of low-pass, high-pass and band-pass modes at 12dB/octave, or any single mode at 24dB/octave, for a broad range of sonic possibilities.
Hands-on sound design
Packed with modulation sources for deep sound design – LFOs, envelopes, Animate buttons and more. Extended controls see
FM parameters, envelope loop switches and LFOs 3/4 moved from Peak’s menu system to the front panel, for easy programming and tweaking.
Audio in and auxiliary audio out
Hook up external instruments for processing with Summit’s onboard effects, while using it as a synth at the same time.
Onboard reverb, chorus and delay effects are hosted on the FPGA. They’re also controlled directly from the front panel, and available as modulation targets in the dedicated FX Mod Matrix.
Noise -> filter cutoff frequency
50 control knobs
Metal magnetic inset end pieces
Moog Matriarch is a patchable 4-note paraphonic analog synthesizer with a built-in Sequencer, Arpeggiator, stereo Ladder Filters, and stereo Analog Delay. Create rich evolving chord patterns immediately with “no patching required”, then tap into an abundance of inspiring textures, new sounds, and an endless supply of happy accidents through Matriarch’s 90 modular patch points. Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch is a catalyst for creative ideas and a medium for multidimensional expression.
● Mono, duo, and 4-note paraphonic playability
● Stereo analog delay w/ up to 700ms of MIDI sync-able stereo or ping/pong style repeats
● 256 step sequencer w/ up to 4 notes per step and 12 stored patterns. (Can be decoupled from Matriarch to independently sequence external gear)
● Arpeggiator with selectable modes (Order, Forward/Backward, Random)
● Semi-modular analog synthesizer – no patching required
● 90 modular patch points for endless exploration
● Expressive 49-note Fatar keyboard w/ patchable velocity and aftertouch
● 4 analog oscillators w/ selectable waveshape and hard sync per-oscillator
● Full-range analog LFO with 6 selectable waveshapes
● Dual analog filters with parallel (HP/LP), stereo (LP/LP), and series (HP/LP) modes available
● Dual analog ADSR envelopes
● Dual analog VCAs
● 3x bipolar voltage controlled attenuators with ring mod capability
● 2×4 parallel wired unbuffered mults
● Additional simple analog LFO useful for adding modulation to delay, filters and VCAs
● 1/4“ external audio input for processing guitars, drum machines, and more through Matriarch’s analog circuits
● Stereo ¼” and 3.5mm Eurorack level audio outputs
Kenny Larkin aka Dark Comedy is an American techno producer from Detroit. He has been described by Allmusic as “massively influential” on American, British, and German techno. To this day Larkin is perpetually touring around the world and producing tracks in his Los Angeles studio. His long career and insatiable pursuit for perfection makes him a master of his craft.
To be a master of your craft is to live, sleep, breathe what you do, to study the greats that came before you, to learn the trade anyway you can, listen to people that you look up to, listen to their stuff. Try to duplicate what they do in your own way to get inspired and to put your own little spin on it.
I was literally blown away by those little speakers, how amazing the bass was and actually the whole range
I actually went to the Air Force in 1986 and then came back and heard this weird sound in the clubs, electronic sounds. Didn’t know what it was. I was used to Kraftwerk and those kind of bands that did music with synthesizers, but never did I hear this type of dance music type stuff. Anyway, I hooked up with a guy named Richie Hawtin who was actually DJing in downtown Detroit at one of these clubs and we became friends and found out that once I started going to these clubs that the music was actually coming out of the city. Everything that you hear today on the radio or EDM is kind of like a removed version of dance music that started in Detroit. A lot of these top DJs, EDM DJs they look to us as their influences, so, yeah, that’s how we started.
Takes me a while to write music. Even though I do dance music, I still take pride in trying do something that’s going to be considered different than what you actually hear on the radio or on whatever these other artists are doing, electronic music artists. The inspiration can come in two hours and you finish the track or sometimes it could take days or sometimes it can take months. It’s literally like that for me. I can’t go in and just turn on gear and do a drum pattern and just go off that drum pattern. It’s really all about feeling for me.
I heard about Barefoot Sound on the forums. I was looking for some new monitors, so I started there and I started redoing the whole studio. I heard them and fell in love. I was literally blown away by those little speakers, how amazing the bass was and actually the whole range. They’re going to give you what you put into them. If you’re doing some nasty sounding stuff, it’s going to reveal that and that’s another thing that’s obviously important. But, yeah, the size and the technology that’s behind these speakers are amazing, especially with the dual woofers, which cancels out all the vibration, which is amazing. – Kenny Larkin, American Techno Producer & DJ
“Kazbar and their whole team have put together a wonderful studio.
It’s incredibly flexible whether it be for tracking, mixing or working to picture in all of the rooms at once or independently. Not only that it has a wonderful sound and their care, precision and unrivalled advice is reflected in every aspect.”
– Nick Lloyd Webber –
Kazbar systems have recently completed the bespoke design and construction of a new multi-room recording facility for Nicholas Lloyd-Webber.
Nicholas has been a client of Kazbar Systems’ since our involvement in his previous Studio at the Palace Theatre on Shaftsbury Avenue. Due to the ongoing renovation of the Palace Theatre, Nicholas required a new long-term solution.
The host structure for the Studios is located on basement level with two adjoining smaller rooms and meeting room. The structure presented a number of challenges, including; close proximity to domestic and office accommodation, a large steel smoke duct and a number of water and sewerage pipes.
Photo 1: Control Room, Photo 2 Control Room looking towards Recording Room 1, Photo 3 Recording Room 1 looking towards Rooms 2 & 3 and Photo 4 Within Recording Room 2 looking towards Room 3.
The Design Brief
The fundamental requirement of the project was to provide the best use of available space whilst maintaining a high level of sound isolation and acoustic accuracy.
To compensate for the lack of natural daylight, Kazbar provided the Client with a light and relaxed aesthetic finish, creating a productive environment facilitating longer sessions.
Kazbar Systems’ in-house design team provided a number of layout schemes for review by the client. The final design provided an isolation booth within the Control Room and two smaller multi functional isolation booths that can be used as additional Live Rooms or as writing and production studios. The final design also integrated fire protection, access control and security systems.
Nicholas decided upon the Audient ASP8024 HE Console with the DLC option for enhanced DAW control, having used the previous model in the Palace Studio for some time. Kazbar Systems recommended the Genelec 1238A Smart Active Monitor speakers, which offer incredibly neutral monitoring at high sound pressure levels. The Control Room was specifically designed around the console and monitors to provide optimal symmetry and sonic accuracy.
Early construction work of the Control Room & Recording Room 1
The cabling specification for the Studios included analogue, digital, video and data ties to each area, including USB, CAT6 and HDMI. This allows Nicholas to send video to any area within the complex and to use each area independently or simultaneously for larger and more demanding sessions.
Custom connection panels were designed and installed into the Control Room and Isolation booths. Booth 2 and 3 interconnect so they can function as an additional independent self contained Control Room and Isolation Booth.
Connection plates for surround speakers were also installed into the Control Room.
Construction and Project Management
Dave Eccleston, Kazbar Systems Technical and Project Manager managed all aspects of the day today construction and scheduling of the project, liaising with the Client, the Designer, the Kazbar build team and Client direct contractors to ensure the project ran smoothly and was delivered within budget.
Off-Site Equipment Setup and Configuration
Offsite at Kazbar HQ, Technical Assistant Oda Holm Strand installed and soak tested the Mac Pro host computer including; Avid Pro Tools Ultimate, Waves Diamond Bundle, Sonnox Elite Bundle, Native Instruments Komplete and Arturia V Collection 6. Four LCDs Displays were also supplied and installed: one Samsung 50” Main Display, two Samsung 30” Displays and one Samsung 19” Display which was VESA Mounted to the Audient ASP8024 Console.
Further recording hardware installed and supplied by Kazbar Systems included Focal Trio Active Studio Speakers, two Universal Audio Apollo 16 MKII Thunderbolt Interfaces, a Kahayan 12K72 Dual Mic Preamp, a TK Audio BC1 Stereo Compressor, two Neumann U87 Studio Set Microphones, two Latchlake Mic King 1100 Heavy Duty Microphone Stands and various mic stands and music stands. To add a ‘close mic’ recording sound, we also supplied two Kaotica Eyeball Microphone Shields.
Photo 1 Control Room Rear Wall inc Absorbers, Photo 2 Control Room Rear Wall to Room1, Photo 3 Room 1 inc Window to Control Room and Photo 3 Room 2 Window to Room 3
On-site Installation and Commissioning
Once the Studio construction had been completed, the Kazbar team then began the onsite installation of the equipment and cabling. This included the commissioning of the Audient console, the installation of the soffit-mounted Genelec monitors, the DAW system, and outboard equipment and patchbays.
Kazbar supplied two custom-built dual 24U Racks for the Control Room, which were mounted on top of each other. For Booth 2 we installed a Zaor MIZA 61 Studio Workstation, and for Booth 3, a Zaor MIZA Junior Work surface. Nicholas also brought the equipment from his previous studio which includes two Summit TLA 100 Limiters, a Summit EQP-200B Stereo EQ, a Lexicon PCM70, 90 & 480L Digital Reverbs and a Focusrite Red 1 4 Channel Mic Preamp, all of which were included in the patchbay and cabling design.
Photo 1 Control Room, Photo 2 Genelec 1238 & Focal Trio Active Speakers and Photo 3 Recording Room 1 into Control Room
Testing and Results
Sound transmission tests were conducted between the Control Room and Isolation Booths and the entire Studio complex and residential areas. All specified isolation values were either met or exceeded by Kazbar Systems.
Genelec product specialist Andy Bensley optimized the performance of the Genelec monitors using the proprietary Smart Active Monitor system and found the Control Room to have a particularly flat response.
Photo 1 Recording Room 2, Photo 2 Recording Room 3, Photo 4 Kactica Eyeball on Neumann U87 and Photo 3 Recording Room 1 Audio Connection Panel
Training and Ongoing Support
Dave Eccleston has returned to the Studio to provide one to one training to the in-house engineering team, along with Nicholas Lloyd-Webber, to ensure that the commercial operation of the Studio runs efficiently and productively.
Nashville, TN (April 10, 2019)—A highlight on country act Old Dominion’s current arena tour has been the performance of a new song, “One Man Band,” with the moment underlined by the group using an Edwina vocal microphone from boutique mic manufacturer Ear Trumpet Labs.
The large-diaphragm condenser Edwina model was selected for the quieter moment in an otherwise high-energy set, as lead vocalist Matthew Ramsey is joined by lead guitarist Brad Tursi to share the Edwina microphone for vocal harmonies.
FOH engineer Ian Zorbaugh noted, “The show designer came to me looking for a ‘vibey’ microphone for two of our vocalists to sing into together. I wanted to give the designer a look he liked, while also achieving a sound quality that I was happy with. I’d heard great things about the sonics of all of the Ear Trumpet products, and obviously, they have a very distinctive vibe. The Edwina sounds great; it has a very detailed, open sound while also being very stable. We use it at the end of a 40-foot thrust, well in front of the PA, so the stability was another key element in making this particular moment in our show a success.”
Lead singer Matthew Ramsey notes, “Playing a new song in our set comes with the risk of losing the full attention of our audience because they aren’t familiar with it. On top of that, it’s somewhat of a ballad. We wanted to make sure this song had its moment [so] when the light hits that microphone at the end of the stage, the crowd instantly knows something special is about to happen, Not only is it great sonically for catching the mix of Brad Tursi’s vocal and mine together, it just looks cool, too.”
Ear Trumpet Labs • www.EarTrumpetLabs.com