Focus on Live Sound at 131st AES Convention Features Robert Scovil, Dave Natale, Dave Gunness, More

The 131st Audio Engineering Convention, taking in place in NYC at the Jacob Javits Convention Center Thursday, October 20 through Sunday, Oct. 23, has announced an expansive schedule of Live Sound events.

With touring and live music a critical component of the professional audio sector, a palette of FOH stars, informative technical panels and essential production tips has been arranged by Live Sound Co-Chairs Henry Cohen, a leading RF expert, and top FOH pro Mac Kerr.

According to the AES, their Live Sound Events will include:

“ROBERT SCOVIL INTERVIEWS DAVE NATALE: With a cumulative 60+ years experience on the road around the globe for artists ranging from Tom Petty and Rush to Prince, Tina Turner, Lenny Kravits, The Rolling Stones, Yes, Fleetwood Mac, Madonna, Joe Cocker, Motley Crue, Lionel Richie, and John Mellencamp, these two FOH giants have writ their names large on the live sound landscape. This once in a lifetime dialogue will explore the ultimate live mixing experience. From technology idiosyncrasies, happy and not so happy accidents, and unforgettable performances, these two pros have seen, heard and mixed it all. And, done it live, with no retakes!

DSP ALGORITHMS: Rich Frembes, Fulcrum Acoustics; Panel to include Dave Gunness and other industry experts: It’s rarely discussed, but practically no digital loudspeaker processors share the same filter definitions. As a result, cross-platform, DSP agnostic, optimal crossover settings do not exist. This expert panel will discuss methods of compensating for DSP filter shape variability, by creating a precise set of crossover and equalization filters. DSP settings conversion and the need for a loudspeaker filter definition standard will be addressed.

DATA NETWORKS AS A DIGITAL AUDIO TRANSPORT MECHANISM: Josh Evans, Lab Gruppen: How can audio and control data be shared, and how can we facilitate audio routing over a network? Several current audio network protocols and proprietary topologies will be reviewed.

SUBWOOFER ARRAYS AND BEAM STEARING: Jim Risgin, On Stage Audio Low frequency energy control via array design is an increasingly ‘hot topic.’ The problem of excess low frequency energy will be addressed with regard to subwoofer and array design, placement and DSP control. Methods of improving coverage for the audience, and eliminating bass build up on and off stage will be explored.

10 THINGS TO GET RIGHT: Tom Young, leading independent audio engineer/systems integrator, will discuss the differences and similarities between houses of worship, and lay facilities. A special emphasis will be placed on issues concerned with meeting the needs of these analogous yet disparate types of venues. Young will also lead INSTALLED SYSTEMS IN AUDITORIUMS AND HOWS: This presentation will focus on achieving optimal technical performance for these interrelated installations.

MULTI-TRACK RECORDING FOR THE LIVE SOUND ENGINEER: Sam Berkow, SIA Acoustics. The commitment to multi-track record their live shows to disk is a rapidly expanding trend among performing artists. The impact of this increasingly important task places an additional burden on the FOH and monitor mixers. It can also impact the sound of the show itself. A panel of experienced sound mixers will address the various ramifications of this development.

AC POWER AND GROUNDING FOR THE LIVE PERFORMANCE: Bruce Olson, Olsen Sound Design This panel will discuss how to properly and safely provide and distribute AC power in a performance venue, both for installed and temporary applications.

PRODUCTION WIRELESS SYSTEMS – PRACTICAL APPLICATIONS AND PRACTICES: James Stoffo One of the industry’s premiere RF coordinators, with numerous Super Bowl’s to his credit, Stoffo will moderate a panel of leading manufacturers in a discussion of RF Techniques. Topics will include: Proper Radio Spectrum Band Planning; Antenna Specification and Techniques; Optimizing Audio Gain Staging; Scanners and Analyzers; Wireless Accessories; Squelch Threshold; RF War Gaming; Tips and Tricks for Maximum Success. This is a rare opportunity to learn from a recognized RF Master.

THEATRICAL MICROPHONE DRESSING: Mary McGregor, IATSE Local 1 Fitting actors with wireless microphones and transmitters has evolved into a true art form. The process encompasses concerns for actor comfort, the safety/security of the electronics plus while achieving optimal sound quality with minimal detrimental audio effects and maintaining the visual illusion. One of the most widely recognized artisans in the field, Ms McFadden will provide hands on demonstrations of basic technique along with time tested “tricks of the trade.”

TVBDs & GEO-LOCATION DATABASES; AN IN-DEPTH PERSPECTIVE ON THEIR IMPACT ON WIRELESS MICROPHONE USAGE: Henry Cohen, Production Radio With new FCC rules for television band devices, wireless microphone operations and geo-location databases now in place, the first databases are due to go live third quarter 2011. An expert panel will discuss database operations; registering wireless microphones; FCC rules, and best practices for deploying wireless mics (and similar equipment) in this new environment. Participants will include: database administrator candidates; a TVBD manufacturer, and a TVBD consultant; telecommunications counsel; wireless microphone manufacturers, and entertainment industry RF coordinators.

THINGS I LEARNED ON THE BROADWAY LADDER LESSONS FOR EVERY AUDIO CAREER: Jim Van Bergen independent sound designer/mixer Learn what the pros learned the hard way. What they don’t teach you in school and what applies to theatrical audio at all levels: high school, college, community, regional, and commercial. Industry secrets, practices to keep, and ways of working that will keep you working. A session to help guide the next generation’s ascent up the ladder.”

Irv Joel & AES New York Section Event Provided Insight on Elton John, Judy Garland, Audio History

On April 12 in NYC, the Audio Engineering Society (AES) New York Section hosted “An Evening With Irv Joel: The Man Behind the Scene” at  The New School for Jazz Performance.

As one of NYC’s most experienced audio engineers, Joel gave host Ron Ajemian of Owl Fiber Optics and the audience insights into his massive scope of work, beginning with his work at Capitol Records Studios from 1958-1969, where he collaborated on the development of stereo recording.

Highlights of the evening included up close and personal perspectives on recording with a young Elton John on his first recordings at A&R Studios; the classic Judy Garland Live At Carnegie Hall date; Liza Minnelli’s “Liza With A Z” live show; and his 50+ years of service to the AES.

Event Alert: AES New York Section Presents “An Evening with Irv Joel” Tuesday, 4/12

On Tuesday evening, April 12 the Audio Engineering Society (AES) New York Section will host “An Evening With Irv Joel: The Man Behind the Scene.”  The event is free and open to the public, and will take place 6:30-8:30 PM, at The New School for Jazz Performance, 55 West 13th Street.

In this evening with one of NYC’s most respected and experienced audio engineers, Ron Ajemian of Owl Fiber Optics will host, and special guests Albert Grundy, John Chester, and Robert Auld will also be on hand. Capitol Stereo samplers (circa 1958) will be provided courtesy of Robert Auld, and picture slides are courtesy of John Chester.

Irv Joel participated in the early development of stereo recording at Capitol Records. In 1969, he became Chief Engineer at A&R Recording. In 1974, he formed his own company, Irv Joel & Associates. With numerous career highlights, and many notable accomplishments in his 50 years of service to AES, Irv Joel is a invaluable resource to the NYC recording community and the world of sound.

Full Coordinates:

Tuesday, April 12, 6:30-8:30 PM

Audio Engineering Society (AES) New York Section hosts “An Evening With Irv Joel: The Man Behind the Scene.”

The New School for Jazz Performance, 55 West 13th Street

Free and open to the public

The SonicScoop Year in Review: Top NYC Music Business News and Trends of 2010

THE FIVE BOROUGHS: 2010 has been busy all right. For anyone involved in New York City’s expansive business of music – producer, publisher, entrepreneur, engineer, artist, and many more – the environment remains fast-paced, ultra-competitive and constantly changing.

With 2011 looming, SonicScoop looked for the news, trends and topics that stood out to us over the past 365 days.

In audio post, it was grow or die in the uppermost echelon. The biggest facilities, including hsr|ny, Nutmeg, and Sound Lounge made serious expansions into audio and/or video:

Sound Lounge opened an ADR Stage and multiple studios.

Nutmeg Post added a strong team and facility when it soaked up Soundhound.

The big post house Mega Playground built out audio capabilities.

Northern Lights added a 5.1 audio mixing suite.

Video house Click3X reversed the trend and added their own audio suite.

Celebrating 35 years in business, hsr|ny continued to expand as a full-service video and audio post facility.

Large and mid-sized recording/tracking/mixing studios kept making capital improvements and expanding:

Premier Studios took over the 8th floor at 723 7th Avenue.

Engine Room opened up its penthouse studio.

Stadium Red expanded with a new studio for Just Blaze and a mastering suite.

Platinum Studios added Augspurgers to Studio K.

Sear Sound set up the Moog-centric Studio D.

Tainted Blue swapped out its SSL for a Euphonix (nee Avid) System 5.

And props to Electric Lady for marking its 40th Anniversary.

Converse (yes, the shoe company) has an interesting business plan for the Rubber Tracks studio it’s going to open in Williamsburg in 2011: no-cost recording.

Advanced smaller studios – independent and within larger facilities — and producer rooms also opened up at a peppy pace:

Chris Theberge’s Music Works arrived on the Upper West Side.

The former One Point Six in Williamsburg was reborn as Three Egg Studios.

Manhattan Center Studios launched The Fuse Box with Public Enemy’s Brian Hardgroove.

Avatar opened up its Studio W writing room.

Sisko’s Min-Max Studios opened up in midtown.

Marc Alan Goodman announced an ambitious new expansion for Brooklyn’s Strange Weather, then blogged about the buildout – step by step – for SonicScoop.

Guitarist Justin King moved his Vinegar Hill Sound from Portland, OR to DUMBO, Brooklyn.

Avid capped off a furious year of reinvention and new products with the release of Pro Tools 9.

Music houses and composers still had a ton of TV, film and video game work to go after and win:

Joel Beckerman of Man Made Music continued to make NYC a TV music powerhouse.

Composer Peter Nashel turned ears everywhere with his work for shows like Rubicon.

Outfits like Expansion Team scored for networks such as the Biography Channel.

Tom Salta understands how to get chosen to score for games like Prince of Persia and Red Steel 2.

Production music and synch licensing remained a solid business, especially for those who got in at the right time or had a smart approach.

NYC’s Kingsize Music was acquired by 615 Music.

And later on Warner-Chappell (NYC) bought up 615 Music.

NYC’s Videohelper released the “Scenarios” music search tool.

Jingle Punks continued to grow.

Mechanical licensing experts RightsFlow kept progressing.

One of NYC’s most controversial music business plays, peer-to-peer file sharing network Limewire, appeared to be finally finished.

Tracking, mixing and mastering at NYC’s established facilities did a relatively healthy volume of A-level and independent work throughout the year:

The Black Eyed Peas, Rivers Cuomo and Kanye West were at Germano Studios.

Neon Indian, Beach House, Matt and Kim, Bear Hands and more were mastered at The Lodge.

MSR Studios handled Kid Cudi, Evanescence and Broadway Cast recordings.

Lenny Kravitz, The Dirty Pearls, “Glee”, and Vampire Weekend were all at Avatar.

Joe Lambert Mastering worked with Moby and Ninjasonik.

New software and hardware happiness abounded:

We elected many items “Buzzworthy” at AES, from Universal Audio, Focal, SSL, Burl, Shadow Hills, Izotope, Sound Toys, Lavry Engineering, Telefunken and more.

Propellerhead released Reason 5.

NYC suffered losses when beloved people and places left us:

Recording icon Walter Sear passed away.

The great hip hop/jazz experimentalist Guru was gone before his time.

Clinton Recording Studios hosted its last session.

Brick and mortar music retail took another hit when Fat Beats shuttered its last stores.

Baseline Studios, home of Just Blaze and countless Jay-Z hits, closed.

Chung King Studios started off 2010 with a bang by suddenly vacating Varick Street.

NYC-based producers, mixers, engineers and artists became businesses in their own right:

Producer Chris Coady worked on some hugely acclaimed records this year, including Beach House Teen Dream and Delorean Subiza, as well as records with Hooray for Earth, Zola Jesus, Smith Westerns, Cold Cave.

People like Allen Farmelo developed their distinctive sound.

Choice songwriter Claude Kelly made a business of hits.

Shane Stoneback’s career took off via work with Sleigh Bells and Vampire Weekend.

Mixer Mark Saunders embraced multiple aspects of the biz from his studio at Beat 360.

Dream Theater’s Jordan Rudess took his iPad/iPhone app MorphWiz all the way to #1.

Joel Hamilton continued down an immersive production path, working on records with Blakroc, Dub Trio, The Parkington Sisters and Blakroc.

And John Agnello brought his classic production and engineering technique to new records for Kurt Vile, J Mascis, Shayna Zaid And The Catch and Dead Confederate (among others).

The studio scene got a lot more socialicious and FUN:

Flux Studios was always hosting something in the East Village, like Alto and Dangerous converging for a schooling from Fab.

Digital Music NY was one of many popular business-based meetups.

Stadium Red partied down post-CMJ.

20dot20 mixed advertising and music.

And the Connectors connected a LOT of people.

What big stories would you include? And what do you see next in 2011? Don’t be shy – leave a comment and let us know!

– Janice Brown and David Weiss

iZotope Announces Nectar: A Complete Vocal Processing Toolkit

At AES, iZotope is showing off its new vocal processing plug-in called Nectar.

Nectar offers dozens of vocal production styles powered by eleven processing modules. Users select an included style and then customize it with faders tailored to that style.

For further customization of their vocal sound, users can switch to the Advanced View and access all of the controls of the underlying modules that power the plug-in.

Designed to “take the pain out of vocal processing,” Nectar includes a complete vocal processing toolkit featuring Pitch Correction, Breath Control, Compressors, DeEsser, Doubler, Saturation, EQ, Gate, Limiter, Delay, and Reverb modules. Breath Control offers users a target mode, which allows them specify the desired level of breaths detected in the track. Pitch Correction includes both auto and graphical pitch editing controls.

Nectar will be offered at $299. An introductory price of $199 will be offered for the first 30 days after release, currently scheduled for mid-November, 2010.

For more details, visit iZotope’s Nectar product page.

SoundToys Previews Juice, Announces Preset Expanders from Tchad Blake, Morgan Page, Peter Wade

SoundToys has made a few announcements at AES. First, they’re previewing their next plugin, the analog input channel modeler called Juice.

Folks at AES can get a limited sneak peek of Juice, which features analog emulations of classic input channels from highly sought after gear and consoles, at the SoundToys booth, # 719.

SoundToys also announced the pending release of new Artist Series preset expanders from Tchad Blake, Peter Wade and Morgan Page.

Known for his use of saturation and distortion in his mixes, Grammy-winning mixer/producer/engineer Tchad Blake (Peter Gabriel, Suzanne Vega, Sheryl Crow) will be sharing his custom presets (for the first time ever) for SoundToys’ analog saturation modeling plugin, Decapitator. Blake derived these presets during his mix of the new Black Keys record, Brothers.

Next, remixer/producer Morgan Page (La Roux, Tegan & Sara, Madonna) takes the SoundToys plug-ins through their paces to deliver an extensive remix preset expander that will give you some of his favorite patches and let you expand from there.

And producer/mixer/composer/artist, Peter Wade, brings a “twisted pop sensibility” to presets for PanMan, FilterFreak, Crystallizer, PhaseMistress, Tremolator and EchoBoy. Also included are custom Decapitator presets from his studio cohort/engineer-in-training, Emmett Farley.

Wade, a Grammy winning producer, songwriter, engineer and half of electronic duo MNDR, co-penned/produced Mark Ronson’s recent top-ten single “Bang Bang Bang,” in addition to producing and writing Melanie Fiona’s “Monday Morning.”He works out of his LaBronze Johnson Studios in NYC.

Artist Series Expanders that feature presets designed by top SoundToys users from all facets of the music industry will be released throughout the year with the standard expanders.╩The expanders will be announced in the SoundToys newsletter, SoundBites, for all registered SoundToys customers and will be available for free.

The new expander will be available soon with the coming release of V4.1 of the SoundToys software. V4.1 will be required for this expander set.

For more information, visit: www.soundtoys.com

Avid Announces the Release of Pro Tools 9

In a spirited event at AES 2010 in San Francisco, Avid announced that it has released the latest version of its industry standard DAW with Pro Tools 9. Arriving a full two years after the introduction of Pro Tools 8, this latest version reinforces Avid’s commitment to creating a more open framework for Pro Tools users, on a variety of levels.

Available for the first time as a software-only option, Pro Tools 9, available globally on November 12th for $599, replaces Pro Tools LE in the product line and supports Core audio and ASIO drivers in the user’s Mac/PC laptop or tower of choice.

Integral to the release is Pro Tools’ significantly improved abilities to support I/O interfaces from either Avid or third-party manufacturers, and, as should be expected, deep new support for the EUCON open Ethernet protocol for improved use of the Avid Artist/Pro Series consoles and controllers (formerly available under the Euphonix banner).

Pro Tools 9 HD is being simultaneously introduced. As a result, the Pro Tools product line now looks like this:

Pro Tools 9, Pro Tools HD 9 – available in either Native or DSP hardware-based versions.
Pro Tools M-Powered — which will continue on in V. 8.0 for the time being.

Pro Tools HD 9 software will come with the Pro Tools|HD system bundles at current prices, and existing Pro Tools users will have upgrade/crossgrade paths available to them. Additionally, the Avid Complete Production Toolkit 2 (CPTK2) ($1,995) option gives Pro Tools 9 users on 3rd-party platforms access to the full feature set of Pro Tools HD, with up to 192 internal tracks, VCA mixing and full 7.1 surround support.

Other highlights of the PT9 release, include:

– Much-requested Automatic Delay Compensation (ADC), which provides increased alignment and phase accuracy, without the need to manually compensate for latencies from hardware I/Os, internal and external routing, and plug-in algorithm processing.

– Increased audio tracks and busses with support for 96 mono or stereo voices in the new software-only version of Pro Tools (192 voices with Pro Tools HD systems), 256 internal busses, and 160 aux tracks.

– Deeper production tools, including more standard professional functions in version 9. Users can analyze and adjust timing across multiple tracks for tighter rhythm with the built-in multi-track Beat Detective module, improve organization and asset sharing with the DigiBase Pro file management tool, and experience more streamlined workflows with full Import Session Data dialog.

Audio for picture users can also expect to benefit from these enhancements:

– OMF/AAF/MXF interchange and MP3 export for simplified session and file exchange between applications.
– Built-in Time Code Ruler for greater accuracy when syncing audio to video in post production.
– Updated 7.1 surround panner
– New variable stereo pan depths

The release of Pro Tools 9 caps off an intensive year of product line expansion and renewal for Avid, following the introduction of the new HD I/O series line, next generation M-boxes, and HD Native host-based systems. With a completely updated version of the heart and soul of its offerings, Pro Tools itself, now out, it should be extremely interesting to see how the market — and maybe even music — responds and evolves in kind.

AES Preview: AEA Ribbon Mic, Novation UltraNova, PMC Monitors, D.W. Fearn VT-12 and More!

AES is next week in San Francisco, November 5-7. You going? Here’s a preview of some of the new products we’ll be ogling:

• Audio Engineering Associates (AEA)’s new KU4 unidirectional ribbon microphone, a modern interpretation of the original RCA KU3A (considered one of the best ribbon microphones ever made).


AEA KU4 Unidirectional Ribbon Microphone

• Vintage King Audio will be showcasing gear from Barefoot Sound, Inward Connections, Digital Audio Denmark, Acme Audio, ProAc, Electrodyne, Helios and Endless Analog, in addition to official product launches from Neve Classic Series and Shadow Hills Industries. Wonder what?

• Sonnox is introducing two Oxford plug-in collections geared towards the broadcast and post-production sectors and aptly named Sonnox Broadcast and Sonnox Post Collection. Sonnox Broadcast bundles the Oxford EQ and Dynamics plug-ins along with the Limiter, the Inflator and the Oxford SuprEsser. The Sonnox Post Collection includes the Sonnox Restore suite, which features the DeClicker, DeBuzzer and DeNoiser plug-ins, along with Oxford EQ, Dynamics, Limiter, Reverb and the SuprEsser dynamic EQ.

• PMC has a new AML2 Active Reference Monitor, based on the AML Series design and adding an EQ tilt, an enhanced power supply, and a revised cabinet structure with additional internal damping. Key design features include a PMC 6.5-inch/16.5 cm flat piston woofer constructed from a carbon fiber/Nomex honeycomb that allows for large, controlled linear excursions and which ensures linear response down to 33 Hz. The amplifier’s true analog circuit design is licensed from Bryston.

• Also want to check out Allen & Heath’s new GS-R24 analog console. This is a 24-channel ‘studio recording mixer’ with analog or Firewire/ADAT interface modules, motorized faders for automated mixing, and MIDI controllers for your chosen DAW or recording device.

• 

  Novation UltraNova

  We’re excited to check out Novation’s new analog-modeling synthesizer, UltraNova, the next generation of Novation’s “Nova” synth family, which includes SuperNova and SuperNova II. It is a single-part synth taking the Supernova II synth engine as a starting point and packing it with the latest technology. Brand new features include wavetable synthesis, more powerful filters, a software editor and a revolutionary new touch-sense performance mode.

• Phoenix Audio will be showing its 8-channel solid-state class A discrete mic pre amp, the DRS8. Each channel on the DRS8 has its own dedicated level control, -30db pad, phantom power, phase reverse, high pass filter and mute buttons. The unit has an 8-channel monitoring output facility so all 8-channels can be sent directly to a monitor controller or a patchbay as well as having individual channel outputs.

• Definitely swinging by the Ultrasone Inc. booth to try on the company’s first open back (also limited edition) headphones — Edition 10 — made with Zebrano wood ear cup inlays, Ethiopian sheepskin leather ear cup pads, Titanium plated drivers, Kevlar coated cables. Love the Ultrasones!

• 

  D.W. Fearn's new VT-12 Vacuum Tube Mic Pre

  And on to D.W. Fearn who’ll be debuting the new 70dB VT-12 Vacuum Tube Mic Pre, designed to accommodate the low output level of ribbon and dynamic microphones. To make the VT-12 more versatile, a provision for phantom powering condenser microphones is also included. Since many engineers are concerned about possible damage to ribbon mics if phantom power is accidentally applied, the VT-12 has a rear panel switch that disables all possibility of applying phantom power.

• SSL is presenting its newly updated AWS 900 console. Still in a 24-fader footprint, the new AWS 900 is now available in 24 Input (AWS 924) and 48 Input (AWS 948) variants and has new features including Dual Path Channels with stereo EQ & Insert, 8 fader bay Digital Scribble Strips and ‘A-FADA’ (Analogue Fader Accesses DAW Automation) automation where motorized analog faders follow DAW automation data. For more on the new AWS, visit SSL. As we reported earlier this week, the newly launched Nucleus — SSL’s new DAW Controller and SuperAnalogue audio hub for professional project studios — is also something we’re eager to check out!

What else? We’ll keep you posted as we get additional previews leading up!

TC Electronic Announces LM2 Stereo Loudness/True Peak Level Meter for US Market

TC Electronic has announced that it is bringing its LM2 stereo loudness and true-peak level meter to the U.S. market, via a debut at this year’s AES 2010 (Booth 1227).

According to TC Electronic, the LM2 meter enables unprecedented levels of loudness precision and quality in audio applications, eliminating level jumps and other aural inconsistencies. It is hoped that the availability of this unit will contribute to the global effort of achieving loudness standardization.

The new LM2 is one of the first products on the market complying with the European R128 loudness standard, as well as U.S. standards. The meter analyzes any audio — speech, music or other sources — assigning it an ATSC A/85- or EBU R128-compliant loudness number. Numbers may be used to normalize programs, commercials and music tracks, and to set metadata in AC3 transmission.

This eliminates level jumps and other inconsistencies sometimes caused by human error. For example, after mixing for many hours, a user’s ears will get tired, making it harder to determine loudness levels. With the LM2 meter, the user can rely on an exact number as a reference for the mix instead of his ears. Similarly, using the LM2 as part of a monitoring signal path ensures a consistent loudness level in the mixing environment.

Users can view the loudness numbers generated by the LM2 on the meter’s front panel or Stats display. Connecting the LM2 to a PC or Mac via USB allows access to TC Electronic’s patented “radar meter” technology, which displays loudness over a given period of time. The radar can show loudness data from up to 24 hours back in time, even if there was no connection to a computer during that period.

The LM2 meter is ideal for a variety of broadcast audio applications as well. During ingest, it can be employed to measure loudness and the “true-peak” level of incoming audio signals, revealing any signal overloads. Built-in gain normalization enables it to correct gain to a pre-set loudness level, while a 48-bit precision limiter ensures that if the gain has been positively invoked, there will be no overloads.

Pre-transmission, the LM2 can log the outgoing loudness level of the broadcast station for a full week. Detailed log files may be imported into Excel, and LM2 needs no connection to a computer besides from when log files are dumped. Post-transmission, LM2 can be used to monitor and log what is sent out.

The LM2 meter is compliant with ITU-R BS.1770, ATSC A/85, EBU R128, NABJ, OP-59, BCAP and many other guidelines. It offers a wide variety of 24-bit resolution audio inputs and outputs, including AES/EBU, TOS, SPDIF/AES3 id, ADAT and analog. Digital I/Os are fully synchronous while analog I/Os are scaled in the analog domain for maximum utilization of converter dynamic range. Analog inputs can be trimmed at 0.01dB precision.

40th Anniversary Salute to Electric Lady Studios Hosted by AES NY Section

On Tuesday, August 24th, the NY Section of the Audio Engineering Society hosted a 40th Anniversary Salute to the legendary Electric Lady Recording Studios and the Jimi Hendrix legacy.

Almost four decades ago to the day, on August 26th, 1970 Electric Lady  opened its doors at 52 West 8th Street in Greenwich Village. Just 23 days later, Hendrix passed away, leaving his inimitable music to live on as well as his studio, which has been the birthplace of hits for Bob Dylan, David Bowie, Coldplay, The Rolling Stones, Patti Smith, U2, Sheryl Crow, The Strokes, Jay-Z, Beyonce and scores more.

A panel presentation was a part of the evening and included:

– Jimi’s sister, Janie Hendrix, CEO/President, Experience Hendrix

– Eddie Kramer, engineer of all Hendrix’s recording sessions

– studio architect/acoustician John Storyk, who began his recording studio design career with Electric Lady, and whose international Walters-Storyk Design Group has created over 3,000 studios around the globe

– long time Electric Lady engineer Tony Platt (AC/DC, Foreigner)

– Grammy-winning engineer Bob Margouleff (Stevie Wonder)

Other guests, included artists who have recorded at Electric Lady throughout its 40-year history.

While admission was strictly limited to 60 attendees, CBS provided streaming of the event via the AES NY Section Website at http://www.aes.org/sections/ny/.

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