Love your audio platform? Say it with VIDEO.
But it’s not just an exercise in synesthasia: this is the name of “The Really Big ‘WHAT THE #%&@ ARE YOU DOING WITH AURIA’ Video Contest“, which they’re putting on in conjunction with a host of co-sponsors — AKG, Apogee, and JBL Professional.
This is worth sharpening your video skills for: the contest is offering up first, second, and third prizes with a total value of $11,000.
To compete, users are invited to submit a video up to 4 minutes in length showing how they use Auria and how it is changing the way they work.
The first place winner will receive a pair of JBL LSR6328Ps, an Apogee Quartet for iOS, an AKG C414 XLS, an AKG C1000S, and AKG K712 headphones, with a total value of over $7,000.
The contest has officially begun, and all submissions must be received by November 22, 2013. Visit here to enter and for the full rules.
Entries will focus on how the contestant is using Auria, whether as an artist, producer, or engineer. They can be shot with smartphones or other simple cameras and edited with consumer editing apps, and the judges will include Grammy Award winning composer/producer/engineer David Kahne and elite producer/engineer Bob Bullock.
Submissions that have the most interesting and engaging content, in the opinion of the judges, will be moved into the final round, where the winners will be chosen by registered visitors to the video contest website.
Auria Device Requirements:
* Compatible with iPad
* Requires iOS 5.0 or later
* 292 MB
Auria 1.140 is $49.99 USD, available worldwide exclusively through the App Store in the Music category.
Another Thunderbolt is headed our way.
The development means that Apogee’s Symphony I/O will be able to work in tandem with the extremely high speed and bandwidth of Intel’s ThunderBolt technology.
MSRP will be $995.
Here are more details, as supplied by Apogee:
Symphony 64 | ThunderBridge connects Apogee’s flagship audio interface, Symphony I/O, to any Thunderbolt-equipped Mac for true Thunderbolt compatibility and performance. Capable of up to 64 channels of input and output at sample rates up to 192kHz, Symphony 64 | ThunderBridge delivers impressive channel counts at unprecedented speeds for a latency and hassle free recording experience. Symphony 64 | ThunderBridge will also connect Apogee’s X-Symphony equipped AD-16X, DA-16X and Rosetta Series converters to Thunderbolt Macs for legacy compatibility. Existing users of these devices will simply need to update to the most current software/firmware available on Apogee’s website before connecting to ThunderBridge.
Symphony 64 | ThunderBridge Highlights
• Connects up to 64 channels of Apogee I/O to any Thunderbolt-equipped Mac
• Operates at sample rates from 44.1-192 kHz
• Compatible with Symphony I/O and X-Symphony-equipped Rosetta 800, 200, AD16X and DA16X.
• Latency = 1.8 ms at 96kHz/32 buffer
• 2 Thunderbolt ports for connecting additional devices
• 2 PC-32 ports for connection to Apogee interfaces
• 1 Word Clock Out
• DC Input – 12V DC 30W (power supply included)
• Status LED to indicate whether or not the device has been configured properly
• Audio Interfaces: Apogee Symphony I/O X-Symphony-equipped Rosetta Series or X Series interface
• Computer: Thunderbolt-enabled Mac computer, including MacBook Air, MacBook Pro, Mac mini, and iMac
• Thunderbolt cables
• Mac OS: 10.7 or later
• Power: DC Power supply included
It appears that Apogee Electronics’ flagship has simultaneously become more approachable and more affordable.
The company announced that Symphony I/O, the company’s flagship audio interface, is now available in select configurations with significant price reductions.
According to Apogee, higher production volumes of their professional multi-channel recording interface have allowed them to achieve lower manufacturing costs. Meanwhile, the line has been simplified to provide customers with “clear, scalable choices.”
The updated pricing and configurations are available now. Here’s how Apogee explains it:
”Symphony I/O is now offered in four configurations with the ability to expand using one of the five available I/O Modules. Configurations include; Symphony I/O 2×6, Symphony I/O 8×8, Symphony I/O 16×16, Symphony I/O 8×8+8MP. These four configurations offer the perfect starting point when purchasing Symphony I/O. With each configuration, customers have the ability to easily expand with up to fourteen possible combinations maxing out at 32×32 Analog I/O in a single Symphony I/O.
Symphony I/O’s new pricing structure offers exceptional savings to Symphony I/O customers looking to expand their configuration. The 16×16 Analog I/O Module receives a price reduction from $3495 to $2995 and the 8 Mic Preamp Module from $1995 to $1495. At $1495, the 8 Mic Preamp Module delivers a $186.88 cost per channel creating unprecedented value for a professional recording interface.
New Configurations and Pricing
• Symphony 2×6 Configuration
Symphony I/O Chassis + 2×6 Analog I/O Module Price: $1995
• Symphony 8×8 Configuration
Symphony I/O Chassis + 8×8 Analog I/O Module Price: $2995
• Symphony 16×16 Configuration
Symphony I/O Chassis + 16×16 Analog I/O Module Price: $3995
• Symphony 8×8 + 8 Mic Preamps Configuration
Symphony I/O Chassis + 8×8 Analog I/O Module + 8 Mic Preamp Module Price: $4490
Available I/O Modules
• 2×6 Analog I/O + 8×8 Optical + AES I/O (only available in configuration)
• 8 Analog I/O + 8 AES/Optical I/O Module – $1995
• 16×16 Analog I/O Module – $2995
• 16 Analog IN + 16 Optical OUT – $1995
• 16 Analog OUT + 16 Optical IN – $1995 • 8 Mic Preamp – $1495”
Featuring 4 inputs and 8 outputs of Apogee’s AD/DA conversion technology as well as 4 mic preamps, Quartet ($1,295) bridges the gap between Apogee’s 2-channel Duet and the 8-channel Ensemble.
Quartet is equipped with 4 combination input connectors (XLR and 1/4”) for connecting microphones, guitars and keyboards or your favorite external mic preamps, compressors and EQs. Quartet also includes 8 channels of digital input via 2 optical connections (ADAT/SMUX) for connecting an additional analog-to-digital converter such as Apogee’s Ensemble.
Click for more details.
The Quartet’s Features & Specs include:
- 4 Analog Inputs: Combination line (balanced +20dBu max), Mic/Instrument (+20dBu/+14dBu max)
- 4 Microphone preamps with up to 75dB of gain
- 8 Digital Inputs: ADAT/SMUX Input, 2 Toslink connectors, 44.1kHz to 96kHz
- 8 Analog Outputs: 6 Balanced line outputs, +20 dBu maximum output level, 1 Independent 1/4” stereo headphone output
- MIDI I/O (USB-A type connector)
- Word clock output
- USB 2.0 High-speed Mac audio interface
- A/D and D/A conversion: 24 bit/192kHz
- 2 top panel high resolution OLED displays
- Controller knob
- 6 touchpads for direct selection of inputs and outputs
- 3 assignable touchpads to control:
- Mute Outputs
- Dim Outputs
- Sum to Mono
- Clear Meters
- Engage Speaker Set (allows monitoring of up to 3 pairs of speakers
- Quartet works with any Core Audio compatible application including: Logic, Pro Tools 9 and 10, Final Cut. Ableton Live
- Available September 2012
Check out this video for a look/listen…
SOHO, MANHATTAN/WILLIAMSBURG, BROOKLYN: Inside the floated rooms of New York City’s recording studios, research is always taking place. After the clients have left for the night, gearheads often turn their attention to mic checks of a different kind.
This intersection of art, aesthetics, and science was in full effect last week at Downtown Studios. There, Studio A was the site of a four-way modern tribute microphone comparison arranged by Audio Power Tools, which was marking the debut of their demo-focused Williamsburg retail operation with a night of high-level critical listening.
But don’t call it a shooutout! The eye-popping array of elite large diaphragm condenser mics — a Telefunken ELA M 251E, Bock 241, Telefunken U47, and Wunder CM7 – were assembled in peace. The first two mics honor the legendary ELA M 250/501 mics produced in 1959 by AKG for Telefunken GMBH, while the latter pair put their spin on the famed Neumann U47 – both of which enjoy epic reputations in the vocal mic realm.
“A ‘demonstration’ is probably the most non-combative word,” says APT co-owner Dan Physics. “The idea was not to beat up on any of the brands, but to compare the merits of each brand that was present, and showcase the character of each microphone in contrast to others considered in the same strata.”
For the demonstration, Downtown Studios Chief Engineer Zach Hancock invited Atlantic
Records artist Ryan Star to record one song, using combinations of the two mics simultaneously on Star and vocalist Dallin Applebaum. Meanwhile, a Royer 122 active ribbon mic was placed on acoustic guitarist Daniel Tirer’s instrument for good measure.
In Studio A’s spacious live room, and in the vocal booth, Star and Applebaum each faced different combinations of the two mics, mounted one directly over the other on boom stands. Capsules were almost touching grill-top to grill-top, and sharing the same pop filter. In this way, each microphone’s diaphragm was at an equal proximity to the source material being recorded.
From there, each mic was patched to tie lines via 25′ mic cables, with patch cables of equal length used on the patch bay side. Hancock and Downtown assistant Chris Sciafani took care to make sure the cardioid polar pattern was selected on each mic, and that roll off filtering was not engaged on the mics that offered it.
While a pristine signal path was desirable, APT co-owner Blue Wilding emphasizes that a nod to real-world, practical usage was employed in the decisions throughout the night. As a result, the mic preamps in Downtown’s classic Neve 8014 console were chosen as the next stage.
“The Neve preamps are not as clinical as the GML’s in the A-room,” Zach Hancock says, “which for critical listening is a relevant concern, but there’s a comfort in the familiarity and musicality of the Neves. There are a few ways to get signal routed from the console’s mic pre to the rig: In this case it made the most sense to bypass the large fader and go to disk via the insert-send. The mic pre on the two 47′s was set to the same setting, and the two 251′s got the same setting as well. So each mic got patched in to a 1084, and then patched directly to Pro Tools recording at 24-bit 192k, via an Avid HD I/O converter.”
Star and his bandmates did three takes of the song, a powerful and achingly beautiful duet so new that it’s as-yet unnamed. Rather than declare a “winner”, or color preconceived notions with any value judgments, APT is inviting anyone interested in the outcome to email them directly, arrange to hear the files for themselves, and come to their own conclusions.
“We prefer not to plant seeds in the listener’s mind, in comparisons like this,” Wilding explains. “Detail, clarity and character of each mic are what the listener should be looking for.”
For Audio Power Tools, the demonstration was a microcosm of their hands-on approach. Originally founded by Wilding in 2010 as a rep service for select high-end audio brands, APT transitioned last month into a retail operation handling gear from Burl, BAE, Chandler, Dangerous, Telefunken, Wunder, Bock, Tonelux, Unity Audio, Apogee, Bricasti, Manley, Retro Instruments, and more. Visitors to their Williamsburg demo room (dubbed “The APT”) can call ahead to have custom chains assembled, or have demo gear delivered directly to their studio for onsite auditioning.
“Our credo is ‘demo-based shopping for working professionals,’” says Wilding. “Every person using this gear to make a living needs to hear it before they buy it. It’s the only way. Every purchase is a delicate balance of necessary function and personal taste. Like jeans…you gotta try ‘em on and see how they hug you.
“Unfortunately, a lot of this gear is not available to try in NYC, and when it is, it’s often not demo’d in ideal conditions. So with our demo room, we’ve created an atmosphere that we feel is in tune with the NYC user base.”
Even for seasoned hands like Zach Hancock, the enhanced critical listening experience had an extra measure of sonic satisfaction. “I’ve never had the opportunity to hear the two preeminent U47 and 251 replicas go head-to-head,” he said. “The reward came in the ability to directly compare apples to apples.”
– David Weiss