Allen & Heath’s iLive digital mixing system was used for the recent Regions of Climate Action (R20) conference in Vienna. R20 is a non-profit environmental organisation founded by former Governor of California, Arnold Schwarzenegger, with the support of the United Nations. A coalition of sub-national governments, private companies, international organisations, NGOs and academic and financial institutions, R20 supports governments building a green economy.
The new edition of Jockey 3 ME: Jockey 3 Remix aims at advanced Traktor PRO users who want to elevate their mix to the next level: Live sampling, remixing and spectacular effect manipulation. All of the Reloop Jockey 3 ME’s popular features, such as the high-quality manufacturing, 24 bit BurrBrown interface, highresoultion jog wheels or stand alone mixing function, have been kept.
Besides the new minimal layout and the new performance section with intelligent tri-colour LED illumination, a completely new control concept has been realized here, which disposes of 3 different mighty modes.
With over 364 million views as of December 2012, Belgian – Australian multi-instrumental musician and singer-songwriter Wally de Backer, known by his stage name Gotye, has likely become somebody that you know with his hit song featuring Kimbra “Somebody That You Used to Know”. In May 2012, Gotye announced a world tour and as they wound the globe, Earthworks microphones came along along for the ride.
Gotye’s FOH engineer Lachlan Carrick was familiar with Earthworks in a studio setting, yet discovered the live sound microphones while touring with Gotye and Kimbra in early 2012. “I’d used Earthworks mics a couple of times in the studio for various things, and was always impressed with the way they came up,” explains Carrick. “Then more recently I was introduced to the new series by a fellow Australian engineer, Angus Davidson, who was mixing Kimbra at the time. The Earthworks mics sounded like they provided excellent transient response, with a natural, full tone. Although the Kimbra sound was very different to what I was going for with Gotye, I could see how the mics could work well for us.”
Master Audio has upgraded the point source cabinets in its flagship Xcellence range with new high-end amplifier and DSP modules featuring Ethernet connectivity, bringing them up to speed with the advanced line array units in the series.
The new selection of enhanced loudspeakers includes the X12CE and X15CE coaxial active cabinets, the X15LTE two-way active cabinet – for full-range FOH or monitor applications – and the X18WE subwoofer. These units were previously known as the X12C, X15C, X15LT and X18W, so the upgraded version of each can be identified by the ‘E’ (for Ethernet), which has been added to the end of the model numbers.
The new Live Aid license for System 6000 MKII from TC Electronic allows gives the possibility to comply with loudness based broadcast standards under live and OB conditions. Two loudness processing algorithms and a host of new presets are now available on System 6000 MKII from TC Electronic with the new license
Over his 20 years of mixing the Red Hot Chili Peppers, Dave Rat of Rat Sound has had to deal with a wide range of audio issues. During the current multi-year tour in support of the album “I’m with You”, the band encountered severe interference issues with its IEM system, which Rat addressed with a switch to the Shure PSM 1000 system and its diversity reception design.
“The troubles we were having with our existing in-ear systems were primarily due to the LED stage we have on this tour,” explains Rat. “We experienced a whole new level of interference issues. When you have the artists actually standing on an LED surface, it means the beltpack is only three feet away from the RF noise, while the transmitting antenna is maybe 30 feet away. The result was a lot of dropouts from a system that had previously been very stable. We couldn’t even do frequency scans from the stage.”
With its motto “Light Your Fire!”, the biggest live music event in the world will be broadcast from Azerbaijan. The 2012 Eurovision Song Contest will captivate over 100 million viewers on 26th May. The 57th edition of the contest will also be an anniversary for Sennheiser. It will be the 25th Song Contest to use the audio specialist’s wireless microphones and monitoring systems. Sennheiser technicians are on hand in Baku to assist the production team with their preparations.
The organisers of the Eurovision Song Contest, with host broadcaster Ictimai TV at the helm, have placed their trust in experience. So Brainpool TV GmbH, which worked with the German host broadcaster NDR to produce last year’s outstanding Song Contest, will be producing and directing this year’s event too. Similarly, as in Dusseldorf, Markus Müller of MM Communications will be supplying the wireless equipment. He will work with a team of six to look after the microphone and monitoring requirements in Baku, supporting Florian Kessler, the Head of Sound. Dr. Heinrich Esser, President of the Professional Systems Division at Sennheiser, said: “We are proud that the organisers of the ESC have placed their trust in our microphone technology once again this year, and we are glad to be working with Brainpool and Markus Müller.”
Selena Gomez is now an Audio-Technica Endorser. The singer, actress and entrepreneur has been an Audio-Technica fan from the start and now uses the Audio-Techica AEW-T3300a handheld transmitter with the Audio-Techica 5000 Series UHF Wireless System for the live performances.
Until recently, Selena Gomez was using Audio-Technica’s AEW-T5400 handheld transmitter, but as the stage show has evolved, Front-of-House Engineer Jason Moore urged her to try a different microphone. “We recently added a 20-foot thrust to the show,” notes Moore. “It changed the dynamic of the mic setup on stage, so I met with one of Audio-Techica’s engineers, who was really helpful in pointing us toward the right mic for the new situation. We decided on the AEW-T3300a, which really works well with Selena’s voice. She is a very gifted singer – very exact and precise. There is no lip-syncing in the show, like some other acts. The 3300 has great gain-before-feedback and just the right kind of high end to make her vocals shine. Because of the louder noise floor on the stage, we are dealing with higher sound pressure levels, and the 3300 minimizes the mic bleed and potential feedback. The 3300 just really rounded everything off, and it put the bow on top of our stage setup and mix.”
Celine Dion and her Audio Crew choosed Neumann and Sennheiser for Caesar’s Palace Las Vegas Concerts
Celine Dion’s recent comeback to The Colosseum at Caesar’s Palace Las Vegas has once again been a resounding success, marked by soldout concerts and great reviews. Her previous headliner show at Caesar’s ran from 2003 – 2007 and was attended by over 3 million fans. This time around, Celine – who performs with 31 musicians including a full orchestra and backup band – personally selected the Neumann KK 104 S cardioid capsule coupled with a Sennheiser SKM 5200 II handheld transmitter to deliver her voice to auditorium. In addition to her vocals, a full array of Sennheiser and Neumann microphones are used capture the complex performance, which is produced by AEG/Live Concerts West and directed by Ken Ehrlich, renowned for his work on the Grammy Awards.
Free Webinar | Mixing the Band with Universal Audio’s UAD-2 Satellite and the UAD Powered Plug-ins Library
With the power now offered by laptops and native DAWs, mixing can take place anywhere these days, from the accurate acoustic spaces within a top-flight studio or on the tour bus between gigs. But to get beyond the “rough mixes” when working in the box, an engineer needs processing and plug-ins. No way around it.
In this special webcast, produced by Mix and presented by Universal Audio, Mix technical editor Kevin Becka will host a panel of recording engineers including: Joe Chiccarelli (U2, The White Stripes, The Killers); Michael Brauer (John Mayer, Coldplay, The Rolling Stones) and Ryan West (Eminem, Kid Cudi, Kanye West). The panelists will discuss a range of plug-in centric topics including tips, techniques, workflow and how to manage your DAW’s resources for the best outcome.