Lunedì 23 Gennaio, presso lo Studio A di SAE Institute Milano, Via Morimondo 19/21 - ore 10:00/13:00 e in replica ore 14:30/17:30 SAE Institute, in collaborazione con Funky Junk, vi invita a partecipare ad un seminario didattico sulle tecniche microfoniche. L'appuntamento, tenuto dai docenti SAE e da Diego Riganti di Funky Junk, approfondirà diverse tematiche legate ai microfoni: l'ascolto critico, il confronto tra diversi modelli  e specifiche di microfoni professionali.   La partecipazione e' gratuita e a numero chiuso.   Per le iscrizioni è necessario inviare una mail all'indirizzo eventi@sae.edu, indicando in oggetto "Seminario Microfoni" e specificando i vostri dati e l'orario in cui intendete partecipare. Seguirà nostra mail di conferma.   Eventuali disdette dovranno pervenirci almeno 2 giorni prima del seminario, onde non precludere la partecipazione ad altri in lista d'attesa.

NOW AVAILABLE!!!!     Rather than building and maintaining a PC, with frequent updates, virus scans, and hardware maintenance such as fan failures, the easy-to-use, fanless ProSTREAM gets the job done - right. Plus ProSTREAM is plug-and-play simple with no ongoing maintenance, low power draw, and no fans.   This is one-box audio processing, stream encoding, meta-data encapsulating machine that requires no PC to produce perfect IP-audio streams.  With just this 1RU appliance, users are producing perfect audio content with rich meta-data including stream name, song title, artist name, genre and promotional messages.  ProSTREAM affords your customers the easiest way to get high-quality audio streaming on the Internet.  And for your clients that are already streaming, ProSTREAM is the perfect upgrade to the best coded audio processing (by Omnia) and the best audio codecs.     What's inside?       Perfect streaming audio begins with audio processing designed to level and enhance the audio, while increasing codec efficiency. Omnia A/X audio processing is built-in to the Telos ProSTREAM.  Omnia A/X includes a wideband AGC, multiband AGC, and intelligente look-ahead limiting. Choose from a variety of processing presets, including some designed specifically to dramatically improve voice quality at low coding bitrates.          Following the Omnia A/X audio processing is the audio encoder, built right into ProSTREAM. Choose from the most popular and most widely accepted coding formats in the world including MP3, and HE-AAC v2 - perfect for great quality at low bit rates for the widest worldwide listener adoption. For even wider distribution, ProSTREAM feeds any Shoutcast-compatible media server, or a Wowza server for streaming to Flash clients.   When you're done processing and encoding, select your metadata source and feed your stream to any SHOUTcast-compatible media server, or a Wowza server for streaming to Flash clients. ProSTREAM works with ICEcast and Adobe Flash Media servers, too. You can feed directly to a streaming server on your LAN, to an Internet streaming relay service via the WAN port, and/or take the Omnia A/X processed audio from the rear-panel XLR outputs.     ProSTREAM is designed to send a full-featured, perfectly-processed coded audio stream to several types of "replication" or "stream" servers. ProSTREAM can send the same stream to up to four different SHOUTcast or ICEcast servers for geographic diversity and redundancy.  ProSTREAM also feeds Wowza, Streamcast, and streaming services such as StreamGuys, Live365, ViaStreaming and others.     ProSTREAM Features at a Glance Studio reference audio fidelity using genuine Fraunhofer MPEG-AAC and MP3 algorithms Coding bit rates from 16kbps to 320 kbps (dependant upon active codec) Supports direct output to Wowza, Adobe Flash Media or Shoutcast-style media servers Multiple metadata input templates include parsers for NexGen, Simian, iMediaTouch and Jazler radio automation software. More formats may be added easily via ProSTREAM's Web-based interface. Ensures the best-possible quality at the conversion stage with pro-grade 24-bit A/D converters Professional-grade I/O with both Livewire and balanced analog (XLR) inputs and outputs Built-in webserver for remote control of all device settings, plus mini stream-server for remote confirmation of audio presence and output Front-panel includes OLED display for in-person setup and process metering, plus 1/4" TRS headphone jack with volume control Three-band Omnia A/X audio processing with wideband AGC, HFEQ, precision LP filter and look-ahead limiting Separate LAN and WAN Ethernet ports let you stream audio while keeping studio network isolated from the outside world Multiple ProSTREAM devices can exist on the same network, allowing coding of multiple bit rates, algorithms, or streaming to different media server platforms

The November 18 issue of Radio World (US) features the smiling face of none other than Leo Laporte, "The Tech Guy," on the cover. (Over to the left, you can see his big bronze Axia Element console peeking out from behind the mic arm).  Inside, you can read the story of how Leo, once an ordinary talk radio host, rose to become a syndicated radio personality heard on over 160 stations every week. And along the way, built his TWiT (This Week in Technology) network into a powerhouse of of streaming tech shows covering just about every angle of today's consumer and professional technology. Telos' own Kirk Harnack even has his own show - TWiRT (This Week in Radio Tech) avidly followed by broadcasters around the US and abroad. Naturally, we're very happy that Leo, a tech guru par excellence, has chosen to equip his studios with Axia consoles and routing equipment. His latest addition, a Radius IP console, was installed as part of the new TWiT studios detailed in the Radio World article. After all, it's always neat when you get to hang around the cool kids.

LAUREL CANYON, CALIFORNIA – DECEMBER 2011: Constructed in rocker Alice Cooper’s former house in 2008, Canyon Hut Recording Studio has recently acquired and installed a fully analog, all-discrete API 1608 console. According to co-owner Tim Hutton, picking the right console was an easy decision once he heard the 1608. “When making the decision to buy a console, I knew it had to feel ‘right’ in my gut,” said Hutton. I tested many and most of them were fairly linear. The 1608 was the only console that was un-darkened, incredibly warm and all embracing. Its design is flawless and I felt right at home when I first sat down and started tracking.” Hutton is a songwriter, producer and bassist, and co-owns the Canyon Hut with his brother, Dash. The brothers were born into a musical family, as their father, Danny Hutton, was a founding member of classic rock band Three Dog Night. Touring as children with the group, Tim and Dash were able to interact with influential musicians such as Brian Wilson, Van Dyke Parks, Glen Campbell and America. After attending the Hamilton Music Academy and later touring with his band, the Telacasters, Tim started to record and produce tracks for some of his friends’ bands. The recording hobby later turned into a full-time gig, and Tim knew he needed to find a professional soundboard. “Things really took off at that point,” he said. “I decided I needed ‘the best’ console. I was already very happy with my API 554s and 525s, so I decided to test the 1608. I was floored. It was exactly what I needed, wanted, and demanded to make the Canyon Hut one of the best studios in Los Angeles.” Two famous studios were the inspiration for Canyon Hut’s “2001 meets the 1950s” design, with the control room situated so that it looks down into the live room, similar to Abbey Road and Motown. Canyon Hut’s live room also shares dimensions close to those of Motown. The studio offers an extensive microphone selection, a 1959 B3 Hammond organ and a 1929 Parlor grand piano. Canyon Hut’s past clients include Film School, TS and The Past Haunts, Three Dog Night and HB Surround Sound. “I really want the world to know that we are a one-stop shop. We can engineer, produce, mix, play, sing, whatever the record needs, all with the best gear – the 1608.”

Sabato 10 Dicembre dalle ore 16:30 si terrà presso la sede di Sonus Factory in via Borghesi a Roma una clinic sulla serie Stompboxes di Eventide. La clinic sarà tenuta da Dario Vero e saranno presenti gli ormai classici Time Factor, Mod Factor e Pitch Factor, inoltre verrà presentato al pubblico il nuovo Space. Dario ci darà un saggio delle capacità sonore di questa serie di stompbox digitali, ci darà una dimostrazione di come possono essere impiegati sia in tracking che in mixing e ci mostrerà come trasformarli in una macchina creativa "a tutti gli effetti"! Sarà inoltre allestita una postazione dove sarà possibile provarli di persona tutti e quattro combinati! Sarà un'ottima opportunità sia per i puristi per apprezzare la grande qualità sonora che ha da sempre contraddistinto il brand Eventide, sia per i più avventurosi per avere un'idea delle potenzialità creative che questi multieffetti a forma di stompbox possono offrire.   Dario Vero, chitarrista per: Steve Vai Festival, Lpm  Belarus, De Oosterpoort, Rhys Chatam's orchestra, San Remo. Attivo in studio in qualità di side man e produttore per Bbc, Lucky Red, Radio6Nl, Eagle Pictures, Rai… www.dariovero.com - www.facebook.com/wwwDARIOVEROcom - www.youtube.com/wwwDARIOVEROcom Per info su Eventide: www.funkyjunk.it - stomps@funkyjunk.it - Eventide Stompboxes Series SONUS FACTORY: Via B. Borghesi, 1 - 00162 Roma - tel +39 (06) 45421624 www.sonusfactory.com - info@sonusfactory.com Ingresso gratuito con prenotazione obbligatoria: Richiedi Info o Prenota  

Greg Shay, Telos Alliance Director of Technology, will join AoIP discussion panel 15 November 2011, Cleveland Ohio, USA   Greg Shay, Director of Technology for The Telos Alliance and Axia Audio, will be a part of the proceedings at the upcoming AES 44th Conference on Audio Networking (AES.org/conferences/44/), to be held on the University of California's San Diego campus November 18 through 20, 2011.   "Telos pioneered audio-over-Ethernet for broadcasting, and we're the inventors of Livewire™ IP-Audio networking, so it makes us very happy to see how enthusiastically broadcasters are embracing AoIP," says Shay. "They've seen how fast, simple and cost-effective it is to deploy whole-plant networking, and how efficient networked studios are to operate and maintain. They're eager to see what's next! And we're glad to be part of the conversation."   Shay will take part in Sunday's panel discussion entitled "Use Cases for High Performance Audio-over-IP in Broadcast Facilities," in which he'll present information gleaned from Axia's extensive experience with real-world applications of AoIP.   "With over 2,500 studios now on the air using Axia Livewire technology, there's a rich database of information to be mined," notes Shay. "I'm looking forward to sharing some very interesting examples with AES attendees."   Shay is also a member of the AES Task Group on Audio-over-IP Interoperability, a part of the X192 Project (x192.org) initiated by the AES Standards Committee to develop a high-performance streaming audio-over-IP interoperability standard. Axia Audio is both a charter member, and a sponsor of the X192 project.   The Livewire Audio-over-IP standard, developed by Axia parent company Telos Systems, allows broadcasters to quickly and easily build audio networks using switched Ethernet to connect a few rooms, or an entire facility. Livewire networks have a total system capacity of more than 10,000 audio streams, and can carry hundreds of digital stereo channels (plus machine logic and PAD) over a single CAT-6 cable. Earlier this year, Axia debuted the Livewire Limitless License, which permits equipment providers to build Livewire interfaces into an unlimited number of their devices without per-unit licensing fees. More than 30 broadcast hardware and software companies are now Axia Audio partners, including Studer, AudioScience, RCS Sound Software and International Datacasting.

Genelec AutoCal™ Open-week Open-Week della Autocalibrazione: una settimana dedicata all’ascolto dei monitor con sistema DSP e AutoCalibrazione Genelec La prerogativa di un sistema di monitoraggio con DSP integrato è quella di ridurre al minimo l'incidenza dei fattori acustici negativi dall'ambiente nel quale i monitor vengono installati, ottenendo sempre la massima resa sonora. Grazie ai moderni metodi di autocalibrazione saranno i sistemi di diffusori ad adeguare la loro risposta all'ambiente stesso. FunkyJunk offrirà i suoi spazi per due settimane, dal 15 al 18 novembre a Milano e dal 29 novembre al 2 dicembre a Roma, per presentare e dare dimostrazione pratica dei monitor Genelec con DSP integrato e del sistema GLM™ con tecnologia AutoCal™. I partecipanti durante le demo potranno avvalersi di propri CD di riferimento e avranno diritto a beneficiare di sconti speciali per l'acquisto di prodotti Genelec. Sono inoltre previsti seminari di acustica, di posizionamento dei diffusori e di calibrazione e saranno presenti per le sessioni di demo anche i nuovi monitor Genelec 1238CF, in anteprima di ascolto per l'Italia. L'ingresso è libero previa iscrizione. Per iscriversi ai seminari o ricevere maggiori informazioni basterà inviare una mail al seguente indirizzo: genelecpoint@funkyjunk.it

ATLANTA, GEORGIA – NOVEMBER 2011: When producer Dan Hannon and engineer Brad Fisher decided to purchase an analog console for their production company, they knew just where to turn to get the sound they'd been looking for-an API 1608. "We fell in love with the ease of working on a console after working in the box for so long," said Hannon, who, when researching consoles, had traveled with Fisher to Nashville's Blackbird Studios for a 1608 demo. "We almost decided on the spot that we wanted our own. Even before going to Blackbird, we'd heard great things about the board from Joe Chiccarelli, who had worked on The Killers' own 1608, and was actually at Blackbird doing overdubs on the desk when we visited. Then we watched the Foo Fighters documentary 'Back and Forth,' which was a great endorsement." Already having an established working relationship, Hannon and Fisher formed Eldest Only Productions in 2009, offering songwriting, production, recording, engineering, mixing and artist management services. The two had previously worked together in the summer of 2006 when Fisher interned for Hannon's first company, Counterfeit Mistress Productions, while on a break from Berklee College of Music. Since acquiring their own 1608 earlier this year, Eldest Only Productions has recorded and produced multiple projects including the album Simple Math by Manchester Orchestra and young rock band Asherel's debut record. "We've really been euphoric ever since we got it," said Hannon. "It's absolutely fantastic. There are so many advantages to having it, never mind that it's an API." Hannon and Fisher specifically cited a much faster mix time than when they mixed solely in Pro Tools, easier tracking and overdubbing, and flexible routing with the 1608. Fisher added, "Its aggressiveness allows us to both track and mix very quickly, which is really, really awesome. The finished products retain all the energy of the original tracks. Having the availability of all that headroom was something we weren't accustomed to with Pro Tools and the results we've had so far are just amazing." The team at Eldest Only Productions recently finished the band Art Decade's debut full-length album, Western Sunrise, and is currently working on Right Away, Great Captain!'s third album titled The Church of the Good Thief as well as rock trio Cusses debut LP – all with the help of the studio's 1608. According to Fisher, "The sound we've been chasing so long is finally at our fingertips."

Presentato all'AES il nuovo Retro Instrument Doublewide, comp vari-mu in formato serie 500! Di seguito una breve panoramica delle caratteristiche annunciate: - Single channel Variable-Mu Tube Compression in a two-slot 500 series module - Continuously variable input and output levels with fixed threshold - Continuously variable attack and recovery time - Single and Double time-constants - Fully complementary push-pull signal path - Cinemag transformer balanced, fully-floating Input and Output - Hard wire bypass switch with gold-plated contacts - Gold-plated edge card connections - Stainless steel chassis construction - Side-accessible meter zero trim - Uses new-old-stock U.S. Tubes - Authentic U.S.-made Simpson gain reduction meter. Disponibile a partire da fine novembre 2011. per info: Doublewide

AES Ottobre 2011 - API Presenta L'opzione di automazione per i fader della console 1608: Questo il comunicato ufficiale sul sito API: "With much excitement, API will debut the 1608 automation system for the first time at AES 2011 in New York City, which runs from Oct. 21-23. Interested attendees who visit API's AES booth, 821, will be able to see up-close demonstrations of the new automation on a 32-channel 1608 throughout the convention. We've designed the 1608 automation system to enhance the operation of the console and allow for an entirely new range of mixing capabilities while making sure the system was simple and easy to use. Moving Fader Automation Leveraging our prior experience with console automation in combination with extensive customer input, API has developed a proprietary, easy-to-use Automation Package for the 1608 console. This system contains features and operational control previously unheard-of in a small console of this type. - Self-contained system with no computer required - Save files to standard SD memory cards (easy portability with room for hundreds of mixes) - Easily retrofits to existing 1608 consoles - Expandable to 48 channels - Automated Mute and Solo switches - Unlimited Fader Groups with two dedicated Group Masters - Unlimited Mix Restore points - DAW control with unity gain audio bypass"