Tuesday, August 23, 2011

30 years of the music industry in 30 seconds


I was recently having a conversation about changes in the music industry and while researching the topic I discovered this pie chart. This is U.S. based only. Data for markets in other parts of the world are probably similiar.
"The music industry has changed drastically over the past 30 years. The various music formats–from vinyl records, to 8-track, to cassette, to CD, and then to digital downloads–show a number of transitions over the past three decades. The wax and wane of these formats is shown in a rather interesting pie chart from Digital Music News. The animated pie chart maps each format between the years of 1980 to 2010 based on RIAA revenue figures. The chart is perhaps the best way possible to represent what’s going on in the music industry in 30 seconds or less."
Read the rest of the article here

Individual charts for each year 1980 to 2010

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2000 2001 2002 2003 2004 2005 2006 2007 2008 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010

Monday, August 22, 2011

The Harrison Lineage Preamp is like having Four Decades of Sound In One Unit.




The Lineage 8-channel microphone preamplifier is another innovative product from Harrison a company with a very rich legacy in the music/audio industry. Harrison who has been making a name for themselves since the 70’s with their consoles such as the 32c (Michael Jackson’s “Thriller” and “Bad”) the SeriesTen (Janet Jackson “Rhythm Nation”album) and the MR3 (Sade “Promise” album).  Countless other artists including Queen and Led Zeppelin used Harrisons to record and/or mix their albums. They recently introduced the 950m console which I blogged about previouslyThe Lineage is unique in the fact that it offers four pairs of microphone preamps with the tone and character of the Harrison console preamps from the 70’s to the present. I especially like the “FIX” button which enables the user to switch between setups without worrying about re-adjusting the input gain.

From the website:

“The Lineage 8-channel microphone preamplifier provides 8 microphone preamps, each from a different era of Harrison consoles.  Each pair of preamps has their own unique character, providing the recording engineer with several options in a compact 1RU box.”
“ The front panel provides inputs for channels 1 and 2  (with selector switches)  and controls for each of the 8 mic preamps:
(2) 70-80's era mic preamps, with pad and 48V switches.
(2) 80-90's era mic preamps, with pad and 48V switches.
(2) 90-00's era mic preamps, with pad and 48V switches.
(2) Trion mic preamps, each with pad, 48V, instrument mode, and "FIX" gain preset.
 An innovative addition is the "FIX" button on each of the two Trion preamps.  The "FIX" button engages a preset gain trim (user-adjustable via a trim pot).  The combination of the front-panel input switching and the "FIX" buttons allow you to switch the first two preamps between one use (such as 2 calibrated overhead mics in the studio) and another ( such as a vocal chain setup) without having to re-set the input gain in-between.









The rear panel includes 8 microphone preamp inputs and a DB25 connector carrying the 8 line outputs.

$2795 at VintageKing



Friday, August 19, 2011

Elysia xpressor 19" & 25% plugin deals



Elysia a company known for making great hardware and software emulations of said hardware is currently having a plugin sale. They are also introducing a 19' rackmount version of their xpressor compressor. I previously posted about the 500 series xpressor.

"The xpressor with its discrete audio path running in constant class-A mode combines a clear and open sound with a good lot of punch. The clearly laid out functions get you going straight away, while the extended features let you treat dynamics like never before.

Stereo buss compression, processing single signals, approaching dynamics in creative ways – the xpressor shines in many different applications..."

FEATURES:
• Discrete Class-A Topology

  Pristine audio quality.
• Auto Fast Attack

  Perfect attack in any situation.
• Switchable Release Characteristic

  Smooth or crisp – the choice is yours.
• Warm Mode

  Transparency? Saturation? Both!
• Bulletproof Lightweight

  Aluminum housing, panel and knobs.


• Parallel Compression
  Mixing direct and compressed signals.
• Sidechain Filter
  Frequency selective compression.
• Sidechain Send & Return
  External compression access.
• Gain Reduction Limiter
  Ultimate control on the compression process.
• Made in Germany
  Outstanding component and build quality.


SPECIFICATIONS:

Frequency response: <10 Hz - 400 kHz (-3.0 dB)
THD+N @ 0 dBu, 20 Hz - 22 kHz, Mix 0 %: 0.002 %
THD+N @ 0 dBu, 20 Hz - 22 kHz, Mix 100 %: 0.006 %
THD+N @ +10 dBu, 20 Hz - 22 kHz, Mix 0 %: 0.003 %
THD+N @ +10 dBu, 20 Hz - 22 kHz, Mix 100 %: 0.056 %
Noise floor, 20 Hz - 20 kHz: -94.0 dBu
Dynamic range, 20 Hz - 22 kHz: 115 dB
Maximum input level: +21 dBu
Maximum output level: +21 dBu
Input impedance: 10 kOhm
Output impedance: 68 Ohm

Shipping date 8/22/11

Cost: $1,499 / 990 €
elysia
    
    
 
The xpressor is back!

Many of you have asked for this, so we have created this 19“ version which comes in a full aluminum enclosure, making it very light and rock solid at the same time. Further additions to the xpressor are send and return connectors for an external sidechain, plus a superior linear power supply with a shielded toroidal transformer. And just like with our 'bigger' machines, you'll find no cables in the complete audio path at all.

Looking for a great sounding and super flexible discrete class-A stereo compressor?
The xpressor is shipping right now, and it is more affordable than you might think...
The xpressor 500 is now available for $1,499 / 990 €*

 
 
elysia 25 % software discount still valid!
The alpha compressor, the mpressor and the alpha & mpressor bundle are availabe at 25 % discount in the elysia online store until 15 September 2011.
25 % discount code for payments in USD:
49ZO0J1FMY14PGZ6TMGPOYEZ

25 % discount code for payments in EUR:
KXHREO369TZG583B75WH5JWK

>>> USE YOUR DISCOUNT CODE HERE <<<

 

 
VIDEOSOUNDSSTORE
 
 

*German residents and customers inside the European Union
without a valid VAT number are liable to German VAT which is added to the quoted net price.
The price incl. 19% VAT is: $1,783.81 / 1,178.10 €

 
 


 

Pensado's Place: #32 - Dave Way





Another great episode from Dave Pensado and crew. This one feature Dave Way (Teddy Riley & Guy, Michael Jackson, Paul McCartney, Mick Jagger, Fiona Apple etc.) a great engineer I had the pleasure of meeting many years ago at Soundworks Studios in New York.

I've actually met a few of the guys featured on Pensado's Place including Jean Marie Horvat and Jimmy Douglass. All great engineer/producers and very cool people.

In this episode Eric Valentine gives a hands on demo of the UndertoneAudio Console that I reviewed in a previous post. 
Make sure you visit Pensado's Place YouTube Channel to view the past episodes.

Thanks Dave, Herb, Drew and all the people involved in the production of Pensado's Place.
Keep up the good work.

Thursday, August 18, 2011

Sony Music Reveals New Path to Profits…Firings

This article was originally posted by Wayne Rosso on The Music Void:


"Yesterday Sony Music Entertainment fired 25 people. According to one unnamed Sony employee, “It’s really a small cut”. It’s not so small if you’re the one who’s being cut. To rub a little salt in the wound, some of the people let go had been with the company for nearly 20 years. As I told one of the latest victims, “If you were a cop you’d at least been given a gold watch”. Of course, there was no gold watch.
I feel bad for some of these people who were shown the door. The ones that I know personally had been good, loyal employees. Needless to say, this was quite a shock to the system. Of course this is a cheap way for management to show a little more profit. They can’t raise revenues so they cut overheads. Fair enough. But the whole idea of record labels is to make money by signing, developing and breaking new artists and Sony, or at least the Columbia side (RCA has been much more successful), hasn’t done much of that in the last 5 years or so.
What’s worse is that the morale at the company is getting lower by the hour. One veteran SME staffer told me that everyone at 550 Madison is walking around in a daze. “Everyone is convinced that they’re going to lose their jobs and so nobody does any work. They just figure that if they’re going to get fired, why put out any effort? Nobody knows what’s going on around here, and that includes the artists. I get calls from artists all the time asking what’s going on and I have absolutely nothing to tell them because I don’t know either.”
Hiring new high profile expensive executives sure doesn’t help morale either. Each new pricey exec usually comes along with his “guys” and that means more bodies flying out the windows. At least the company won’t be saddled with the Rick Rubin overheads very soon, as I hear that they intend for his contract to quietly expire. I’m sure that septuagenarian CEO Doug Morris will quickly fill that budgetary void by replacing Rubin with another high-ticket guy. Don’t forget, Doug’s not known for being very parsimonious.
It’s interesting to note that these guys are willing to spend millions on the same old recycled executives and won’t spend a dime any more on artist development, something we haven’t seen at any record label in the last several years. Have they ever thought of trying to bring in a younger generation to eventually take over the business? As one industry exec told me, “They never want to hire anybody under 40 in a senior position. It’s ridiculous”. When you start looking at guys in their 70’s and 80’s to run a youth oriented business, you know something has gone terribly wrong. Let’s face it—these guys should be in Florida eating early bird specials.
The latest round of cuts will do nothing to ease Sony Music staffers’ fears as it will probably only lead to more firings. The top management probably cynically thinks that a few “small cuts” at a time instead of one big massacre will play better in the press. Unless Sony get’s its act together, this may turn out to be a regular event and as usual the wrong people will ultimately get the ax."

How The Google Motorola Acquisition Helps the Music Industry


Billboard posted an article about Google's acquisition of Motorola's Mobile Division and what it could mean for the music industry.

"With the acquisition, Google now has the same kind of software and hardware integration that Apple (as well as the struggling RIM) enjoys with all its products. And if Google wanted to plant a flag in the mobile space, it could hardly find a better brand that Motorola to do so. Motorola once dominated the market share for U.S. mobile phones. It actually made the first portable mobile phone ever. The brand name will forever be wedded to the mobile phone market, despite losing its footing several times over the years (first when mobile phone technology went from analog to digital, and again when the market shifted to smartphones)."


"So what's all this mean for the music industry? A few thoughts:

-    Integration: Google can now finally make a smartphone that fully integrates hardware and software design from the ground up… like Apple does. It will certainly take some time for Google to do this effectively, but once accomplished should lead to some very interesting possibilities in terms of user interfaces and features-including content.

-    Distribution: Google stumbled the first time it attempted to build its own phone (the Nexus, which relied on a third-party partner to make the device) primarily because it had no way to sell it other than online. Motorola products are available globally directly from multiple wireless operators.

-    Music: Google Music is a cloud-based music service. It's still in a beta mode as Google works out its licensing issues. But it's not hard to see a roadmap that leads to a fully streamed music service in the relatively near future. Embedding a streaming music service into a mobile phone built from the ground up for that purpose could be a compelling offer, IF Google/Motorola can also get the wireless operators on board.

-    Tablets and Set-Top Boxes: Any cloud or other type of streaming music service is made more valuable the more places it can be accessed. By controlling the creation of not only mobile phones, but also tablet computers and (perhaps more importantly) set-top boxes, Google now has the chance to embed whatever Google Music eventually becomes into the living rooms of millions of homes."

Read the entire article here.

Wednesday, August 17, 2011

Protools 9.0.5 released for MacOS X Lion






The Air Users Blog which you should follow if you're a Protools user posted that Avid has released the PT 9.0.5 update for MacOS X Lion.


From Avid's page:


Although not officially qualified, Pro Tools 9.0.5 also adds public beta support for Apple's OS X Lion operating system.


Known Issues in Pro Tools 9.0.5 (Beta) on Mac OS X 10.7.x ("Lion")
Pro Tools 9.0.5 adds public beta support for Apple's OS X Lion operating system. Please see the Pro Tools 9.0.5 Mac Read Me before you update for important information on installing the Lion operating system and installation and use of Pro Tools 9.0.5, including the following:
Upgrading to Lion can result in the uninstallation of Pro Tools components.
If you upgrade from Mac OS X 10.6.x ("Snow Leopard") to Mac OS X 10.7.x ("Lion") with Pro Tools already installed, DigiDioMIDIServer.plugin and DigidesignFireWireMIDI.plugin will be uninstalled during the Lion install.

If you subsequently try to launch Pro Tools, a dialog will appear indicating that these files were moved to an Incompatible Software folder.

To run Pro Tools on Mac OS X 10.7.x ("Lion"), create a clean Lion partition and install Pro Tools directly to that partition. Avid recommends against updating a Snow Leopard partition that already had Pro Tools installed due to the potential for Lion to uninstall certain components during its installation process.
The Send To DigiDelivery command in Pro Tools will not work with Mac OS X 10.7.x (“Lion”).
The DigiDelivery client application requires Rosetta to be installed. Mac OS X 10.7.x does not support Rosetta. The Send to DigiDelivery command in Pro Tools will not function on Lion.
Please see the Pro Tools 9.05 Read Me for additional known issues.

Pro Tools 9.0.5 Read Me

These Read Me files document important compatibility information, issues resolved in Pro Tools 9.0.5 (including issues resolved in 9.0.4 Mac, 9.0.3, 9.0.2 and 9.0.1), known issues, error messages, and information on installation and use of Pro Tools 9.0.5 and Pro Tools HD 9.0.5 software:
Get more info on the PT 9.0.5 update here.

Buy Any $99 Plugin - Get $100 Back



BUY ANY 99$ PLUGIN.
GET BACK A $100 WAVES VOUCHER.
For a limited time only, when you purchase a selected $99 plugin in the
Waves Online Store, we'll give you a $100 voucher toward your next purchase.*
get-cla-vocalsget-mpxget-c4
get-vx1get-tuneget-ir1
plugins
*$100 voucher is valid for 14 days from date of purchase,
toward 50% off bundles and upgrades / 25% off single plugins in the Waves Online Store.
facebooktwitteryoutubeSend to a Friend

Saturday, August 13, 2011

YAMAHA NS-10M SPEAKERS: Discontinued but still the Industry Standard. Here's why.



The Yamaha NS-10M monitors has been the recording studio industry standard for almost 30 years. Even though their frequency response is not perfect, (60hz - 20Khz with a deviation of ±5dB) they're considered a great real world reference. When mixing, if the song sounds great on these speakers, it usually translates to other systems (car, living room, ipod etc). They work exceptionally well when paired with Bryston 4B series amplifiers (if you're on a tight budget the Crown D-150A works well also). Make sure to outfit the speaker cables with a fuse holder (1-1.5 amp fuses). They’re great for balancing vocals on many styles of music including pop, rock and urban. The NS-10 is discontinued but can usually be found on Ebay for $400 - $600.

Here's an excerpt from a Sound On Sound article (written by Phil Ward) about the NS10's history:





"The Yamaha NS10 was designed by Akira Nakamura and launched in 1978, and it was as technically unremarkable then as it is now. At that time Yamaha were also producing the more extraordinary NS1000 (also designed by Nakamura). With its beryllium mid-range and tweeter domes this speaker is technically advanced even now, and if you ever come across a pair in good condition, worth selling your own mother for. The NS10 began life as a domestic hi-fi speaker, but it was relatively poorly received and quickly faded towards obscurity..."
"The late '70s, when NS10s began to appear perched on meter bridges worldwide, was a transitional time in music recording. The divide between the engineer and the artist was blurring... Desks were getting bigger as track count increased on tape. Outboard gear.... became more sophisticated and ambitious, and recording engineers became more creatively involved in the process of producing a record."
Bob Clearmountain is usually credited with making the NS10's a studio standard and using tissue paper on the tweeters to soften the overly bright response. There is some truth to this but there's a little more to the story:
"Nigel Jopson believes he was one of the first engineers regularly to use NS10s in the UK. His first pair was given to him by a producer just back from mixing a project at The Power Station in New York, after hearing that Rhett Davies and Bob Clearmountain had used a pair there while mixing Roxy Music's Avalon. However, Jopson goes on to say that Clearmountain himself recalls that NS10s were recommended to him by Bill Scheniman — who was the first engineer to bring a pair to New York, having used them at either Motown or Sunset Studios in LA. Bill Scheniman recollects that the pair of NS10s at Sunset (or was it Motown?) belonged to Grag Ladanyi, but that he had been convinced of their worth earlier, while working in Tokyo. Scheniman remembers using NS10s at two studios there: TakeOne, and another studio long-since forgotten. So, the most likely seed of the NS10's world domination was probably an unknown engineer at TakeOne studios in Tokyo — and not Bob Clearmountain looking for the worst speaker he could find!"

"Thanks to its time-domain accuracy and mid-heavy balance, the NS10 is an extremely revealing speaker that takes no prisoners. In other words, if the recording is poor, the NS10 will tell you in no uncertain terms. You have to work harder to make things sound good on the NS10 not because it sounds bad but because recorded music, even today, is often a poor approximation of the real thing, and the NS10 reveals it. I found a familiar comment on the SOS Forum that reads: "If it sounds good on NS10s then it'll sound good on anything." Again, that's not because the NS10 is inherently poor, but because it is effective at revealing the fundamental compromises inherent in recorded music. If you've worked hard on NS10s at a mix and overcome those compromises, or perhaps cleverly disguised them, the mix will translate well to other systems because it is a good mix...."

Two more reasons for the NS10s popularity:

1. "Andy Munro presented a paper to the Audio Engineering Society in the early '90s, in which he examined in passing the acoustic effects on the NS10 of placing it on the meter bridge of a big desk. The paper showed that the NS10's frequency response flattens in such circumstances — reflection from the desk reinforces output in the upper bass and low-mid region."




2. "The curl-and-join construction of the NS10's paper cone (look closely and you can see the glued seam at 12 o'clock) is not typical of most speaker designs — and is a factor in the NS10's success in the studio."




Read the rest of this very informative article here.

Studiospares makes a NS10 clone called the SN10.

STUDIOSPARES SN10 PASSIVE NEARFIELD MONITOR


























I've never used them but here's an excerpt from a review link on their page:

"This Speaker appears to be an exaggerated version of the Yamaha (NS10); Studio spares has taken the desirable properties of the old speaker and made sure that this speaker has them in abundance."
Keith Holland, Resolution Magazine (2009)

"Inspired by the legendary Yamaha NS10 which became a standard within the studio industry, this new model addresses the two improvements that studios thought appropriate, namely an extended bass response and the need for more output. The SN10 incorporates an 8 inch driver not a 6.5 inch. It has a massive magnet which together with the increased size uprates the power to 80 watts RMS (8 ohms). The HF output is handled by a 1 inch soft domed tweeter driven by the crossover which operates at 3.2kHz. The cabinet is constructed from 19mm MDF and veneered in black. The front grille is removable. The sound is punchy and very close to the familiar NS10s. The stereo imagery is excellent and the top end is smooth."



£97.30/158.417 USD each at studiospares.com