Knobula has introduced Echo Cinematic at SUPERBOOTH24 in Berlin

Electronic music innovator Knobula unveiled Echo Cinematic as the latest Eurorack module to embody its no-screen, no-preset philosophy — presented as a fully-featured, practical stereo effects unit that draws its inspiration from the influential dub music culture that emerged from Jamaica and made its mark on the London music scene in the early Eighties.

Actively appreciating Echo Cinematic as a fully-featured, practical stereo effects Eurorack module — as alluded to by its front panel-positioned descriptive (Eq + Delay + Reverb) wording — that draws its inspiration from the influential dub music culture that emerged from Jamaica and made its mark on the London music scene in the early Eighties surely benefits from digging deeper into what, technically, made that scene sound so unique. Ultimately, then, analogue tape delays were routinely connected to mixing consoles via a spare channel strip in those iconic recording setups, so engineers were able to manipulate the resultant sound using EQ and effects send controls to create ever-evolving rhythm textures from feedback loops delicately balanced on the brink of self-oscillation.

On the face of it, Echo Cinematic clearly eliminates the need for a complex mixing console; instead, it expands on those early-Eighties-developed dub music principals by beautifully integrating a versatile resonant filter with five distinct sources of automation. As such, Echo Cinematic consists of two independent LFOs (Low Frequency Oscillators) for both Eq and Delay modulation; looping 30-second Knob Record functionality, capable of simultaneously controlling every knob on the module’s clear-cut front panel; and two external CV (Control Voltage) inputs — CV A and CV B — for instant assignment to any control upon insertion of a patch cable.

Creatively, Echo Cinematic’s Eq section boasts three selectable filter types — namely, Shelf (high-/low-pass), Peak (peak/notch), and classic Comb; each can be patched into the Fback (feedback) loop (in so-called Dub Mode), Delay (output), or All (entire signal path), including the self-explanatory Dry or Effect signal. Simultaneous to that, the Delay section offers up to two seconds of stereo delay time, complete with Tap delay and grid Snapping functionality to ensure precise synchronisation with the beat or clock signal, while Reverb duties are handled by the same, lush-sounding 24-bit stereo processing found in Knobula’s other cinematic-sounding Eurorack modules — think: no screens, just big-screen sounds!

Says Knobula Technical Director Jason Mayo: “Before Knobula was founded, even, Echo Cinematic was intended to be our Eurorack debut. Duly envisioned as the ultimate dub-style echo module, its development was paused due to Poly Cinematic’s unexpected success; Echo Cinematic nonetheless now represents the culmination of a meticulous three-year developmental journey, the result of which has turned out to be even better than my original concept, so I’m immensely proud to finally introduce it to the Eurorack community.”

The post Electronic music innovator Knobula introduces Echo Cinematic appeared first on Audio Media International.

Real World Studios has won a prestigious ‘Studio of the Year’ accolade, sponsored by Neumann, at the MPG Awards ceremony held at the Troxy in London

Now in their 16th year and celebrating the best talent working behind the scenes in the British music industry, the Music Producers Guild Awards (MPG Awards) are one of the most prestigious awards in music production. This year’s awards received a record number of open submissions from the general public, with MPG members voting to shortlist their peers in each of the 14 award categories.

Real World Studios is a renowned recording facility located in Bath, England. Founded by musician Peter Gabriel in the late 1980s, the studio was built with the intention of becoming a creative and collaborative space for artists from around the world to come together and make music.

The studios’ versatile recording, mixing and immersive spaces are some of the best sounding and most acclaimed in the world. They house an array of the finest audio equipment, which is operated by a dedicated team of recording, mixing and mastering engineers.

For the second consecutive year, Georg Neumann GmbH sponsored the Studio of the Year category at the MPG Awards.  Yasmine Riechers, CEO of Georg Neumann GmbH said:

“The MPG Awards celebrate the very best in British music production, and we are proud to play a role in recognising the outstanding achievements of these talented professionals. Our product portfolio helps producers and engineers in all steps of the sonic chain, whether it’s microphones, monitoring or recording, so it feels like a natural collaboration.”

The MPG Awards recognises the talent and dedication of producers, engineers, mixers, and mastering engineers across a wide range of genres. As last year, the 2024 awards trophy is modelled after the iconic Neumann M 49 microphone chassis. “The M 49 microphone has been a cornerstone of studio recording for decades and is an inseparable part of the Neumann DNA, so it is only fitting that the awards used its chassis as its centrepiece,” says Riechers.

Over the years, Real World Studios has hosted numerous musicians and bands, including the likes of Tom Jones, Beyoncé, Harry Styles, and The 1975. “The studios’ dedication to cutting-edge technology, acoustics, and global music influence has solidified its reputation as a premier recording facility as well as being the home to world music festival WOMAD and Real World Records,” says Tim Oliver, Senior Consulting Engineer at Real World Studios.

The studio features a high-end roster of Neumann microphones, including the U 47 FET, M 49, KM 85, and the KU100 dummy head binaural stereo microphone. Additionally, the coveted U 47 and the iconic Neumann U 67, used by countless professionals in the recording industry, including the iconic bands such as The Beatles, Led Zeppelin, and Pink Floyd, are also part of studio’s microphone collection.

“Real World Studios has a substantial collection of vintage and modern audio equipment, and we’re immensely proud of the pristine condition in which it’s kept by our in-house technician,” says Katie May, Head Engineer at Real World Studios. “As well as each studio’s resident gear, a supplementary collection, including an incredible array of Neumann and Sennheiser microphones moves between rooms.”

Speaking about what it means for the team to win the Studio of the Year award, the team is unequivocal in its praise: “From Claire managing the house to Lisa taking bookings, from Bob L in the workshop to the engineering team running riot, from Jerome in the kitchen to Rachel looking after the accounts, from Nat making the site look beautiful, to Gordan keeping the building in tip-top condition, running the studio is a massive team effort. To win this award as a

Studio Profile: Real World Studios, Bath

The post Real World Studios wins a prestigious ‘Studio of the Year’ accolade at the MPG Awards appeared first on Audio Media International.

AMS Neve, the double Oscar winning experts in crafting sound recording equipment for film, music and television, has been recognised with a prestigious King’s Award for Enterprise.

Announced on May 6, AMS Neve, led by its founder and managing director Mark Crabtree, OBE, has been honoured for its excellence in international trade.

The globally renowned business, better known in Hollywood than its home town of Burnley, has decades of experience in crafting quality sound recording equipment, leading the way in advanced sound technology through innovation, expertise and precision engineering.

The company wins the King’s Award for International Trade for Outstanding Growth in Overseas Sales, reflecting the company’s world domination in its field.

Employing 93 people, AMS Neve has an enviable reputation as leaders in designing and producing ground breaking sound recording equipment.

Mark Crabtree was awarded an OBE for services to advanced manufacturing and the creative industries in 2015 and was given two scientific and technical Academy Awards for advancing the art and science of sound production. Further awards include a Grammy and an Emmy.

The iconic AMS Neve consoles are revered across the music, film and broadcast world, with stars including Kate Bush, Peter Gabriel, Phil Collins and Def Leppard utilising the ‘sound of Neve’, helping them achieve chart topping success.

In the film world, the annual Oscars continue to feature award winning films recorded or mixed using AMS Neve technology, including most recently, this year’s blockbuster winner Oppenheimer whose Oscar winning sound track was recorded and mixed on an AMS Neve console.

Mark Crabtree said: “To receive the King’s Award for Enterprise is a great honour for the company and our dedicated, world class, integrated team who continue to innovate and break new ground with cutting edge digital and analogue sound recording equipment.

“We are a proud British company with a long pedigree of manufacturing the very best quality engineered products that we export around the world.

“All our products are designed and manufactured in the UK at our factory in Burnley, against a trend for off-shoring, requiring significant investment in advanced machinery in order to compete.

In the past three years alone, overseas revenue, total turnover and net profits at AMS Neve have doubled. The United States accounts for 55% of overseas sales, with Europe, Asia and Australia making up the rest.

Mark added: “To receive the King’s Award for Enterprise in recognition of our work is really important for the company and extremely encouraging to us all.

“We have previously received three Queen’s Awards for Enterprise so to now be recognised with one of the first King’s Awards is a real honour.”

The award will be presented at a special ceremony to be held at Windsor Castle on July 9th.

The King’s Awards for Enterprise, previously known as The Queen’s Awards for Enterprise, were renamed last year to reflect His Majesty The King’s desire to continue the legacy of HM Queen Elizabeth II’s by recognising outstanding UK businesses.

The Award programme, now in its 58th year, is the most prestigious business award in the country, with successful businesses able to use the esteemed King’s Awards Emblem for the next five years.

The post AMS Neve awarded prestigious King’s Award for Enterprise appeared first on Audio Media International.

Photo above credit: Jeff Johnson.

Epiphone has unveiled its global partnership with the multiple GRAMMY and ACM Award-winning country music star Miranda Lambert.

A variation on the iconic Hummingbird acoustic guitar, the Miranda Lambert Bluebird Studio includes upgraded features in a stunning Bluebonnet colour celebrating the official flower of Miranda’s home state of Texas.

The new Epiphone Miranda Lambert Bluebird Studio follows the successful release of the Gibson Miranda Lambert Bluebird acoustic last year, which is the best-selling Gibson signature acoustic guitar over the past 12 months.

Miranda Lambert has solidified her legacy as one of the most pivotal artists in modern-day country music. A constant champion of female artists–including through numerous collaborations and her work as a member of the Pistol Annies–Miranda Lambert has made it a priority to use her well-earned influence to encourage more girls and women to pick up guitars themselves. Lambert has won multiple GRAMMY® Awards and has been honoured with more Academy of Country Music Awards than any artist in history.

“My hope is that the release of the Epiphone Bluebird Studio with a more approachable price point will make it possible for young girls and women in general to get their hands on one,” says Miranda Lambert. “If it makes it more accessible and achievable for girls to chase their dreams, then it’s a win in my book.”

Named after Miranda’s chart-topping and GRAMMY-nominated song “Bluebird,” the Miranda Lambert Bluebird Studio has a square shoulder layered mahogany body and a solid Sitka spruce top designed for both visual appeal and tonal excellence.

The Miranda Lambert Bluebird Studio features a Bluebonnet gloss finish, a custom Bluebird pickguard, and the onboard Fishman electronics make this guitar plug-in ready the moment fans take it out of the included hardshell guitar case.

Q&A with Miranda Lambert

What motivated you to collaborate with Epiphone?

“After releasing my first Gibson Bluebird signature guitar last year, it seemed like the natural next step. The Gibson release was very well received, and we wanted to create a more affordable guitar, and still deliver a great quality product.”

How will this partnership and the signature Epiphone Bluebird Studio release help achieve your goal of inspiring more girls and women to play guitar?

“My hope is that the release of the Epiphone Bluebird with a more approachable price point will make it possible for young girls and women in general to get their hands on one. If it makes it more accessible and achievable for girls to chase their dreams, then it’s a win in my book.”

Did any personal memories influence the design and features of your signature guitar?

“For most musicians, even your earliest memories of a guitar are vivid ones. For me, that was sitting together as a family while my dad played for us, and from there it was me and my mom loading my guitar into her Suburban to drive around Texas and chase my dream. A guitar is a powerful thing for a young artist, so we wanted to create a design that was special because of that.”

The aesthetics of the Bluebird are striking, with intricate pickguard art and a vibrant Bluebonnet finish. How did this design come together, and what makes it meaningful to you?

“Bluebonnets are the Texas state flower and whether you’re from Texas like me or not, they’re just magical. The design was created by Codey Allen at Gibson after I gave some direction for the visual. The idea was based on my song, ‘Bluebird,’ and she did a beautiful job creating the artwork. The combination of the stunning blue color and the pickguard with bluebirds, bluebonnets, and pops of green ended up such a beautiful result.”

What does the Bluebird’s name signify for you personally, and how does it resonate with your journey as an artist?

“Bluebirds are a symbol of hope and renewal, both of which have been significant in my career and life in general. My song ‘Bluebird’ says it best: ‘I’ll keep a light on in my soul, keep a bluebird in my heart’.”

Your career has seen incredible highs and meaningful collaborations. Where does the creation of the Bluebird signature guitar rank among your achievements, and why?

“It’s a highlight, as I’ve been playing the guitar since I was a little girl. It’s where it all started for me. So to be able to create two signature Bluebird guitars is really meaningful to me. It’s full circle and something I’ll carry with me forever.”

Finally, what advice would you give to aspiring musicians who dream of playing guitar or having their own signature instrument one day?

“Keep chasing it. Stay true to yourself and don’t give up. You can’t go wrong with those two things.”

The post Epiphone has unveiled its global partnership with the multiple GRAMMY and ACM Award-winning country music star Miranda Lambert. appeared first on Audio Media International.

Above: Andy Bensley of Genelec and Andy Jones discuss the 8381As at HHB London.

What is it?
Adaptive Point Source main studio monitors with the advantages of huge dynamic range, power and directivity, but also with the ability to be transported and used in a variety of locations thanks to a free-standing design and cutting-edge GLM and SAM technology.

What’s great?
The soundstage is extraordinary and combined with the dynamic range, will let you place track elements with ridiculous accuracy. The sound is also honest, open, huge and addictive. The relative mobility thanks to their free-standing design is also a win.

What’s not?
Only bigger budgets and rooms need apply.

The bottom line:
Genelec has transferred some of its best technologies into a set of main room monitors that deliver the best of all worlds and an immersive experience that will give you an almost arrogant level of mixing confidence. Of course they are top level speakers, but you can pay a lot more for permanently fixed solutions and the inflexibility that often goes with them.

Price: Price: £59,999 per pair, US $64,000

Where to buy: Genelec

Genelec’s 8381A studios monitors have the full-range power and frequency response of main studio monitors, but also a lot of the advantages of smaller speakers in terms of cutting-edge room correction technology and (relative) mobility. In fact they pack in a lot of the features and some design elements of their smaller siblings, The Ones, and while they are not officially part of that Genelec speaker range, they are known as ‘The Main Ones’.

There’s no getting away from the fact that these are speaker solutions for big budget operations and medium to large sized rooms. They stand tall – around 145cm x 50cm x 70cm – and have a free-standing design that includes a five-way speaker set-up, with no less than three sets of mid- range drivers, and a large Double Low Woofer System on which the top half of each cabinet is mounted, with three possible angled positions.

Genelec says the idea is that they deliver everything that you would expect from studio speakers installed within larger studios – think those that are built into the walls of studios A and B at Metropolis. They can be transported to projects for a semi-permanent set-up giving them and users much more flexibility – and the 8381s can be located freely within a room to create less impact on studio infrastructure.

This is backed up by the fact that the 8381As use Genelec’s ground-breaking but now widely imitated GLM (Genelec Loudspeaker Manager) software combined with the company’s Smart Active Monitor (SAM) technology. These mean the speakers can self-adjust according to a new room environment, moving crossover frequencies and attenuating frequency responses according to data fed in via a reference microphone system. The setup is quick, the results usually stunning, so you effectively end up with a set of high-end main room monitors that can be used in /many/ main rooms, not just a permanent and expensive fixture in one location.

The Main Point
The 8381A’s key technology is called Point Source Continued Directivity (PCD), and a first for the speakers. It essentially means that the main frequencies are coming from a single point source so are in perfect time and space for a highly accurate and wide soundstage. And PCD covers /all/ key frequencies thanks to more Genelec technologies focussed on each part of the range.

Firstly, GLM and SAM are not the only technologies shared with The Ones. The 8381As also share a Minimum Diffraction Coaxial (MDC) coaxial design where a 25mm tweeter sits in the centre of the first 127mm mid-range driver, a single-point source part of the design that results in an accurate image. That is your high and hi-mid frequencies taken care of.

Next up, this coaxial designed tweeter and mid driver setup is surrounded with a Quad Midrange System (QMS), four further 127mm mid-range speakers. Like The Ones – the 8341s, for example – these separate drivers almost join forces, in this case also helping to produce an ultra-precise mid- range imaging within the soundstage.

Mounted at the front of each speaker below the QMS array is a front 381mm driver called a woofer, but acting more like a low-mid speaker. Finally the whole enclosure sits on top of a second cabinet with a ‘Double Low Woofer’ (DLW) system, two 381mm drivers that deliver the sub frequencies and the low end part of the PCD system.

It’s a fairly complex five-way system, then, but all of its component parts combine to provide the highly-directional PCD system, and headline specs that include 5926 watts of power over a vast 20Hz to 35kHz (+/-1.5dB) frequency range. The max short term SPL hits 129db per pair too. It’s also worth noting that the 9320A Reference Controller is included with each pair.

But the even bigger headline is the resulting sound. After a number of listening tests we travelled through several opinions and emotions, all of them ranging from impressed to actually slightly overwhelmed. With the right mix, the stereo imaging was extraordinary, almost to the point that we thought some detail was around us. But the biggest takeaway was not just the horizontal soundstage, but the vertical height and the depth of the field.

No doubt helped by the physical size of the speaker – they are the optimal level (or can be adjusted using an incliner) for listening – and also that 5-way driver system, you get an extraordinary ‘height’ in the listening experience. It’s almost like you are presented with a much more accurate, high resolution grid of your mix moving left/right and up/down so you can place everything with extraordinary detail.

I expected to hear more in the mix – as you so often can when going from consumer to studio monitors – but with the 8381s it wasn’t so much that, but becoming more immersed within all three dimensions: left/right, up/down and partially ‘within’ the mix. We noticed the sweet spot was wide, but there was definitely a position where it was best enjoyed.

Another interesting test was when the SAM/GLM system was switched back to revert to a non adjusted set-up. The non room calibrated mix was noticeably less buoyant and lively, unusually flatter and less absorbing. As we have always found in previous reviews, Genelec’s GLM system really does work and is a lot simpler to employ than you might think.

We’re obviously not going to pretend these speakers are in any way for everyone, but the extraordinary detail in playback has already won them places in regular audiophile set-ups as well as the more studio orientated projects for which they were designed. Genelec has filled a gap in the market we hadn’t considered – main room monitors you can take anywhere and ones that will adjust to wherever you go. If you want to get to an (almost!) arrogant level of confidence with your mixing – and doing it anywhere you like – the 8381As are demanding to be heard.

Q/A with Andy Bensley, regional business development manager, Genelec.

So last year was our 45th anniversary. We wanted to do something special and thought, essentially, what could we do? And the 8381A is kind of an evolution on from The Ones.

What if we could do that on a main monitor scale, offer precision, accuracy as well as high performance high SPL, and the flexibility to place these things anywhere within the room?

If we look at what we’ve done in the past with our in-wall systems, there was a lot of work that would need to be physically done to the studio space to accommodate these larger monitors. So it would require a monitor wall, and a lot of work with acousticians. A lot of factors would have to be known ahead of time – what console is going to be in there, what’s going to be happening with the furniture in the room, where is the listening position because the monitor focusing will be dictated by that listening position.

What we’ve seen over the years is people moving into different rooms on shorter leases, for example. And if the monitoring set up comes with the facility, they’re not really in a position to redesign the room. Working within the space that they’ve got seems to be the order of the day. So that’s where we’ve seen these adaptive technologies, specifically with our GLM calibration software, where you can freely place these systems and get excellent results.

In a similar vein to The Ones and the W371A adaptive woofer system, everything is modular. Each element is calibrated individually with crossovers assigned based on the acoustic properties of the room. So the combination of the system and GLM will then decide which woofer is going to play up to which frequency. And the idea is to give you a frequency response that’s complete, so that we are reducing the influences of the room due to placement . But also, we’re able to control the directivity as well. So we’re able to deliver as much direct sound in the listening position as possible.

These are the two main goals of this system. And then finally, a huge amount of dynamic range in it as well – we’ve got something like a total of six kilowatts of power driving each 8381A.

That adds up to 129 dB of short term SPL per pair. So we’ve got systems that are very capable, with a huge amount of dynamic range, a huge amount of information that can be presented.

But the killer thing with this, because it’s a point source system – with the combined tweeter/midrange and the four midrange drivers – it adds up to an acoustically coaxial system.

Yes, you can listen at less than a meter, or 10 meters. So these are super flexible in terms of where you place these within the room, as well as the point source design, you’ve got so much flexibility. In this room, with a traditional three way design, the usual listening position would always be further back in the room, where each individual driver comes into focus together.

But equally, you could tuck these in even further and listen at the best position as well. You’ll be able to hear how firm that phantom center sounds as you start to move.

One approach that we could have taken would be to just put another 12 inch woofer in the top section along with the tweeter in the mid range driver – like a traditional coax – but then you get the issues of interference with the mid range and the tweeter, with modulation and discontinuity in the frequency response. It’s very difficult to predict what the response is going to be from that kind of design.

So because we’ve got such a large area on the front, we were able to space those five inch mid range drivers in a position where acoustically they essentially sum up to one driver. So you get this acoustic coaxial performance, but it doesn’t interfere with the dedicated mid range/tweeter coax in the center. There’s no interaction between them and the sound just adds up and comes at you from one place.

And this is the idea of the system, because none of those component parts operate on their own. A lot of what is happening under the hood of GLM is being informed by the 8381A system, compared to a third party calibration system working with a third party speaker system – where neither of them know what’s happening. In that situation, the calibration can be asking certain things of the driver makeup that they’re not necessarily capable of delivering. Because we know the capabilities of each of the driver crossover regions etc, GLM will never ask the system to do something that it’s not capable of. So we’re able to guarantee a level of performance not only in terms of SPL, but in terms of the frequency response and the quality of the audio, because we know all of the different component parts.

And we know how the DSP is going to manage and drive the system as well. So that’s a big part of the design process, as well, knowing how we can get the best out of each of these elements. With this project, there were a number of different iterations of the mid range system – whether it was going to have a dome design, or a traditional kind of recessed concave driver, and seeing the measurements from the impulse responses of how the intermodulation was being affected.

And all these kinds of artifacts we were seeing from having the concave design, that’s what led us to the dome design of the QMS mid range drivers. It’s given us a huge amount of control in terms of the design and the predictability of what the final product is going to be. And again, that’s part of the work that was done with The Ones, because no one was making that kind of coax element.

The target customers for the 8381A will be those that are recording, mixing and mastering music, along with post houses. They’re super capable, regardless of the genre. So whether you want something that’s incredibly loud and impactful – to provide a vibe for composition and writing – or you want something that’s super accurate for mixing, they can wear many hats. Plus you’ve got all this performance and exceptional imaging, which isn’t necessarily the case with a lot of larger systems.

For those customers wanting to know whether the 8381As are suitable for their room, we receive this kind of request from customers all the time, asking ‘I’ve got this room with this design, what would you recommend?’ We’ve got a team of nine or 10 people, probably more worldwide that are out there visiting rooms all the time.

So we have a huge amount of experience between us in terms of how our systems perform in the real world, what rooms, what they’re suitable for, how the system scales, in terms of whether being a stereo or an immersive system, and what would work in each scenario etc. But we’ve also got a massive amount of information that we’ve received from customers that are calibrating their systems via GLM’s cloud services. We’ve got access to around 10,000 measurements of people’s rooms, so we’re able to see what the common trends are and where people are typically seeing cancellations in their response. From that we’re able to see our customers’ issues with cancellations, and work out how to solve that with a new product design.

That was origin of the W371A woofer system, and now the 8381A, where rather than trying to fix acoustical issues within the room with EQ alone, we’re able to do it by assigning different drivers to fill in the frequency response. If you do it that way, you are optimizing for a larger area rather than just one specific spot. Otherwise, if you fix one area with EQ, as soon as you move out of that area, you’re into another null where there’s a difficulty – and so you’ll have a reluctance to leave that sweet spot.

Interview: Aki Mäkivirta, Genelec R & D Director

The post Review: Genelec 8381A appeared first on Audio Media International.

Source Elements has announced that the upcoming Source-Connect 4 is a Remote Production winner in the 2024 NAB Show Product of the Year Awards. The prestigious awards program recognises groundbreaking products and technologies presented by exhibitors and honours the most significant and promising innovations showcased at the show, highlighting the cutting-edge advancements shaping the future of the industry.

Source-Connect is a software application with bundled workstation plugins for MacOS and Windows that is used for real-time studio-quality audio and data streaming, now with up to 6 participants. A full feature set covers every modern workflow when working with remote audio and video timelines, with LTC/MTC support and automated source file retrieval to ensure perfect recordings regardless of network conditions. With the AAC ELDv2 codec from Fraunhofer and reinforced with a private, secure, globally-distributed cloud architecture, Source-Connect 4 ensures excellent streaming connectivity even in the most remote locations, and supports enterprise IT requirements.

Source-Connect 4 represents a massive forward-jump into meeting the new demands of hybrid remote collaboration in the global media industry. Source-Connect 4 is redesigned and reengineered using foundational knowledge obtained from providing 20 years of service to the industry. In order to meet the new needs of today’s media creators in the emerging remote/hybrid climate—and their talent and their clients—Source-Connect 4 has been transformed into a true remote-collaboration platform. Multi-channel, multi-participant, multi-timeline, multi-platform and supported by modern secure network services, all aspects of the remote working experience is supported in the creation journey of real-time media.

With 24-channel, multi-endpoint streaming, Source-Connect 4 connects immersive environments, as well as supporting any channel based layout and unlocks a world of potential for mixers, directors, and stakeholders to attend next generation audio playback and mixing sessions from their preferred location or setup. Key to a successful platform are the included DAW & NLE integrations so professionals work within their familiar environments, alongside innovations distinct to the platform: timeline synchronisation, guaranteed recording and ensemble capture up to 6 participants with additional capacity to follow in later releases. Source-Connect 4 is comprehensive enough to meet all collaborator’s needs, providing a simple interface for each role in the workflow at an affordable price point.

NAB Show Product of the Year Award Winners were selected by a panel of industry experts in 15 categories and announced in a live awards ceremony at the NAB Show on April 16. To be eligible for an award, nominated products had to come from companies exhibiting at the 2024 NAB Show and be delivered within the 2024 calendar year.

Robert Marshall, co-founder and principal inventor for Source Elements, was delighted to observe the positive reception during the NAB show and expressed his gratitude for the favourable reactions from both new and existing customers who visited the Source Elements NAB booth to explore the all-new Source-Connect 4. The overwhelmingly supportive feedback about its advanced audio capabilities, forthcoming updates, and revamped interface with legacy-feature-parity, confirmed Source Elements has struck a chord with the community with our deep commitment to empowering users with innovative workflows and enhanced connectivity to close the gap of distance and physical limitations.

“NAB Show is the ultimate marketplace showcasing the latest trends and technology spanning creation, distribution and monetisation in the broadcast, media and entertainment industry,” said senior vice president and chief customer success officer Eric Trabb, NAB Global Connections and Events. “Congratulations to Source Elements for winning the prestigious 2024 NAB Show Product of the Year Award, a testament to the groundbreaking innovation embodied by Source-Connect 4. Its profound impact on the content lifecycle underscores its pivotal role in empowering storytellers to navigate present challenges and embrace the opportunities of tomorrow.”

For full list of winners click here.

The post Source Elements Wins 2024 NAB Show Product of the Year Award appeared first on Audio Media International.

Jacob “Biz” Morris is a multi-platinum and Grammy Award-winning mixing engineer. For the last decade, Biz has represented independent Atlanta hip-hop label Reach Records, as a Vice President and Head of Studio. 

Morris has recently embarked on an exciting new chapter in his career by launching “GetMxd,” a cutting-edge company aimed at providing top-tier mixing and mastering services for independent artists at an affordable price. At the GRAMMY Awards 2024, two projects which used MXD’s mixing and mastering services took home awards; Lecrae’s album ‘Church Clothes 4’ and his collaboration with Tasha Cobbs Leonard’s,‘Your Power’. 

Based in the US, Biz set up Atlanta’s first Dolby Atmos-enabled studio with Reach and is currently building a new state-of-the-art Dolby Atmos production space for MXD. Biz set up MXD so that artists operating outside of the majors can access affordable spatial production. He and his team personally mix and master each track, having helped hundreds of artists realise their music’s potential.

How long have you been running and why was your space set up?

I’ve been head audio engineer at Reach Records for the last eleven years, primarily operating out of the four studios we built in 2016. I recently finished my home studio in January and have been mixing out of it a few days a week on days when I’m not at the Reach studios. 

Who helped you build, tune or upgrade your home space?

The studio was designed by Haverstick Design, and a local business in Atlanta built it. I have Focal monitors tuned with a new audio interface, Trinnov Nova.

What artists, presenters or other creators pass through your doors?

The studio at Reach Records is where artist visits are frequent – the space is available for our roster (e.g. Andy Mineo, Hulvey, Limoblaze and Lecrae) primarily, but have also had others including Tori Kelly and Kirk Franklin.

For my new space, I wanted a space that was at home where my kids could come in or be around while I was working. Some new songs I mixed in here include ‘Skin and Bones’ by David Kushner, ‘I Still Believe’ by Lecrae, and ‘UP!’ by Forrest Frank and Connor Price. 

What’s your USP as a studio based on feedback from artists and completed sessions? 

Because we are a “team”, or a larger entity, our USP is we have the unique capability to handle artists’ songs with a careful, personal touch, whilst executing it all in a streamlined and efficient manner. We deliver unbeatable attention to detail through an intuitive and responsive user interface – my new MXD platform, which connects grassroots artists with industry-leading mixing and mastering services at an affordable price.  

Who’s on the team?

I’m lucky to have a fantastic team with me at MXD. I’ve been working with Connor Back since he first joined Reach Records as an intern in 2018. He’s been with MXD through every step of the way, and is now one of our head mixing and mastering engineers. As our list of clients grew, we also brought in Zach Johnson, who plays a vital role in keeping our admin in check. He’s a really valuable member of the team – he’s now moving into mixing Dolby Atmos as his specialty.

How do you stay stay up to date in your home studio and Reach?

What I’ve had to do is figure out a way to stay current with sound/equipment, but also facilitate a streamline workflow that will allow for working on a lot of music and not spend a tonne of time troubleshooting. One example is working in my Atmos room at Reach Records, which uses Dante, the digital audio network.

How would you describe the overall vibe of your home studio? What’s the balance between creating a great sound vs a great vibe – can they exist hand in hand without compromise?

Vibe is super important in a studio. The environment informs how you feel, and how you feel informs your work, as well as the music it churns out. My home studio has a very open feeling. I wanted a lot of windows for natural light and Gavin from Haverstick Designs made this a reality. I chose all white stretch material from FabricWall, which makes the space feel open, light, and breezy. This is really important for me whilst working in an industry that can often feel busy and clustered.

How do you feel about remote collaboration in your studio with apps such as Audiomovers, do you embrace it or does it change the magic in the room?

I love remote collaboration, but some people feel differently, believing in-person collaboration is the way to get the best result. While I agree in-person is often fun and gets the job done, remote sessions can often allow for more flexibility with less pressure. Audio streaming allows us to execute an idea whilst in the spur of the moment. An artist can be anywhere and suddenly make changes to their mix, with their mixing engineer responding to it virtually in real time. In that sense, remote collaboration can be an incredibly powerful and efficient tool.

Can you share a list of the gear you have and the room types and dimensions?

In my room, I have an Apple Mac Studio with a Trinnov Nova and Focal monitors. I also have my studio at Reach Records with more gear if needed. For years, I used a lot of outboard gear, and still do sometimes, but I have really enjoyed the simple set up I use at home. I am currently working on a new mix bus chain and will be installing it in both rooms.

Talk us through your rooms and why they are designed in the way they are?

My home studio is very open and bright with natural light. The rooms at Reach all have different vibes. This allows our artists to gravitate to specific singular spaces, or even oscillate between rooms to keep the environment dynamic. We also created a few rooms that have multiple work spaces inside of them, which allows for hosting writing and production camps.

What’s your dream recording project or client?

This is a hard one. Last year was a big year for me as an audio engineer. I certainly wouldn’t pass on mixing John Mayer if given the chance! 

The post Studio Profile: Interview with Jacob “Biz” Morris appeared first on Audio Media International.

Audiotonix has announced that they will be introducing the first and only Audiotonix branded product, the STEAM powered DJ mixer kit, as part of a new educational initiative. Designed to engage the next generation of engineers, the self-assembly mixer provides students with new engineering and technology skills and provides schools and education groups with a practical project based on real world audio technology.

“The idea behind STEAM is simple” states James Gordon, CEO of Audiotonix. “Our brands, and many of our partners and customers too, are struggling to bring new talent into our industry. If we want continued success then it’s our collective responsibility to help develop the next generation of engineers, starting whilst they are at school. To build more interest in engineering and help develop these core STEM skills, we have created a kit-based, USB powered, 2-channel DJ audio mixer that students can build and assemble themselves or as a team”.

Helen Culleton, COO of Audiotonix continues, “With the help of our global partners, schools, youth groups and charities will be able to get kits at a heavily discounted pricing or for free, and the aim is that, for all units sold, we reinvest all the monies back into building more kits that will get into the hands of students who wouldn’t normally get access to this opportunity. It’s a start, and our aim is to create further STEM and audio engineering initiatives in the future.”

The STEAM mixer itself is comprised of three printed circuit boards (PCB’s) with individual through hole components that need to be soldered in place. The mixer can be simply assembled with the supplied metalwork to make the finished, professional grade, DJ mixer. As its USB 2.0 (USB B) powered, STEAM is safe to build and easy to use in any location and jurisdiction. With dedicated instructions and video content on how to build and use, students will gain an understanding of how the different technical elements work together to create a product they can use to develop their creative skills too.

The post  Audiotonix Announces STEAM Powered DJ Mixer Kit As Part Of New Educational Initiative appeared first on Audio Media International.

Ibiza Rocks collaborated with HARMAN Professional Solutions to upgrade its iconic poolside live performance area with JBL VTX Series line array speakers.

Ibiza Rocks recently replaced its aging sound system with a comprehensive HARMAN Professional live audio solution consisting of JBL Professional loudspeakers to ensure high-impact audio for its guests while minimizing disturbances to local residents.

Originally conceived as a live music night at Manumission, Ibiza Rocks aimed to introduce a unique performance dynamic to the island, initially emphasizing live bands. Over time, this focus evolved to include both live bands and DJs as headliners. In 2008, Ibiza Rocks transitioned into a hotel, featuring an iconic poolside stage and a full schedule of events throughout the season. Throughout its evolution, the venue has continually refined its performance space to deliver an unparalleled pool party experience for guests while maintaining consideration for neighbouring residents.

The Ibiza Rocks team recently collaborated with HARMAN Professional Solutions to enhance its world-famous pool parties with a new stage position and upgrade to a JBL Professional VTX A-Series sound system, allowing for increased sound levels within the venue while minimizing disturbances to neighbouring residents.

“We had a circular stage for a long time and a peripheral system going round the venue,” recalled Stuart Harris, Event and Production Manager, Ibiza Rocks. “It proved difficult for many reasons, and that’s when we started looking at what kind of stage are we going to use, where is the stage going to be, and what kind of PA are we going to use. We’re very happy with the new JBL system and all the artists are very happy with the sound. We’ve gained 5 to 6 dB within the venue with the JBL setup and we’re not upsetting our neighbours, which is huge for us.”

“We were all very sensitive to the neighbours near the venue, so we saw an opportunity to not only accommodate what the venue required, but also limit any disruption to the area,” said Carlos Nager, Senior Application Engineer, HARMAN Professional. “We designed the system with that in mind to achieve a very good SPL and coverage inside the performance area while trying to avoid spilling a lot of noise outside of the venue.”

Ibiza Rocks now features a main left-right array of six JBL VTX A8 line array speakers with two hangs of JBL VTX A6 compact line array speakers for outfill. Supporting the main system, four JBL AC28 speakers serve as the delay fills for the balcony, and the same number of JBL CBT 1000 column speakers cover areas further away from the stage to ensure an even sound field. Additional JBL AC28 cabinets provide the punchy and powerful sound requested for the VIP areas located on the side stages.

“One of the good things about the VTX A8 series is the definition and clarity that you get from it,” noted Chris Wood, Head of Sound at Ibiza Rocks. “If you have more definition and clarity, there’s no excuse to just reach for the volume to make up for stuff that isn’t really there. That really helps with keeping what is perceived loudness down and keeping the clarity up and everyone happy as well. We’ve moved in a really good direction for Ibiza Rocks. I think this will be a very good system for the venue for many years. I couldn’t be happier.”

To ensure a strong low end, 12 JBL VTX B15G subwoofers are deployed in cardioid mode to deliver a powerful and balanced bass response across the performance area while minimizing spill behind the subs. Once the new system had been put through its paces, regularly performing DJs at Ibiza Rocks pool parties expressed being impressed with the new levels of performance.

“This season at Ibiza Rocks, the new JBL sound system has absolutely killed it for me,” said Joel Corry, DJ and Producer. “Every side of the venue, every space in the venue, you can hear the music so loud and clearly and you can feel the bass. I love playing on it, and the party goes off each and every week.”

“The sound this year was incredible,” said Shosh, DJ and Producer. “JBL brought their A-game. You know that the equipment and the audio setup are professional, it’s tight and it’s there to back the performance.”

The post Ibiza Rocks Delivers Ultimate Pool Party Experience Powered by JBL Professional appeared first on Audio Media International.

British audio manufacturer Audient has partnered with loudspeaker company PMC Speakers to unveil a brand new immersive audio studio located at Audient’s Hampshire headquarters.

Summerlea House has been designed from the ground up to offer Audient’s customers a state-of-the-art demo facility. Built around Audient’s new purpose driven immersive audio interface and monitor controller ORIA, the studio features a 9.1.6 PMC result6 speaker array with a PMC 8SUB. An additional two PMC6 active speakers offer clients the option to reference a mix in stereo as well as 9.1.6 Dolby Atmos and everything in between.

“ORIA is the first truly purpose-driven immersive solution, designed to be the central control hub of an immersive studio. As such, many factors need to be considered when specifying it into an multi-speaker array and the subsequent required workflow,” explains Audient’s Andrew Allen.

“Having a dedicated studio facility enables our customers to not only experience a professional immersive environment first hand, it also allows them to get hands-on with ORIA’s powerful feature set and technology ensuring it’s the right solution for them. ”

Phil Millross, PMC’s Business Development  Manager for Pro Audio UK says:

“When PMC first heard about the development of ORIA we were extremely interested in the product. PMC has been involved in Dolby Atmos Music since its launch, and immersive audio has long been part of the PMC ethos – right back to the early years of DTS, THX and other surround formats.

Audient recognises that PMC monitors are ideally suited to immersive audio due to their wide directivity and ultra-low distortion, and we are delighted that our system is the system of choice for Audient’s new facility and is now delivering the utmost flexibility and sonic quality as they move into the realm of spatial audio. Audient truly understands what PMC has to offer and have been great to work with. We wish them every success with this stunning new room.”

Working closely with acousticians and room designers, Audient has created an acoustically accurate space. Andrew adds, “Not only does it provide an ideal listening space for demonstrations, but the studio is also available to professional engineers so they can mix their own records in Dolby Atmos.”

Room Sonics took care of the studio’s acoustic design which features over 80 GIK acoustic panels. The studio desk was custom designed and built by AKA Design and speaker mounts were courtesy of Triad Orbit.

Interested in hearing what ORIA can do, send an email

The post Audient Unveils Immersive Studio In Partnership With PMC Speakers appeared first on Audio Media International.