Chessington, UK (May 10, 2023)—DiGiCo has launched its new flagship console, designed new from the bottom up—the Quantum852.
Intended to deal with no matter is thrown at it, the desk options redundant processing engines, every powered by 5 seventh-generation FPGAs and next-generation SHARC DSP processors. As a outcome, it may well deal with as much as 384 mono channels, with 192 Aux / Sub-Group busses, plus LR / LCR / 5.1 Master busses. It comes with a 64 x 64 Processing Matrix, 36 Control Groups, two Solo busses and 64 FX Rack slots. Also onboard are 48 Graphic EQs, 384 Nodal Processors, 128 Mustard Processors and 32 Spice Racks.
The Quantum852’s floor has a jaw-dropping 78 touch-sensitive, 1000-nit LCD screens for full daylight operation—three 19.2-inch meter bridge screens; a trio of 6.8-inch management screens for financial institution and layer switching; three 21.3-inch principal screens; and 69 1.3-inch worksurface screens.
The desk comes with Ultimate “Stadius” modular LOCAL I/O, with every of the three playing cards offering 4 Stadius Mic-Pres, 4 Stadius Line Outputs and two Bit Perfect AES I/O. On the again of every engine are eight single or 4 redundant BNC MADI ports, Word Clock, AES Sync and Video Sync inputs, Dual USB 2.0 sockets, a SuperSpeed USB 3.0 socket, 4k ShowPort Overview Out, 5-Port 1Gbps community change, Dual DMI slots, and Waves SoundGrid port and Optocore inputs as commonplace, with area for an elective second Optocore loop.
Despite all of the tech concerned, the desk is meant to be eco-friendly, in line with DiGiCo. In addition to being contained inside a light-weight alloy building to cut back weight, the Quantum852 accommodates sustainable and recyclable supplies, has a lowered working energy, and handles warmth dispersion with thermal cooling followers together with convection cooling and temperature-dependent cooling.
In a press release, DiGiCo managing director Austin Freshwater famous, “Quantum852 really is an enormous leap ahead in each method. While it’s fully new in its design and building, it’s nonetheless immediately recognizable as a DiGiCo. Its acquainted workflow will make any DiGiCo consumer immediately comfy, however its large enhance in energy and velocity will delight them.”
Dolby has put in PMC screens at its Soho Square premises in London, an academic house for music trade and recording professionals.
London, UK (May 1, 2023)—Dolby has put in PMC screens at its Soho Square premises in London, an academic house for music trade and recording professionals.
The studio has a 9.1.4 configuration. The left and proper screens are twin cupboard PMC8-2 XBDs with a single PMC82 performing as middle. Providing the LFE channels are two PMC8-2 lively subs that supply ample low-frequency headroom. The encompass channels are dealt with by the slimline Ci65s with heights by Ci30s, all of which a mounted behind cloth in order that the expertise is extra about mixing into the house across the listener, relatively than to particular speaker channels.
Jeff Willcocks, PMC’s CEO, says, “PMC has developed a spread {of professional} monitoring merchandise which might be nicely suited to Dolby Atmos combine rooms as a result of they provide nearly limitless headroom, energy capabilities, accuracy and sonic constancy. Our screens have now been put in in lots of high-profile services outfitted with Dolby Atmos, together with Universal Music Group, Warner Music Group, Dean Street Studios and Apple. We are delighted that our screens have additionally been put in in Dolby’s facility in London.”
As {the catalogue} of music in Atmos grew, Dolby noticed the necessity to have a premium mixing studio to get individuals enthused and excited in regards to the format. The studio is used purely for academic functions to assist artists occupied with Atmos. Under the steering of Dolby’s engineers, recording artists, file labels, music producers and mixers can experiment with the expertise in an excellent atmosphere, and uncover the inventive prospects of blending music in Atmos.
Since opening, Dolby has labored with artists and producers resembling Brian Eno and William Orbit, each of whom finalized their first Dolby Atmos initiatives within the studio. Dolby has additionally labored with digital artists resembling George Fitzgerald, Etherwood and Gaudi.
THE TAKEAWAY: “If you’re unhappy along with your mixes or wish to velocity up your workflow, I like to recommend attempting it out.”
COMPANY: Ayaic • www.ayaicinc.com PRICE: $199 PROS:
• Unique and well-executed plug-in.
• Automatically creates a balanced tough combine.
• Drums and bass are persistently well-balanced with one another and within the combine.
• Ducking, increasing and mute teams.
• Fine Trim fader options helpful “level-plane” shortcuts.
• Create and save presets.
• Tutorial movies obtainable. CONS:
• Each plug-in have to be individually configured earlier than “studying” and mixing your audio.
• The handbook lacks depth.
Music manufacturing software program has turn out to be so subtle that it’s now not novel to have a plug-in that may analyze your monitor or combine and create computerized settings for an EQ, compressor, reverb or mastering limiter. So you won’t be stunned to find Mix Monolith (Mac/PC), a plug-in billed as an “Automatic Mixing System.”
Its developer, Ayaic (pronounced “Ay-yi-yic”), says its goal is to not create a completed combine robotically, however to set the elemental achieve relationships between tracks and guarantee correct achieve staging. The thought is to get you “90 % there,” comparatively rapidly, and assist you to spend extra time on the artistic elements of the combination. Unlike different “sensible” plug-ins, it does all this with out AI.
The Mix Monolith plug-in is available in mono and stereo situations, and you place one on each channel of your combine. Each occasion works independently however communicates (“syncs”) with the others.
If you might have a DAW with post-fader inserts (for instance, Cubase or Nuendo), Ayaic recommends utilizing these as insert factors for the Mix Monolith plug-in. That manner, the plug-ins will regulate the achieve after all of the pre-fader inserts, fader settings and any automation you will have written. It additionally means you should utilize Mix Monolith to wash up an current combine the place you wish to hold every little thing however the achieve relationships.
For DAWs with out post-fader inserts, Ayaic suggests inserting Mix Monolith within the final insert slot on every monitor and setting all the amount faders to 0 dB earlier than beginning. If you might have any quantity automation already in your monitor, you’ll must take away that. You don’t need to reset your panning, as Mix Monolith solely offers with achieve.
Mix Monolith creates the equal of a tough combine with appropriate gain-staging.
LEVEL ASSIGNMENTS
Mix Monolith makes use of Integrated LUFS to measure the typical loudness of every monitor. The plug-in provides in depth presets for various devices, vocal varieties, buses (each sub and grasp) and aux results.
A achieve stage has been assigned for every preset between 22 LUFS and 40 LUFS, relying on the supply kind. Within the preset classes for every supply kind, Ayaic offers choices that function LUFS targets akin to their roles within the association. For instance, on vocals, decisions embody Lead, Background and Doubled Lead, every with a unique achieve setting. For multitrack drums, there are separate presets for every equipment piece, together with overhead and room-mic tracks.
These stage relationships are important to Mix Monolith’s success, as every occasion of the plug-in matches the achieve of its monitor to its preset LUFS goal, placing the combination into relative stability. The quantity settings for every preset are primarily based on what the corporate calls “stage planes,” that are increments of 5 dB (equal to five LUFS).
Ayaic’s Menno Froese explains, “If you simply make strikes of 5 dB and also you don’t fiddle with anything in between, every little thing can be on a level-plane—25, 30, 35, 40, 45, 50 LUFS—and your mixes can be excellent. It sounds odd, however that’s the best way issues work.”
Indeed, it does sound odd, particularly contemplating that a rise of 6 dB doubles a sound’s stage. After enjoying with Mix Monolith, I’ll say that the level-plane idea appears to work.
OPEN PLUG-IN, HIT PLAY
The Mix Monolith workflow is fairly easy. After instantiating every monitor with the plug-in and setting the suitable preset, you’re prepared to start out what Ayaic calls the “two-step course of.”
First, open one of many plug-ins, press the Learn All Channels button and play the music from begin to end. Each plug-in then measures the Integrated LUFS on its monitor. When the music ends, you hit the Mix All Channels button, and it robotically calculates an “Applied Gain” setting to match the monitor’s output to its LUFS goal.
The Applied Gain discipline on the GUI reveals you ways a lot you’re boosting or slicing on that monitor. You can lock in that worth to make sure the achieve doesn’t change on subsequent studying passes.
The second step is to repeat the educational course of, however this time for any bus (subgroup) channels you might have in your combine. This will solely work appropriately after the person tracks have been “discovered” first. If you wish to use Mix Monolith in your aux results, Froese suggests “studying” these tracks once you add them to the combination, so long as it’s after the preliminary two-step course of.
You also can put an occasion on the final insert slot in your grasp bus, and the plug-in comes with a number of grasp bus presets for setting the general quantity of the combination. It is sensible to study these final.
Each preset class options variations of supply varieties.
UPS AND DOWNS
After finishing the 2 preliminary passes, your music can be roughly balanced, with every instrument or vocal audible and the gain-staging set appropriately.
From a stage standpoint, you’ll doubtless wish to make adjustments to suit your artistic imaginative and prescient. If you want, you possibly can proceed utilizing the Mix Monolith plug-in, which helps you to modify the amount for any monitor utilizing the Fine Trim slider, a regular fader with one-click shortcuts on both aspect for enhancing or slicing a monitor by level-plane increments. (The shortcuts additionally supply a ±3 dB choice.)
At this level within the course of, you possibly can return to utilizing your DAW’s mixer in order for you. For simplicity’s sake, I discovered it best to depart the DAW faders at 0 dB and make any further quantity changes, together with automated ones, from Mix Monolith.
The presets additionally embody assignments to Mute Groups that may be automated. The Mute button on every Mix Monolith GUI will act on all of the tracks that share the identical group project.
The ducking and enlargement options assist you to set off attenuation or boosts primarily based on sidechain indicators from one (or a number of) tracks. You can set every Mix Monolith occasion to ship or obtain from particular channels or monitor teams. You also can set the Threshold and Range that management the ducking or enlargement, and the Attack and Release, of the incoming sidechain sign.
With some presets, ducking will get arrange robotically. For instance, for those who use the electrical bass setting, the bass will robotically get ducked by the kick drum. All of those settings are totally adjustable.
MONOLITHIC MIXING
Primarily utilizing Pro Tools, I attempted Mix Monolith on numerous mixes over a number of weeks. I discovered that when configured and used appropriately, it really works as marketed. Inserting it on each monitor and setting all of the presets makes it considerably time-consuming on the entrance finish.
But even with the additional setup time, Mix Monolith was a time-saver and at all times yielded wonderful achieve staging. I used to be persistently impressed with the stability between sources within the mixes it created. The drums and bass have been at all times at an applicable stage and sat effectively collectively.
The rhythm devices, like guitars and keyboards, have been additionally well-balanced, so long as I picked applicable presets. That’s to not say that I by no means adjusted them afterward—there have been at all times loads of tweaks to make earlier than a mixture was completed—however the tracks at all times sounded balanced after Mix Monolith made its achieve settings, offering a strong begin for the combination.
The sources I most frequently needed to modify afterward have been the lead vocals and lead devices, which is sensible, as their ranges in relation to the opposite devices are extra subjective than for another monitor kind.
Mix Monolith ought to enchantment to each beginner mixers and skilled ones. For the previous, it rapidly ranges a mixture to the purpose that’s doubtless far past what they may obtain with out it. For the latter, it accelerates workflow and offers constant achieve staging.
One gripe I’ve is with the handbook. It’s well-written however might use considerably extra element. Thankfully, there are wonderful tutorial movies on the Ayaic web site, which I availed myself of when studying the plug-in.
I even have blended emotions (no pun meant) in regards to the “computerized” side of Mix Monolith. If I apply it to all my future mixes (which is kind of tempting), will my talents to stage and gain-stage a mixture stagnate or atrophy over time? And will it inhibit novice mixers from studying the fundamentals? To be truthful, I felt related reservations about different “sensible” plug-ins that I now use repeatedly.
Those considerations apart, Mix Monolith is a powerful piece of software program that’s conceptually modern and delivers what it guarantees. If you’re unhappy along with your mixes or wish to velocity up your workflow, I like to recommend attempting it out.
Chessington, UK (April 24, 2023)—Calrec and Solid State Logic purchasers have been utilizing the Audiotonix “New Heights” cloud DSP mixing engine in a collection of reside streaming sports activities proof-of-concept initiatives, together with ESPN’s current live-to-air cloud broadcast, reportedly the primary within the U.S.
The co-developed cloud-based processing engine will present the spine for future REMI/distant options for each broadcast audio tools producers. Each model will additional develop their very own business options with signature DSP sound and management primarily based on their distinctive manufacturing workflows and have units already utilized by their clients.
“Having the power to leverage applied sciences and expertise between two main broadcast corporations underneath the Audiotonix umbrella offers each corporations a major benefit as we glance to ship cloud-based options within the coming yr,” feedback Tom Knowles, Solid State Logic product director. “Also, working as one crew on these initiatives has supplied an extra confidence to all concerned, and making certain we’re profitable.”
“It’s a singular scenario within the business with two of probably the most used broadcast console manufacturers co-developing a devoted audio cloud answer,” agrees Henry Goodman, Calrec product director, “while additionally permitting every model to construct front-end options that may fold into their present clients workflows and manufacturing infrastructure.”
Brooklyn, NY (April 13, 2023)—Ex Machina Soundworks has unveiled Titan, a brand new speaker system designed from the bottom up to be used in Dolby Atmos mixing and mastering rooms.
The Titan’s compact 2-way coaxial cuboid kind issue was conceived for surrounds and overheads, guaranteeing integration into any Atmos configuration. Despite its small dimension, the speaker boasts a 5.5″ customized SEAS coaxial driver with the producer’s signature Composite Sound TPCD diaphragms and a max. steady output of 105 dB.
Ex Machina makes use of proprietary know-how to allow section and magnitude linearity, with a large 90-degree dispersion, simplifying speaker placement and positioning in a mixture or mastering room. The mathematically optimum woofer waveguide form and true level supply conduct assist imaging, the corporate says.
The Titan system is solely packaged as 4 satellites and an identical 2RU amplifier/DSP pack, referred to as the Titan Lunar Core. The Titan Lunar Core homes DSP and Class D amplifiers. The fifth-generation SHARC+ DSP supplies customers with computing headroom and proprietary calibration know-how, reportedly leading to a flat frequency, section, and impulse response.
The flagship AKM Velvet Sound AK4493/AK5572 conversion provides to the sonic expertise, the corporate states, whereas Hypex N-core sequence amplifiers provide energy. The Titan Lunar Core eliminates the necessity for native energy connections on the mounting factors, because the 4-pole SpeakON enter permits for distant bi-amping over a single cable.
The Titan audio system function 75mm x 75mm and 100mm x 100mm MIS-D VESA mounting factors, enabling versatile deployment choices. Built with a inflexible extruded aluminum cupboard, the Titan system gives what Ex Machina says is its least resonant cupboard up to now.
The producer is providing three packages: ATMOS Package 1, for small to medium-sized rooms, combines LCR Pulsar with Titans as surrounds and overheads; Package 2 gives Quasar as LCR with Titans as surrounds and overheads, for medium-sized combine mastering and movie rooms; and Package 3, for medium to bigger combine and mastering rooms, contains LCR Quasar, Ganymede surrounds with Titans as overheads.
The firm states that the techniques’ energy and full-range capabilities meet Dolby specs, eliminating the necessity for a devoted subwoofer for the LFE channel, thereby lowering total prices and will be expanded to swimsuit nearly any configuration.
Three-time Oscar-winning movie re-recording mixer Paul Massey has simply moved into his new 9.1.6 combine studio, primarily based round a Harrison MPC5 console and JBL/Meyer Sound monitor system, with acoustic design by Bruce Black and system integration by AID. Photo: Bruce Black.
In Mix’s February 2023 cowl story, three-time Oscar-winning movie re-recording mixer Paul Massey and acoustic designer Bruce Black focus on in-depth the creation of Massey’s dream 9.1.6. combine studio; the story concludes right here, adopted by a take a look at the precise building course of. Don’t miss Part 1!
BRING YOUR OWN GEAR
As when he constructed a mixture room in 2010, Paul Massey labored with Audio Intervisual Design of Los Angeles on system integration, this time for 9.1,.6 Dolby Atmos Cinema and seven.1.4 for Dolby Atmos Home from the identical playback system.
While the replace included new cable and wiring, a brand new Dolby RMU software program package deal, new HDX playing cards, software program updates, and reconfigured monitor management and setup, the majority of the tools package deal was introduced over from the Ojai studio, together with the JBL and BMS Screen screens, Meyer Sound subwoofers, outboard racks, Christie projector and a beloved Harrison MPC5 console.
“It’s my favourite console on the earth; I’d by no means eliminate it,” Massey says. “I do combine on totally different platforms, and I do understand I’m swimming towards the tide at this level as a result of the S6 is all over the place, and that’s fantastic. I’ve no downside with that. The Harrison is simply my private alternative. It’s the very best sounding console I’ve ever discovered.”
Massey has actually earned the precise to work the way in which he needs, together with touring with duplicate MPC5 setups in flight circumstances—one for when he travels south to L.A., the opposite which he retains in London. There’s no worksurface, however every does embody the whole Toys package deal of plug-ins, and he’s had no issues interacting with alternate workflows and platforms.
With greater than 200 movies to his credit score, together with 10 Oscar nominations for Best Sound Mixing and a win for Bohemian Rhapsody, Massey might be forgiven for kicking again a bit of and easing right into a slower-paced life in Ventura, with household. Yet, up to now 12 months alone, his work has been heard on movies as various as The Lost City, Morbius, Dungeons and Dragons: Honor Among Thieves, Moonage Daydream (on this 12 months’s Oscar shortlist) and Whitney Houston: I Wanna Dance With Somebody.
In October, he and Gary Rydstrom completed engaged on the brand new Indiana Jones movie, to be launched in June, and in December, he wrapped up Ridley Scott’s Napoleon, and he’s presently engaged on a musical model of The Color Purple. He doubts that he’ll ever really retire.
“I’ve performed three initiatives out of my new studio, and I’m simply actually proud of the way in which it’s translating and the general consequence—the dimensions of it, the texture of it,” he says. “And truthfully, it’s great to have the ability to stroll right into a room like this and know that mainly every part is strictly the way in which you left it. So sure, I’m comfortable.” Then he went again to work.
• • •
SIDEBAR: ACOUSTIC NUTS & BOLTS
In mid-2022, through the completion of Paul Massey’s combine studio, acoustic designer Bruce Black wrote an eight-part weblog for mixonline. com detailing the design and building course of. Here are just a few alternative excerpts:
The inside body is in place because the room begins to take form. Photo: Bruce Black.
THE FLOATING FLOOR:
The undertaking’s structural engineer had dictated a construction, constructed by itself basis, exterior of the combination room itself, to supply help to the interior room. California is earthquake nation, in any case. This additionally offered the chance to make use of the gold commonplace of studio isolation: a floating room- within-a room design.
So blue chalk strains have been snapped onto the slab, marking the situation and width of the brand new basis, and the intrepid crew fired up the concrete noticed and commenced slicing two sq. slots within the slab, one inside the opposite, roughly 18 inches aside, and as near the unit’s partitions as potential. These kerfs marked the situation of the outer construction’s new basis. The jack hammer then broke up the concrete, and a Bobcat backhoe straddled the ditch and dug it out to roughly 4 ft deep. Then got here rebar, correctly bonded to the remaining slab, and threaded anchors to carry the outer wall’s framing in place. Finally, the ditch was stuffed with concrete, and voila! There was now a concrete slab the place as soon as there was solely…a concrete slab.
The all-important body for the display screen wall is up. Photo: Bruce Black.
THE WALLS GO UP:
I wasn’t there to witness it, however one way or the other 4 burly laborers with a 3-ton flooring jack, and sure with some hefty pry bars as effectively, obtained the 2 aspect partitions (the longest and subsequently the heaviest) in place on the anchor bolts. Add a bunch of anchor plates and hefty nuts, and the partitions are in place and locked down. A giant job requiring lots of muscle energy….
The wall on the entrance, or speaker finish of the room, is far simpler to put in. The electrical panel and sprinkler tools are in that space, with constructing codes requiring not less than three ft of clear house round them for entry. Plenty of room for our fearless tradespeople on their scaffolds to put in the outer layers on this wall.
The display screen wall is up and the mounts are in place. Nearly there! Photo: Bruce Black.
NOW THE CEILING:
Layering a ceiling is at all times tough work, defying gravity with heavy, unwieldy panels. It’s not only a bunch of layers of drywall, as we so usually see in frequent studio building. My design begins with a layer of three⁄4-inch plywood, adopted by a 1-3/8-inch layer of QuietRock 545. We then put in one other layer of three⁄4-inch plywood, ending off with a layer of 5/8-inch drywall, with building adhesive between every layer. And the key ingredient? The closing layer goes on with drywall screws each 4 inches. This might sound unconventional, it might appear extravagant, nevertheless it brings an uncanny rigidity to the partitions.
Wellington, New Zealand (May 10, 2021)—New Zealand has one of the lowest incidences of COVID-19 in the world, with only 2,644 cases to date. As a result, large-scale events have resumed in the island nation, including the recent annual Passionate Women’s Conference—the country’s largest event for Christian women. Australian sound engineer Rich Bryant usually travels to Wellington to mix the event broadcast, but due to travel restrictions, he wound up mixing a broadcast feed from his studio in Sydney just over 1,400 miles away.
The event, held in the Michael Fowler Centre in Wellington, included music, worship and spoken word presentations, so Bryant had his hands full. Conferring with Andrew Crawford at Australian A&H distributor TAG about how to approach a remote mix, he opted to work with Wellington-based Lampros Sound, which provided an Allen & Heath dLive DM64 MixRack at the venue that Bryant could control remotely from his Sydney studio. The DM64 was fitted with a Dante card for interfacing with the onsite AV network, plus a Waves card for virtual soundcheck and additional output processing.
The DM64 was connected to a dLive S7000 control surface in Sydney via a secure VPN connection, managed by Riverbed’s SD-WAN service, using the integrated network ports on both units. Luke Sheaves of Riverbed was on hand to provide IT and network support in Sydney, with Alistair Lambie of Lampros Sound monitoring the connection on the New Zealand end.
Australian sound engineer Rich Bryant used an Allen & Heath dLive S7000 in his Sydney studio (seen here) to mix the event 1,400 miles away.
Audio and video monitoring of the broadcast feed in Sydney was provided via an SRT stream to Bryant’s iPad, arriving with under 150 ms of latency. Another tool put to use was Audiomovers software, fed by the Waves card in the DM64, which was used to monitor the Solo/PAFL bus with a latency of 200ms. The Intercom Unity app, running on a second iPad, was used to handle comms between Bryant and the technical team in the venue.
Back onsite in Wellington, another DM64 – configured for multi-surface operation – was used to handle both FOH and MON duties, with a pair of S7000 control surfaces deployed for engineers Andrew Forde (MON) and Simon Faisandier (FOH). Two DX168 expanders were added to feed performer IEMs and provide additional AV I/O, with Waves and Dante cards utilized for audio transport and additional processing.
“What started as an ambitious endeavor ended as a resounding success” reflects Rich. “It was a truly ground-breaking weekend, and we couldn’t have done it without the dLive, and the support provided by TAG, Lampros Sound and Riverbed.”
Canada (March 24, 2021)—Canada-based Dome Productions has unveiled Gateway, a new all-IP SMPTE 2110 OB truck outfitted with a Calrec Apollo digital audio console that is currently being used for TSN and Rogers SportsNet on their hockey broadcasts.
“We’re excited to take advantage of optimized and new workflows in all formats — HD, 3G and UHD. Now, virtual paths can be dynamically connected to change workflows depending on the show requirements,” said Al Karloff, manager of engineering services, Dome Productions.
Dome has been using Calrec consoles for 20 years and all different generations of the consoles are still active in the company’s fleet. The Apollo was commissioned by Canada-based SC Media.
Jean Daoust, SC Media founder and president, says, “The Apollo was the only console that met Dome’s requirements; no other model could offer a surface with 144 faders, or the mix power of over 1,000 input channels. We’re proud to be partnered with companies such as Calrec and Dome Productions. The newfound addition of Calrec to our AV portfolio has opened new doors for us in the broadcast media vertical, as well as provided incredibly innovative solutions to our already valued customers. The Gateway truck is an incredible project, and we look forward to building upon this success for all parties involved.”
How do you capture the essence of a legendary engineer/producer with 23 Grammys, 160 gold and platinum albums and a ‘who’s who’ resume, and put that into a piece of software? Well, that’s just what Leapwig and the iconic Al Schmitt went for with the new Al Schmitt signature plug-in. The team literally encapsulated his gear, mixes’ textures and workflow to come up with something that ambitious.
When first opening the plug-in, you select from a Source dropdown menu that offers up Vocal, Bass, Brass, Mix, Piano or Strings. These are referred to as ‘profiles’ and each of them are tuned differently with their own character and tone. Each profile also features a different ‘tuned’ amount of harmonic distortion. Within each profile, there are a number of options as well—for example, Vocal features Body Level, Air Level, Echo Level, Compression, Air Type and Echo Type.
This approach to plug-in design has led Al and the team at Leapwig to create something that operates in a unique fashion. When audio is played, rings that represent loudness are played around the relevant icon in the center in real time. If there is something like gain reduction happening, the outer rings tighten up accordingly at ½ dB per ring. For instance, if there are four rings happening, you’ve got 2 dBs of reduction. It’s something your eyes have to get used to because it’s simply a new way of operating.
Since each source features its own customized parameters to tweak, you quickly adjust to how to get around. For example, Mix features Sub Boost, Low, Mid and High Level, Low, Mid and High Comp, a compressor link and Air Boost. Bass is nothing but Compression, Body Level and Air Level, but it includes additional harmonic distortion within those parameters. Piano, which is one of my favorites, features Compression, Echo Level and A/B/C Echo Type. Note that “echo” is actually a reverb, a name that was chosen since that is what Al calls it. Aside from that, there’s In and Out Meters with up to 12 dBs of gain.
Leapwing Al Schmitt Signature Plug-In
What I like about this plug-in is that you can dial in some taste very quickly. When first listening, it helps to run through each source to understand what the parameters do. To hear the echoes clearly, I would simply put on audio with attack and stop the transport, listening to what sound is created afterwards. The others, such as Sub, Air bands and EQs are easy to hear. Compression is subtle yet clearly audible. I found it useful to also mix and match—for example, using the compression in the bass source on something like a piano. Then, if I wanted more, I put another instance after in the DAW and used the EQ in Echo in the Strings source, or the EQ and Air settings in the Mix source. Once you have a feel for it, your instinct knows where to go. I saved a number of presets for easy recall: I like Echo Type C on the Strings source, so that’s now my “RT Echo 1 Strings’ preset, and I also captured a nice Mix bus preset with Sub Boost, Air Boost a few dBs of Gain and a touch of Highs as “AS Master 1.”
Aside from being easy, this plug is fun to use. You can get to a sound with just a few quick fader slides and most importantly, it works as advertised. It’s not big, bold and aggressive, but subtle and tasty, especially in the reverb/echo fields. Most importantly, all of these sounds are clean, clear and tasty. I would also use the word “refined,” which is a testament to the team making it. Since you probably can’t get him to your session, now you can bring a little of Al Schmitt’s magic sonic touch to your own tracks.
Rich Tozzoli is an award-winning, Grammy-nominated producer, engineer and composer for programming such as FOX NFL, Pawn Stars and Oprah & Deepak Chopra. www.richtozzoli.com
With 10 projects up for honors at this year’s Grammy Awards, Emily Lazar, founder of The Lodge mastering and mixing facility, has introduced We Are Moving the Needle, a new initiative to bring equity and inclusion to the music industry.
New York, NY (March 10, 2021)—Emily Lazar, the Grammy Award-winning founder of The Lodge mastering and mixing facility in Manhattan, has introduced We Are Moving the Needle, a new initiative to bring equity and inclusion to the music industry.
Lazar launched the nonprofit organization on Mar. 8, the same day that the USC Annenberg Inclusion Initiative released its latest annual “Inclusion in the Recording Studio?” study, breaking down the gender and race/ethnicity of artists, songwriters and music producers. The report found that women are “missing,” “muted” and “written off” in the music industry, an ongoing trend that has not improved during the nine years covered by the study.
“Today, the new USC Annenberg Inclusion in the Recording Studio report has revealed that in 2020, the percentage of women in music production/engineering has DECLINED (!!!) from 2.6% to 2%. This is unacceptable!” Lazar wrote on Twitter. “I’ve seen firsthand how few women are in studios, but to see that number decrease breaks my heart. I am committed to continuing to do my part to change that.”
According to We Are Moving the Needle, the organization is “working to create measurable change by empowering women in the recording and professional audio industry with the education, equipment and the mentorship needed to succeed at the highest levels.” The organization has been launched in partnership with Blackbird Academy, Dolby, The Lodge and Sonos. Founding sponsors include pro-audio product developers such as API, Aston Microphones, Eventide, iZotope, Splice and Universal Audio, as well as the Recording Academy, SoundGirls and others.
The organization’s stated mission is to provide educational programming and to award scholarships and grants to music technology and recording programs at academies, colleges and universities. As a part of the initiative, the venture promises to guarantee the development of future generations by awarding female and female-identifying applicants with a full scholarship to a top audio school.
Applicants (there is an online form) may be awarded equipment including software, hardware and other recording technologies. According to a report in Variety, the organization has plans for dedicated internships and entry-level positions designated and reserved for women who are part of the program.
Lazar has assembled an advisory “soundboard” of prominent women artists, producers, engineers and audio professionals, including Brandi Carlile, Christine Thomas, Erica McDaniel, HAIM, Karrie Keyes, Linda Perry, Liz Phair, Maggie Rogers, Maria Egan, Oana Ruxandra, Sara Quinn (Tegan and Sara), Shirley Halperin and Tracy Gershon.
The extensive list of mentors also includes AG, Carolyn Malachi, Catherine Marks, Claudia Brant, Denise Barbarita, EveAnna Manley, Gena Johnson, Jenna Andrews, Jennifer Decilveo, Jordan Hamlin, Kaitlyn, Aurelia Smith, Leslie Ann Jones, Lisa Kaplan, Louise Burns, Lucy Kalantari, Marcella Araica, Piper Payne, Sad13, Shani Gandhi, Simone Torres and Wendy Wang.
Lazar has 10 projects in the running for Grammy Awards this year, including Coldplay, Jacob Collier and HAIM, all nominated in the album of the year category. The eight-time-nominated mastering engineer holds the distinction of being the first woman to win a Grammy in the best engineered album, non-classical category.
