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AUDIO–HORIZONSFall 2000Add Years To Your Console’s LifeHELPING YOU STAND OUTNew Ideas In Professional Audio From Martinsound00-9We support those of youwho are keeping classicanalog consoles in serviceby offering products that can significantly extendthe life of your familiar and reliable systems. Youneed to stay on the cutting edge to be profitable,but the bleeding edge of large digital consoles is fullof pitfalls. Our products allow you to stay currentby enhancing the console you already have. Here isan overview of Martinsound products you can addto your existing console. Each one is a proven wayto attract more business without taking enormousfinancial risks that could put you out of business. 0SurroundMonitoringMoving FaderAutomationNatural SoundMic PreampsMultiMAXFlying FadersMartech MSS-10Page 4Page 6Page 3Much more that just a level control. It’s the surroundmonitoring controller that replaces the stereo monitorsection of your existing console. Read why Emmywinner Ed Greene chose MultiMAX and request afree Report.Only Flying Faders added to your favorite console hasa proven track record of bringing in business. And itis now available only from Martinsound, its originaldeveloper. See why Sound Kitchen isn’t satisfied withhaving only four rooms of flying faders.You have to hear an MSS- O in a familiar listeningenvironment to know why natural sound takes youinto a whole new category - beyond the best tubeand discrete preamps. If you’re still holding out for ademo, you can read why Grammy winner Al Schmittwants a ton of them.2Audio Magic FromNew!Natural SoundLabPanMAXACXPage 5Page 7Page 3Our new automated surround panner lets you dodynamic sound motion and parameter changes.PanMAX supports all popular formats, locks toSMPTE, and much, much more!Need more Flying Fader inputs? Add a Flying FadersACX sidecar to your console. If you have more than oneFlying Faders system the benefits are multiplied. Readhow Cherokee uses ACX to book bigger sessions.The benefits of natural sound go beyondpleasureable listening experiences. Hours ofexpensive studio time can be saved, during bothtracking and mixing, by not having to “fix” thesound of acoustic tracks. Find out How The MSS- OTakes Hassles Out Of Tracking And Mixing.ForMAX and VuMAXNatural Sound ReportAs your surround business grows, adding ForMAXand VuMAX will give you the powerful formattingcontrols and precision VU metering of a full featuredsurround production suite. Martinsound Inc. 2000 All Rights Reserved. Please see trademark notice for terms of use.Audio Horizons Fall 20001

Mail the Reader ResponsePhone (800) 582-3555www.martinsound.comIs Analog Dead?Continuing with mymorbid review of decayin certain sections of thePro Audio industry such as audio quality, productivityand service, it’s time to do a triage on analog. Thequestion is, has digital finally killed off analog onceand for all, or is there lots of life left in naturalsignals?Back in the mid 1980’s we were working on adigitally controlled analog console. We were worriedthat in just a few years everyone would be mixingonly on digital consoles and our efforts would bewasted. Our paranoia was strengthened by rumorsthat Ampex had commissioned a study of the futureof audio tape recorders. The word was that Ampexwas trying to decide whether to continue makingaudio recorders and if so should they be analog ordigital. The conclusion was that everyone would stopbuying analog multi-tracks and switch to digital sincedigital audio is perfect. And since digital is perfect,no one would upgrade their machines. They assumedthat around 50 multi-track digital recorders wouldsatisfy the entire world market, forever.Based on this, Ampex stopped making the popularATR-100 and ATR-124 analog audio recorders andnever built a digital machine. After all, who wantsto make buggy whips when cars are just around thecorner. Well, since that time Sony, MCI, Tascam andOtari have sold hundreds of analog and digital multitracks. And think of the market for ADATS. So muchfor market studies. It seems that the future is mucheasier to predict after it happens.I’m not going to try and predict the future ofanalog, but I do want to talk about some commonlyheld “facts”. It all gets down to a phrase used duringthe OJ Simpson trial, the “Fallacy of the AssumedPremise” or FOTAP for short. No matter how goodlogic is, if you start with the wrong presupposition,you will get the wrong answer. The people who did thestudy made several errors. They assumed that analogwas dead. They assumed that digital was perfect. Theyassumed that the market was not going to expand.And they assumed that equipment lasts for ever andthat people wanted to keep it that long.Honey, I Shrunk the Console. Wayne Szalinskimay have shrunk the kids in the Disney film, but fordigital console manufactures it is more like, “Honey,I shrunk the profits”. In the good old days of analogconsoles the joke was how do you make a smallAudio Horizons is published semi-annually by:Martinsound, Inc.1151 West Valley Blvd.Alhambra, CA 91803-2493Phone:(800) 582-3555 (US only) 1 (626) 281-3555Fax: 1 (626) ound.comEditor: Steve Harvey, sharvey@martinsound.comDesign: Greg Thompson, gthompson@martinsound.com2Audio Horizons Fall 2000by Joe Martinson - President of MartinsoundJoe is also Martinsound’s Chief Audio Pathologist.Article summary:Question authority. Adding to your classic analogconsole instead of replacing it with a digital desk is thebest choice for now.jmartinson@martinsound.comfortune making consoles? Start with a large fortune.For digital console makers it seems like they knowthey will lose their shirts and pants, but maybe theyare good enough to keep their underwear.Here is another area where FOTAP is at work.Digital consoles seem to be designed with thefollowing assumptions: Smaller is better. 48K samplerate is all you need. Time delays of up to 100mSec areOK in the headphone mix when doing live recordingor overdubbing. All the features don’t need to worknow since they can easily be added later with ‘merely’a software change. Customers can live with consolesthat crash like personal computers. Fewer controlsmake a console easier to use. The console with themost features wins, regardless of how well it works,how good it sounds or even if anyone wants it!I’ve heard about the future of audio. It’s assumedthat someday everyone will be working over the web.Artists will phone in their performance and mixerswill wear virtual reality helmets with built-in soundand 3D displays showing the console. What fun. Andwe can fly virtual jet fighters between takes.Hey, I like high tech as much as the next guy(OK, maybe a little more), but the idea of havingWayne using his shrink gun on a console and mixingprojects using a magnifying glass causes concern.What? Aren’t all great records mixed by guys withpocket protectors?What are your assumed premises? How do theyaffect your business? How can you pick the rightequipment in a fast changing world? We believe thatthe best choice is to explore all technologies and pickthe one which is right for your application.There is no question that digital recorders aregetting better as the number of bits and sample ratesincrease and prices drop. And some digital consoles areassumed to be amazing bargains. But what happenswhen you mix on a 48kHz sample rate console andsend it to a 96kHz recorder. Do you wait to get thatconsole until it catches up to the recorder? By thenrecorders may be at 192kHz or based on anotherformat like Direct Stream Digital (DSD).One nice thing about analog is that it is compatiblewith all sample rates. At Martinsound, we believeIn This IssueCover - Add Years To Your Console’s Life . . . .Is Analog Dead? . . . . . . . . . . . . . . . . . . . . . . . . . . . .Al Schmitt Uses MSS-10 Mic Preamps . . . . . . .Natural Sound And The Bottom Line . . . . . . . . .Much More Than Just A Level Control . . . . . . .Why Is Downmixing So Important? . . . . . . . . . . .New! PanMAX Surround Panner . . . . . . . . . . . .Don’t Let This Be Good-bye . . . . . . . . . . . . . . . . .He Made The Faders Fly . . . . . . . . . . . . . . . . . . . .Flying Faders Cooks At Sound Kitchen . . . . . . .Cherokee Knows How To Please . . . . . . . . . . . . .Visit Our Geeky Web Site . . . . . . . . . . . . . . . . . . . .that analog lives! All of our products are designedto help you get the most out of your existing analogand digital equipment. Adding Flying Faders to yourfavorite console has a proven track record of bringingin more business. Our Flying Faders ACX consoleexpander lets you book larger sessions by addingautomated channels to your console rather thanreplacing it with a bigger one.Our Martech MSS- O Natural Sound mic preamplets you bypass the console and go straight to arecorder, preserving the impact and details of theoriginal acoustic performance that are significantlydegraded by even your favorite tube or discretepreamp. It’s amazing how much easier it is to recordand mix great projects if the sound isn’t wreckedbefore you even hear it.With music being given away on the Net, recordcompanies are looking for ways to protect theirproduct and offer something new. They are searchingfor profits by re-purposing back catalog material forsurround-encoded CDs, DVDs and, soon, DVD-As.Instead of buying a new surround sound consoleto get your share of these projects, add our surroundsound solutions to your existing console. MultiMAXbrings surround monitoring to stereo consoles,ForMAX gives you resettable formatting, VuMAX addsprecision VU metering and our new PanMAX lets youdo automated surround panning. These integratedcomponents can be added in any combination,allowing you to smoothly grow into a full-featuredsurround facility.So before sending your tried and true analogconsole to the dumpster, think about the “Fallacy ofthe Assumed Premise”. Do you want to be like everyone else, or do you want to make some money alongthe way? If you want to make money and have fundoing it, we would like to help. By the way, if you havea different view or also question some widely heldassumptions, I’m dying to hear from you. My e-mailis jmartinson@martinsound.com. Let me know ifyou think analog is dead. Until my next autopsy. 0Joe MartinsonPresident, Martinsound, Inc.Notices123344556677Trademarks Martinsound, Martech, ACX,Audio Horizons, Automated Console Expander, ForMAX, FlyingFaders, Just Mix, MSS-10, MultiMAX, Natural Sound Lab,PanMAX, RecordistMax, VuMAX, are trademarks ofMartinsound, Inc. All other trademarks are the property of theirrespective holders.Copyright All contents are copyright Martinsound, Inc.1990-2000. All rights reserved. Permission is granted toreproduce portions of this publication for the sole purpose ofplacing an order or preparing a purchase resource. Martinsound Inc. 2000 All Rights Reserved. Please see trademark notice for terms of use.

0-9Al Schmitt Uses MSS-10 Mic PreampsRecording engineer AlSchmitt has earned theright to have ‘legendary’precede his name. Inducted into the TEC AwardsHall of Fame in 1997, earlier this year he added aneighth Grammy ‚ to a long list of accomplishmentsgarnered during a distinguished career. Presentedfor Best Engineered Album, Non Classical, for WhenI Look In Your Eyes (Verve Records) by jazz pianistand singer, Diana Krall, the award is just the latestacknowledgement of Schmitt’s engineering skills.Schmitt was awarded his first Grammy in 1962in the Best Engineered category, for Henry Mancini’sHatari. Over the years he has continued to receive therecognition of the National Academy of RecordingArts and Sciences, with six subsequent Grammys inthe same category during the next few decades, forGeorge Benson’s Breezin’ (1976), Steely Dan’s Aja (1977)and FM (No Static At All) (1978), Toto’s Toto IV (1982),Natalie Cole’s Unforgettable (1991) and Quincy Jones’Q’s Jook Joint (1996).When I Look In Your Eyes was tracked in one of Al’sfavorite rooms at Capitol Records, where the orchestralsessions took place, and Avatar (the former PowerStation) in New York City, for Krall’s vocals and piano,and her accompanists. Schmitt’s signal chain for vocalsusually consists of a Neumann microphone, in this casea U67, a Martech MSS- O mic preamp, and a Summitlimiter. “It’s my favorite vocal preamp,” reveals Schmitt.“I use it all the time on vocals. I love the way it sounds;it has plenty of air, and it’s warm.”Schmitt has recorded the last three album projectsby Krall, who has been Grammy-nominated twicepreviously for her efforts. “I actually used it on DianaKrall’s last couple of albums, and with Natalie Cole,” hecomments. Schmitt also reports that the MSS- O workssuperbly on a variety of instruments. “Mostly I use iton vocals, but I’ve used it on bass, on saxophone andby Chris Walsh - V.P. Saleschris@martinsound.comwoodwinds, and on trumpet while recording overdubs.”He also recalls using MSS- Os on a Barbra Streisandproject to record room ambience.But whenever possible, Schmitt uses as manyMSS- Os as he can get his hands on. After initially beingintroduced to the MSS- O on the scoring session forthe 20th Century Fox picture, Hope Floats, at CapitolStudios, he is only too happy to use multiple Martechpreamps on the orchestra. Schmitt was so impressedwith the performance of the MSS- Os at that sessionthat he was famously prompted to state, “From now on,whenever I record, I’ll be using the MSS- Os. I would loveto have a ton of them.” True to his word, while trackingJohnny Mandel’s orchestra for a Diana Krall albumlater that year, he used five MSS- Os, and several morewere put to use on the sessions for Monica Mancini’s1998 album, which featured guest vocals by JohnnyMathis.The MSS- O had perhaps its finest hour for Schmittwhile he was recording a Christmas album with VinceGill in 1998, a project of which he is justifiably proud.Schmitt used four MSS- O preamps on the sessions totrack the background vocals. “I used them on the chorus.If you haven’t heard that record, it’s a spectacularsounding record,” he enthuses. “It’s a gorgeous record,it’s just crystal clear.”And that clarity is what you hear when youexperience the natural sound of the Martech MSS- O.There is no longer any need to correct the soundwhen you mix, to compensate for the coloration thatother mic preamps introduce. Natural Sound meansbeing able to hear the natural characteristics of eachmicrophone and of the artist, allowing you to makecreative choices based on your own decisions, insteadNatural Sound And The Bottom LineA free Report, How TheMSS- O Takes Hassles OutOf Tracking And Mixingdetails the development of the critically aclaimedMSS- O. Read about our design philosophy and theuncompromising evaluation techniques used to createthe first natural sounding mic preamp.The free Report also describes the immediatebenefits of recording with MSS- O mic preamps. Notonly is there the excitement of hearing the full impactand exquisite details of artistic performances thathappened in the room, but hours of expensivestudio time can be saved, during both trackingand mixing, by not having to struggle to “fix” thesound of acoustic tracks.Of course, there are problems the MSS- O can’teliminate, including bad room acoustics, poormicrophones, clumsy punches and other technicalhassles. In fact, artistic performance issues are morenoticeable because the MSS- O lets you hear so muchmore detail. An out-of-tune piano sounds more outof-tune, for example.But when using MSS- Os you can say good-byeto the frustrating experience of trying to use EQ andother signal processing gear to fix tracks that just don’tsound right.Along with other MSS- O users, you will discoverthat even the best tube and discrete preamps addcoloration and obscure details of acoustic artisticperformances.Your tracks will be quieter too, especially if you’vebypassed the lengthy signal chain of the console andconnected directly to the recorderRequest the free Report - How The MSS- O TakesHassles Out Of Tracking And Mixing - that examines thisissue by mailing the Reader Response, phoning orby visiting our web site. 0 Martinsound Inc. 2000 All Rights Reserved. Please see trademark notice for terms of use.HELPING YOU STAND OUTProducts mentioned in this article:MSS-10Article summary:This award winning recording engineer is using MSS-10swhenever he records, and he records a lot.Al Schmittphoto by Edward Colverof having them made for you by those other preampcompanies.Al Schmitt’s experience with the MSS- Odemonstrates the practical advantage of evaluatinggear on a recording session. Judging the performanceof a mic preamp like the MSS- O is best achieved underfamiliar studio conditions. It isn’t a decision you wantsomeone else to make for you. That’s why we offer a 60day money back guarantee when you buy the MSS- O:because we’re confident that, like Al Schmitt, once youtry it for yourself, you won’t want to part with it forany amount of money. 0Mail the Reader ResponsePhone (800) 582-3555www.martinsound.com2Audio Magic FromNatural SoundLabMSS-10 is the Natural Sound mic preamp.Audio Horizons Fall 20003

Much More Than Just A Level ControlThe MultiMAX multiformat monitor controlleris proving to be invaluablein project studios and smaller commercial facilitiesthat are using the latest small-format digital consoletechnology. Although versatile, the majority ofthese consoles offer no surround monitoringcapability. We asked three studio owners in theLos Angeles area to share with us their reasons forinstalling MultiMAX.Christopher Tyng, a film and TV musiccomposer who provides the music for Fox’sFuturama TV series, recently re-launched hisWorld Tree Studios as a commercial endeavor afterrealizing that, while he was writing, his state-ofthe-art Pro Tools-based studio was being underused.Tyng chose MultiMAX to manage the QuestedLCR speakers, custom surrounds and M&K THXsubwoofer in the main studio. This studio, with itslarge tracking room, is designed for 5.1 surroundproduction of music and for post production.“We got it because, as a standalone unit, nothingelse does what MultiMAX does,” enthuses Tyng.“The MultiMAX is a complete control room sectionfor situations in which you don’t have one.”MultiMAX has been integrated with a 64-track ProTools and 32-fader Pro Control system at WorldTree. “For a Pro Tools room, or a room with existingconsole technology that you can’t integrate othersolutions with, the MultiMAX is the best and theonly game in town. It’s a fabulous box.”Tyng reports that MultiMAX is being used toits fullest: “We use it in every way that it wasset up to be used. We use the processor sendsfor multiformat multichannel encoding, and weuse the premix returns so that we can returndifferent mixdown decks and multi-stem mixesback into our 5.1 monitoring system. It’s just anincredibly versatile piece of gear that answers a lotof problems.”John Van Tongeren is also an original musiccomposer for a number of successful TV series,including The Outer Limits, Poltergeist: The Legacy,by Steve Harvey - Director of Public Relationssharvey@martinsound.comand the mini-series, Peter Benchley’s Creature. Hehas installed MultiMAX at his Tongerland Musicproduction facility, located at The Blue Room. “I’vebeen delivering 5.1 scores for The Outer Limits, forthe future,” explains Van Tongeren, who completedthe sixth season of the series recently.“I’m using MultiMAX to monitor my 5.1 mixes,”he elaborates. “I’m using Yamaha 02R consoles andI’m recording onto TASCAM DA-78s.” MultiMAXintegrates with any stereo mixing console, orworkstation, to provide extensive monitoringcapabilities and precise control of multiplesurround sound speaker systems. Van Tongerenreveals that MultiMAX is controlling a PMC 5.1monitor set-up, powered by Bryston amps.Tongerland Music is also the name of VanTongeren’s music publishing company. “I still writeand produce songs - pop material,” he explains,adding, “And we’re currently in talks for possiblydoing a video game music score, in 5.1.” VanTongeren initially came to prominence writingand producing hits for artists such as Chicago,The Pointer Sister and Al Jarreau, going on to playkeyboards and score numerous movies with HansZimmer and Mark Mancina.Ed Greene, an independent television engineerwho divides his time between post productionand live TV mixing, including many majorentertainment awards shows, recently installedMultiMAX to manage surround monitoring at hisprivate studio. Greene, who regularly works on thehit TV show, Whose Line Is It Anyway?, is currentlyusing MultiMAX on a number of projects, includingBarbra Steisand’s New Year’s Eve concert and amultiformat production of Peter Pan.Greene states, “These projects, in particularthe Steisand and Peter Pan projects, are also DVDprojects, so I need to listen to the multi-formats,which this device does so well. I have it hookedup directly to my two Mackie D8B consoles.”Why Is Downmixing So Important?In this brief excerpt fromthe free Report, A VU OnDownmixing, we discussthe folding down of the discrete channels of a multichannelmix to formats suitable for playback on systems withfewer channels. This could involve folding down a 5.1 mixfor playback on a 4-channel LCRS system, or for stereoplayback.Downmixing facilitates both format compatibilityand channel redirection, and in order to be compatiblewith as many different playback systems and recorded4Audio Horizons Fall 2000media as possible manufacturers like Dolby ensure thattheir reproduction equipment can process downmixesin a variety of formats.A multichannel mix should similarly be compatiblewith as many formats as possible. Relatively fewconsumers possess playback systems capable ofreproducing the original program, thus downmixingand downmix compatibility checking have becomeincreasingly necessary as multichannel mixes flourishand various multichannel schemes for the distributionof digital audio are adopted worldwide.Of course, it is not the mixer’s job to second-guesswhat equipment his mix will be played back on. Hecannot plan for a consumer’s mismatched, missing,0-9HELPING YOU STAND OUTArticle summary:Audio pros are finding MultiMAX to be essential fortheir surround monitoring. How facilities of all kinds relyon this “fabulous box”.World Tree control roomNoting that even the relatively small number ofhouseholds capable of decoding 5.1 broadcasts alsofrequently include mono TV sets in the kitchen andelsewhere, Greene reports, “I spend a lot of my timelistening in mono. That’s where the Martinsounddevice is just marvelous.”Greene is using MultiMAX to control a MeyerHD-1 monitor system. MultiMAX will control upto four loudspeaker systems, handling a surroundmonitor system of up to eight speakers in a varietyof configurations. Greene notes, “MultiMAX hasbeen flawless, it’s perfect for what it does. Andbecause the Mackies have limited metering, I alsouse VuMAX.” Martinsound’s VuMAX is a rackmounting unit, comprising eight precision VUmeters, that further augments MultiMAX EX, andthe ForMAX monitor formatter, to provide mixingsystems with integrated metering for all currentsurround sound production formats.Learn more about how MultiMAX can help youhandle surround projects. In addition to detailedproduct information we are also offering two freeReports, Secrets Of Doing Surround Sound On YourExisting Console and A VU On Downmixing. Requestboth free Reports by mailing the Reader Response,phoning or by visiting our web site. 0Mail the Reader ResponsePhone (800) 582-3555www.martinsound.combadly aligned, or poorly positioned speakers, forexample. But the simple fact is that, of the multichannelformats, stereo playback systems are still by far themost prevalent worldwide, and 4-channel playbackschemes far outnumber 5.1-channel systems. A 5.1mix will undoubtedly be heard on a system with fewerchannels, so it had better sound just as good in thoseother playback formats.Compatibility checking with downmixed formatsmay have become crucial, but it has a number ofattendant problems.Request the free Report - A VU On Downmixing - thatexamines these problems by mailing the Reader Response,phoning or by visiting our web site. 0 Martinsound Inc. 2000 All Rights Reserved. Please see trademark notice for terms of use.

New! PanMAX Surround PannerMost stereo analog, andmany small-format digital,mixing consoles offer onlylimited panning capabilities, as well as providingonly rudimentary monitoring functions formultiformat audio. Adding Martinsound’smonitoring and metering solutions allow you to dosurround projects on your existing stereo consolebut, until now, panning has remained a limitation,requiring some creative workarounds to achievethe results you and your clients demand.Martinsound’s PanMAX automated surroundpanner lets you do dynamic sound motion andparameter changes with a sophisticatedmultichannel, multiformat solution. One of agrowing family of surround sound solutions fromMartinsound, including the MultiMAX EXmultiformat monitor controller, ForMAX surroundmonitor formatter, and VuMAX meter package,PanMAX offers yet another way to maximize theinvestment in your studio equipment.In any combination, or as a complete,comprehensive package, Martinsound’s surroundpanning, monitoring and metering solutions addyears of life to your stereo console, maximizingyour profitability and allowing you to attract morebusiness.PanMAX, which will be available in the 4thquarter of this year, replaces OmniSound’s cinemaprocessing system, offering a number of additionalenhancements not just for film and video postproduction but also for music production, liveperformance and broadcast applications. A fullyautomated surround sound panning solutionthat interfaces with any 8-bus mixing consoleor workstation, PanMAX provides sophisticatedcontrol of dynamic sound movement for any typeof audio production.Whether you are producing music for DVD-A, ora movie-of-the-week in Dolby Surround Pro Logic,PanMAX provides automated control of multiplestandard multichannel audio and film productionformats. The system will even simultaneouslyhandle LCRS and 5.1 or 7.1 and 70mm, and allowsyou to handle a variety of formats that includeDTS and Dolby Digital 5.1, SDDS, and even largeformat film schemes like IMAX and IMAX PSE.Any format may be automatically translated intoany other format with the press of a single switch.PanMAX provides 8 outputs, is expandable toup to 16 input channels, and may be configuredwith single or multiple remote controls operatingin parallel. The system offers control of soundby Shawn Micheal - V.P. Product Developmentsmicheal@martinsound.comProducts mentioned in this article:PanMAX, MultiMAX EX, ForMAX, VuMAXArticle summary:New addition to the MAX line delivers automatedsurround panning.PanMAX joins the MAX line of integrated surround monitoring and control productsposition, level/vertical, divergence and stereo width,storing over 24,000 positions in memory, andlocking to SMPTE timecode to ensure frameaccurate playback of the memorized soundpositioning and parameters. Data for up to 16processing channels may be archived to a floppydisk or MIDI sequencer. The system offers variouspanning curves, auto-mute when no soundmovement is recorded, and an offset functionfor adjustments against timecode, useful whensynchronizing with picture actions, for example.The remote control unit features a highresolution LCD display indicating SMPTE timecode,the selected surround sound format, the selectedprocessor, joystick position, loudspeaker positions,plus level/vertical, divergence and stereo widthfader positions, as well as the coordinates of thesound position and the fader values.Additionally, it shows the positions of therecorded sound, fader movements and theircoordinates. The sound positions of all processorsand their respective processor numbers may beshown simultaneously.In addition to the system control keys, the remoteincludes three 100mm faders controlling level/vertical, divergence, and stereo image width, plusan automated joystick. The joystick can be assignedto different inputs in succession and all movingsound sources can be played back simultaneouslyin SMPTE synchronization. A joystick lock featureallows the operator to move a mono or stereo sourcealong a left-right or front-rear axis with a singlemotion. Up to 10 controllers may be connectedsimultaneously to a 10-channel or larger system forDon’t Let This Be Good-byeWe wish it didn’t haveto be, but without aresponse from you, thisMail the Reader ResponsePhone (800) 582-3555www.martinsound.comcould be our last mailing to you. One of the wayswe find people who are interested in our products isto rent mailing lists. We know what kind of peopleand facilities are on each list, but we don’t knowwho you are and if you’re interested in receiving Martinsound Inc. 2000 All Rights Reserved. Please see trademark notice for terms of use.a higher degree of manual panning control.The divergence control varies several parameterssimultaneously with a single fader, with thecreation of different panning transition zones forfront, front-rear and surround channels, and thesimultaneous focussing of the sound over a narrowor wide area of the soundfield. The stereo widthcontrol further allows the engineer to vary thestereo separation in real time as the sound sourcemoves, expanding or collapsing the image duringthe movement.PanMAX offers automated frame accurate steprecording of dynamic sound movements, allowingthe operator to set a start and end point, or aset of reference points, with associated soundpositions. Played back against timecode, PanMAXwill interpolate between the reference points,producing smooth and continuous movements.Whether you require sophisticated, automatedmultichannel and multiformat panning as a simplestandalone system or as part of a complete,comprehensive surround sound add-on package,PanMAX can help you preserve your investmentin your existing m

surround-encoded CDs, DVDs and, soon, DVD-As. Instead of buying a new surround sound console to get your share of these projects, add our surround sound solutions to your existing console. MultiMAX brings surround monitoring to stereo consoles, ForMAX gives you resettable formatting, VuM

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