Gena assembled a band of Nashville’s finest session musicians and challenged them to experiment with arrangement and instrumentation. They transformed Ashley’s song from a raw work tape, with just vocals and acoustic guitar, to a full production showcasing the incredible talent of all the musicians.

Focusrite’s Red 16Line was used as the main interface for this project providing plenty of IO and the transparency needed to allow the characteristics of the vintage mics and outboard gear to stand out.

Eddie “El Brujo” Caipo has worked with Enrique Iglesias as his monitor engineer for 11 years and is currently using his KLANG:konductor paired with a Mac Mini running KLANG:app and an Avid S6L-32 console. Sending pre-fader/post-mute direct outs via MADI to retain all of his plugin processing, he creates his mixes—21 in total, with a number of them in KLANG:app—then feeds them back to a stereo pair of inputs, which are sent to the desired aux mix to the IEMs. His console receives timecode to trigger snapshots simultaneously sending MIDI to the :konductor to trigger the snapshots in KLANG.

“I’ve always made it a priority to help my artists and band members feel as if they aren’t wearing IEMs by using a mid-side processing spreader, et cetera, but with KLANG, it’s a whole different ball game than just me trying to use a stereo imager or spreader,” Caipo says. “KLANG literally removes that factor and allows me to separate instruments in such a way that it allows them to run the overall volume quieter, making it a much better experience for the listener. The band used to love my stereo mixes, but after using KLANG, everything is even way more enjoyable. Now, hearing stereo is just so sad. I don’t plan on ever going back; 3D IEM mixing is the way to go.”

Ricky Martin’s monitor mix has been in the hands of César Benítez Seilhamer since 2021, when he first used a DMI-KLANG card with a DiGiCo Quantum5. A year later, he upgraded to a KLANG:konductor loaded with two MADI-B DMI cards connected to the same console, plus added a :kontroller onstage for the drummer to have quick hands-on access to his own IEM mixes. Creating 16 immersive mixes and 48 total mixes from 124 input channels, he notes that “the :konductor and Quanum5 are able to easily handle this amount of processing and still leave me room for more,” says Benítez, who controls his immersive mixes both natively on the console and via KLANG:app running on an external computer screen. “The integration between KLANG and DiGiCo is so user-friendly, allowing me to make changes throughout our shows and soundcheck directly from the console. Sometimes I forget that the :konductor is a processor outside of the console!”

“The KLANG platform has changed my life and been an amazing improvement for everyone, starting with our main artist who told me that he never wants to go back to a stereo mix,” Benítez adds. “Everyone can play more comfortably and focus on their performances, not the mixes. And I can easily mix much more complex shows with high input counts in 3D without even feeling like I have ears or headphones on. In fact, every once in a while I’ll turn around thinking I hear a sax or a background vocal behind me, and they’re onstage! I’m really happy with this setup and would never want to go back to left-right. I recently worked for a week without KLANG on a big awards show, and when I came back to The Trilogy Tour, it was so refreshing to hear mixes on KLANG again. It’s amazing how much space it provides.”

As The Trilogy Tour’s third monitor engineer, Matt Holden has been an integral part of Team Pitbull since January of 2015, and is using a DiGiCo Quantum5, recently upgrading from a DMI-KLANG card to a :konductor with the optical card. He primarily controls KLANG via his console, using the external touchscreen monitor for setup and the visual representation. Holden shares how the :konductor has been a step up: “Using KLANG has made my job easier just by making it easier sonically to provide a great-sounding mix naturally without having to use more plugins to enhance the stereo image, and by using less EQ to clean up the muddiness of the mix.”

For more info on The Trilogy Tour, visit www.livenationentertainment.com. Sound Image and Clair Global can be found online at www.sound-image.com and www.clairglobal.com.

The TouchMix-16 provided three monitor mixes for the band while simultaneously recording the following 15 inputs directly to a solid state USB hard drive: Kick drum (inside hole), Kick drum (outside hole), Snare top, Snare bottom, Tom (rack), Tom (floor), Drum Overhead (left/right), Bass (DI), Guitar amplifier, Keyboards (left/right), and three vocal mics. The final mix was done by Jon Graves and Golden Preciado solely using the TouchMix-16. The video was filmed and edited by Blowhole Productions. Enjoy!

Make your own recordings on TouchMix

It just doesn’t get any easier to capture a live, multi-track performance. TouchMix mixers are capable of recording all inputs plus a stereo mix directly to an external USB drive – no computer required. Tracks are created in 32-bit Broadcast Wave format and can be played back and mixed down on the mixer or imported into Digital Audio Workstation (DAW) software for over-dubs and post production. Check out our series of training videos to start recording today.

The newest studio, designated A1, is the larger of the two main record production control rooms at the Einnor — Ronnie spelled backwards — complex and was completed in January 2022. “It’s the best room,” Jackson says. “For me, you don’t have an official studio unless you have an SSL; that’s the truth of the matter. Some of the bigger SSL consoles are staples, but I wanted to have the newest equipment and the best equipment. So when SSL came out with the ORIGIN, I said, this is it.”

About Solid State Logic
Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

With its new FAST Verb Plug-in and FAST Bundle Focusrite is aiming to make music the smart way. The Collective is a creative hub with a mission to provide top-quality plug-ins to its users and help them on their music-making journey. The earlier offerings of FAST Equaliser, FAST Compressor and FAST Reveal have already inspired creators and now The Collective is excited to announce FAST Verb — the effortless way to add depth to music.

Finding the right reverb settings can be a time-consuming process and can take away focus from being creative. With FAST Verb — powered by smart:engine, the AI by Sonible — music makers can easily find the perfect reverb for their needs.

KEY FEATURES
• FAST View gives a unique graphic visualisation of the sound, so the user can understand what is happening to their audio.
• FAST Verb’s FX: Bounce, Freeze and Reverse offers more inspirational choices.
• There are three types of reverbs offered, so it’s easy to change the mood: Natural, Balanced and Artificial.
• Audio can be fine-tuned with time and space controls via FAST Verb’s Detailed View.

To celebrate the introduction of FAST Verb The Collective is offering a discounted package of all the FAST plug-ins, now available as FAST Bundle to all Focusrite and Novation registered hardware users.

FAST Equaliser
Designed to locate the active sweet spots in the audio and automatically find the right EQ curve within seconds.

FAST Compressor
FAST Compressor maintains control over dynamics and helps sound fit in the mix by automatically tailoring compression settings.

FAST Reveal
This essential mixing tool balances two signals competing in the same frequency range and reveals the frequency of the track in the foreground by ducking the track in the background whenever there are clashes.

Introductory offer to the complete FAST Bundle for registered hardware owners of Focusrite and Novation products:

UK: £6.66 inc VAT per month or £99.99 inc VAT as a one-time price.
EU: €6.66 ex VAT per month or €99.99 ex VAT as a one-time price. US: $6.66 ex TAX per month or $99.99 ex TAX as a one-time price.

Discount available from — 21st October 2021–31st December 2021

FAST Plug-ins are currently only available to customers in UK, EU, US, Canada, Japan & Australia.

The new Erica Synths Matrix Mixer is a 16 I/O desktop patch matrix that can route and mix signals with high precision, create buffered multiples and random patches. It can also interface external instruments with your Eurorack system, yet is not limited to Eurorack.

The Matrix Mixer can be used with semi-modular synthesizers, as well as through adapter cards with the EMS Synthi and Buchla Music Easel. Thanks to simple patch changes via panel buttons or MIDI program change messages, the Matrix Mixer will be particularly useful in performances that combine Eurorack and other performance instruments — such as drums, guitars, wind instruments, and much more. This presents a new and elegant way to make your modular performance stand out.

Matrix Mixer Features:

• All analogue signal path
• 16 buffered, DC coupled inputs
• 16 independent, buffered, DC coupled outputs
• 256 connections, each with 3 attenuation levels
• Random pattern mode with definable randomization area and density
• 254 pattern memory
• Pattern change via MIDI program change messages
• 32 3,5mm jack sockets
• 4 6,3mm jack sockets

The Matrix Mixer will begin shipping late this month and is priced at €490 or $599 USD. For more information or to pre-order, please visit the Erica Synths webshop.

Thinking “outside the box” and an entrepreneurial mindset is something GRGE and DLR have in common. Creative thinking led to Mark Alexander-Erber building a global musical conglomerate, which is Golden Robot Global Entertainment and has acquired big names like Vanilla Fudge, Kings X, Gilby Clarke, Skid Row, Rose Tattoo and L.A. Guns to name but a few of the 250 or so bands on their roster. Dave Dalton lived his punk rock music dreams that eventually led to building the Die Laughing Records punk rock label, which would become a platform for other punk band upstarts like himself. The coming together promises to break down the doors and open the windows of the music world.

In 1988, Die Laughing Records was established, in the most punk fashion, because Dave Daltons band, Screaming Bloody Marys needed a label to release their music. The major labels of the time were not going to work with “street” punk bands and that’s how it was. In that era, the true punks, like Dave Dalton, knew to be heard, you start a label! The future CEO of DLR, Dave Dalton saw a dog-eared Russ Myer movie poster proclaiming, “You’ll Die Laughing” and the rest is punk rock history. The label sat dormant for many years and acted as a back catalog, mail order outfit and then was shelved in 1996. Die Laughing was reborn in 2015 when music industry veteran Rob Trisler agreed to help revamp the DIY grassroots label with his best friend, Dave Dalton, coming in as a co-owner and COO. Die Laughing Records begin to reinvent itself when Dave and Rob signed on “BITE” starring Chelsea Rose, formerly of SF based “White Trash Debutantes”. Now five years later heading into 2020 DLR boasts over two dozen signed bands including Fang, Michael Des Barres and The Mistakes, East Bay Ray (of the Dead Kennedys) & the Killer Smiles, The Hellflowers, WANK, Union 13, Screaming Bloody Marys, The Carvels NYC, Frequency Within, The Venomous Pinks and Social Unrest. Particularly exciting is the various world-wide punk festival stages many DLR artists will perform on this upcoming year, including “Rebellion UK” and The Stern Brothers “Punk Rock Bowling” which is held annually in Las Vegas and Bracken Rock Ireland.

Something unique to Die Laughing Records is that they have remained grassroots and a tight knit family. To that family has been added an “Ambassador” in France, Rodney Prosser who keeps DLR relevant in the French & UK punk scene. A&R rep and “Go, Go, Go Girl” personality Jillian Elizabeth along with Larry Prosser (no relation to Rodney above), a Southern California representative and Die Laughing Records Radio Podcast contributor. Yes, there is a podcast. The mentioned team members are the core personalities for the weekly podcast. It started off with 1-hour show and after overwhelming support and listenership, the radio stations that air the show got the label to make it a weekly 2-hour show. This marketing platform does not just showcase signed label acts but signed and unsigned acts from around the world on a “Punk Rock with Punk talk” platform. The show is broadcast on three stations, with a total of five airings minimum a week, as well as on 11 other podcast platforms. Since this show launched, there has been a new show every week (including every holiday period) since Sept 2018.

The partnership with Die Laughing Records brings all of the above to the growing Golden Robot Global Entertainment, which additionally offers promotions, touring and booking networks to its labels. This union will give the world a new powerhouse label, additional roots in punk, growing alongside those in hardcore and heavy rock.

Studio B features the Raven console's batch automation technology, giving quick access to "in-the-box" efficiency. Studio C functions as a writer's room and boutique project studio with iso booth. A few key pieces of outboard gear complement the SSL AWS 948 console, offering a unique experience overlooking midtown Manhattan.

Studio B 5.1 Ocean Way Audio monitoring with HR3.5s in front and HR4s rear.

The monitoring systems include Ocean Way Audio Ultravoice(r) amplifiers and voicing modules. Sommer Cable is used both internally for the cabinets and also from the amps to the cabinets, respectively Elephant Robust SPM440 cable and SC-Twincord cable.

Invite Only includes three recording/media Studios, a 12.5 ft. Cyclorama Wall, a 14 ft. bar, full kitchen, VIP Room with a flight simulator, zero gravity massage chair, 100-inch media screen and event space that can accommodate approximately 100 people. See more at inviteonly.studio

Learn more about the Ocean Way Audio HR3.5 monitoring system: oceanwayaudio.com/hr3-5-2 

Learn more about Sommer's Mistral cable: usashop.sommercable.com/en/Cable/Bulk-Cable-Audio/Multipair-SC-Mistral-MCF

Elephant speaker cable: usashop.sommercable.com/en/Cable/Bulk-Cable-Speaker/Lautsprecherkabel-Elephant-Robust

Nicknamed “Project Watts,” the WS-12 is officially the companion subwoofer to Kali’s Lone Pine and Independence monitors.  In addition to that use case, Kali specifies the subwoofer for use in surround mixing applications; the subwoofer’s output is sufficient to be used with up to five IN-8s.

This amount of power also makes the WS-12 quite capable in live settings. With an 18mm wooden enclosure and steel handles, the WS-12 is ready for road duty. Users of suitcase-style all-in-one PAs like the Yamaha® StagePAS® or Fender® Passport® or linear array all-in-ones like the Bose® L1® or LD Systems® Maui® will find the WS-12 to be a welcome addition to their live rig.

Kali claims +/- 3 dB lower frequency range at 30 Hz, with -10 dB frequency response down to 23 Hz. Peak SPL is 123 dB. DSP features include selectable crossovers, gain adjustment for room position and polarity inversion. Like Kali’s other speakers, DSP is controlled via DIP switches on the back of the subwoofer, and there are helpful diagrams printed directly on the subwoofer for quick reference. A footswitch, sold separately, will allow users to turn off the sub and disable the high pass filters on the subwoofer’s outputs.

A unique feature of the WS-12 is the offering of crossover settings for use with Kali’s studio monitors. Not only do these crossovers use the recommended frequency and slope for the monitors, but they also include level matching. With the subwoofer’s and monitors’  volume knobs all turned to the same position, level will be matched as long as all speakers are roughly in the same plane with each other.

The WS-12 will be available starting Feb. 1, in the United States, with worldwide availability soon to follow. MSRP is $599.

For more information, visit KaliAudio.com/watts.

“With this CLASSIC 5 studio monitor, we took into consideration what people have always loved about creating music on previous KRK monitors. From there, we zoomed in and finetuned certain components to make it an incredibly versatile monitor for music creation, mixing and mastering. With the optional +2dB KRK Bass Boost, the new CLASSIC 5 can hold true to the acclaimed KRK sound that music creators around the world have loved for years.”

Delivering a multitude of features to meet the needs of producers and engineers, KRK’s CLASSIC 5 is a versatile powered nearfield studio monitor—great for any style of music. The CLASSIC 5 monitors have a multitude of classic features including a bi-amped Class A/B amplifier with a built-in automatic limiter and a low-resonance enclosure for minimized distortion and colorization. Additionally, the five-inch lightweight, glass-Aramid composite woofer delivers clear midrange and tighter bass, and a one-inch soft dome tweeter with optimized waveguide provides highs up to 35KHz and ensures detailed imaging in the listening position. The CLASSIC 5 monitor also comes preinstalled with hi-density foam pads underneath to decouple the speaker enclosure from the surface; this helps with clarity and more accurate frequency response.

KRK CLASSIC 5 Professional Bi-amp Studio Monitors also feature a front-slotted bass port, which reduces boundary coupling and allows for flexible positioning within a room. With high- and low-frequency controls, users can adjust the monitor’s sound to their environment and preference, adding versatility and improved accuracy for mixes that translate in any setting. Additionally, multiple input connections (XLR, ¼-inch, RCA) ensure the CLASSIC 5 will seamlessly integrate into any system configuration, allowing for universal connectivity.