Don Miggs’ Canyon Studios East has recently renovated its facility featuring the PhantomFocus System (PFS) monitor tuning protocol and ATC monitors in both its A & B PhantomFocus MixRooms.

Studio B has a redesigned front wall to accommodate the soffit-mounted ATC SCM45A Pro monitors, while Studio A has a free-standing PFS/ATC SCM45A Pro system utilizing PhantomFocus Monitor Stands by Sound Anchors, both enhanced with a PFS implementation.

A refurbished Electodyne console with additional racks of gear and a spectacular dual-path stomp-box console array, new fabric, carpet, and a newly envisioned kitchenette and machine room, round out the facilitiy’s upgrades.

“We’re delighted to help Don enhance his already stunning MixRoom Studio that we originally designed for founding member of country super group Rascal Flatts, Jay DeMarcus over a decade ago. It’s always gratifying when you can over-deliver to a client and The PhantomFocus System is a silver bullet when it comes to that goal.

Although CTD is noted for it’s PFM line of near-field monitors, the larger ATC SCM45A Pro monitors are in a different class altogether and frankly, one of my favorite speakers to implement in a PhantomFocus System which can be quite breathtaking.” stated PhantomFocus MixRoom Studio designer, Carl Tatz.

Don Miggs, Canyon Studios East owner, producer, engineer, musician and artist shares:  “I loved my studio. I loved how it sounded. I was wrong. I couldn’t even imagine how much the audio performance could be enhanced until Carl installed his PhantomFocus System with my excellent existing ATC SCM45A Pro monitors.” Miggs continues, “What stands out about this system is its sheer transparency, it captures the source exactly as it is. The sound is remarkably clean, for lack of a better word, and it maintains that clarity whether I’m working at high or low volumes, which is crucial for me. I also notice significantly less ear fatigue, which isn’t always the case with other systems. Whatever Carlhas done here truly feels like a magic trick.

Mark Needham, a regular client and multi award-winning record producer and engineer who makes Canyon Studio B his second studio home in Nashville comments: “I want to sit down in front of my speakers and know that every choice I make is correct.  Carl Tatz’s PhantomFocus System with the ATC SCM45A Pro monitors gives me that confidence.”

Canyon Studios East long-time house engineer Nick Lane explains his PFS/ATC experience this way:  “I’ve loved working on ATCs for years but the PhantomFocus System has recently been a game changer at Canyon. All the neutral, revealing nature I’ve come to expect from ATC but now perfected for the room. It’s not like other room tuning software or hardware that drastically changes how the speakers sound, none of the “too pretty” or “too hyped” thing that engineers dread.

Everything just gets subtly more defined and more immersive. Getting sounds for the first time on the ATC SCM45A Pros with the PFS was the easiest it’s ever been in that space. Just crystal-clear audio that let’s me make engineering decisions instinctually instead of wondering how the room was impacting what I was hearing.”

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Epiphone has announced the release of the Joe Bonamassa ’59 Les Paul Custom, a meticulous recreation of Joe Bonamassa’s famed “Black Beauty” — his rare 1959 Gibson Les Paul Custom guitar. Developed in close collaboration with the blues-rock virtuoso himself, the new model celebrates one of Bonamassa’s most cherished instruments while bringing vintage character to a modern audience.

Bonamassa’s original “Black Beauty” was a distinctive two-pickup version of the 1959 Les Paul Custom, differing from the typical three-pickup design of the era. It featured Grover Imperial tuners and a Bigsby vibrato tailpiece — elements that gave the guitar both its unique tone and unmistakable visual identity. Epiphone’s new recreation pays tribute to those details with a build that captures the soul of the original.

The guitar features a solid mahogany body finished in Antique Ebony, with aged multi-ply binding on both the top and back. Its mahogany neck is carved to a 1959 Rounded Medium C profile and paired with a bound ebony fingerboard adorned with pearloid block inlays and 22 medium-jumbo frets. The 60s-style Kalamazoo headstock bears the iconic Epiphone logo and Custom Split Diamond inlay, with a Graph Tech nut ensuring tuning precision and stability.

Powering the new model are a pair of Epiphone ProBucker Custom pickups wired through high-quality CTS potentiometers, offering a wide tonal palette that blends warmth, bite and classic Les Paul clarity. Gold hardware — including the LockTone Tune-O-Matic bridge, Grover tuners and Bigsby B70 vibrato — completes the luxurious aesthetic.

Epiphone will produce just 1,000 of these guitars worldwide, available through Epiphone.com, Gibson Garage stores and select authorized dealers. An additional 300 limited-edition units, featuring an exclusive custom fretboard inlay, will be sold exclusively via the Joe Bonamassa web store. Each guitar ships in a hard-shell “Nerdville” case and includes a numbered certificate of authenticity.

Bonamassa, a four-time Grammy nominee and one of the most respected names in blues-rock, said the project was driven by a desire to make the magic of his original instrument more accessible:
“As a guitar lover and collector, I’ve always cherished the original,” he explained. “With this new model, Epiphone and I wanted to deliver that tone, that feel — and make it available to the broader community.”

With its blend of historical accuracy, premium craftsmanship and accessible price point, the Joe Bonamassa ’59 Les Paul Custom offers players a rare chance to experience a slice of guitar history reimagined for today.

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Watford Colosseum officially reopened its doors on Friday 29 August, welcoming fans back with a powerhouse performance from Ocean Colour Scene and marking the start of a new era for the historic venue.

The 40,000 sq ft space, now managed by AEG Presents on behalf of Watford Borough Council, has undergone a multi-million-pound refurbishment designed to combine state-of-the-art technical upgrades with careful heritage preservation. Having been closed since 2020, the Colosseum is once again positioning itself as one of the UK’s premier mid-sized concert halls, set to play a vital role in the region’s cultural and economic life.

The extensive renovation includes a brand-new stage, reconfigured bar areas, improved visitor amenities, and the reopening of the building’s iconic 1930s main entrance. Central to the project was the preservation of the Colosseum’s world-renowned acoustics, which have attracted touring artists, recording engineers, and even film score productions in the past. Working closely with specialist consultants, the design team implemented discreet acoustic treatments and modern PA integration that complement the building’s natural resonance while providing engineers with the flexibility demanded by today’s live productions.

The technical fit-out also introduces upgraded power distribution, digital audio networking capabilities, and a versatile rigging system to accommodate both touring productions and community events. These updates ensure the venue can deliver pristine sound for acts ranging from rock bands and orchestras to spoken word and theatre.

General Manager Lisa Mart said the opening night reflected exactly what the team had hoped to achieve. “Great venues bring people together for special moments and that’s exactly what happened on our opening night,” she commented. “Ocean Colour Scene were fantastic as were the fans, and it was an incredible atmosphere. Myself and the team are very proud of both the venue and the line-up of artists we have set to play here and can’t wait for the next shows.”

For AEG Presents, the Colosseum represents the latest addition to its expanding portfolio of mid-sized UK venues, which already includes Eventim Apollo, indigo at The O2, and The Halls Wolverhampton. The company also has a new London Olympia venue due to open next year, further strengthening its footprint in the live music sector.

Elected Mayor of Watford Peter Taylor highlighted the wider benefits the reopening brings: “The refurbishment has carefully preserved the world-class acoustics while updating the building so this landmark can be enjoyed for years to come. With AEG Presents UK, well known for running excellent venues and live performances, we can look forward to more exciting acts, including Electric Umbrella, Jools Holland, The Stranglers and David Essex.”

As the Colosseum enters its new chapter, it is expected to deliver not only first-class concerts and community events, but also significant economic impact—creating jobs, boosting tourism, and reinvigorating Watford’s night-time economy.

The post Watford Colosseum reopens with Ocean Colour Scene headline performance appeared first on Audio Media International.

What do Prosecco, Minions, and a neon horse have in common? Reading Festival’s hottest new acts won’t tour without them. By Bex April May

This much we learn backstage at Reading Festival 2025 – where we caught up with some of the most exciting, viral and critically-acclaimed names in pop, indie and rock right now: Pale Waves (above), Nieve Ella, Antony Szmierek, Nxdia, and Del Water Gap. Between bottles of bubbly, vintage chorus pedals, and bizarre warm-up rituals, they opened up about the tools and quirks that keep their shows running and their next viral hits coming – from guitars, to mic essentials and boxes of Minions.

From songwriting secrets to festival antics that almost ended in jail, Reading’s breakout stars had plenty to confess when we caught them backstage…

What can we expect from your show?

Pale Waves: Heather strutting. Charlie grinding. Lesbians. Us damaging our necks. Jealousy is probably our favourite to play live, because it’s so unhinged. We often play it last, and break the bass on the floor all the time. It feels like the right thing to do.

Nieve Ella: Fun. Most of these festivals recently have just been joy. Everyone’s jumping and singing – just a good time. My band are my best friends, so we just project love and happiness.

Del Water Gap: It’s like an AA meeting. No, just kidding! I sing, I jump around. Sometimes I wear slutty clothes. Today I’m more covered. Sometimes I’ll say something wholesome, sometimes I’ll say something funny.

What’s a particularly memorable festival that stands out for you?

Pale Waves:  When we last played Summer Sonic in Japan. We love Japan. Very sweaty. For antics though, Riotfest in Chicago – Charlie had a house window key and realised it would fit in a buggy. We had a go – we got chased by the buggy police, and we nearly ran over Gerard Way from My Chemical Romance as they were getting on stage. We could’ve run over one of the biggest singers of all time. We’d have had a lot of angry emos after us. And gone to jail.

Tells us about the gear you bring when you’re touring festivals – what kit do you have on stage?

Pale Waves: Always my Vox Phantom guitars – I can’t go anywhere without them. They’re part of me. We also have very specific picks. I use three different ones for different things. If they’re not on stage, I kind of freak out.

Nieve Ella: We take a massive van, and try to shove everything we’ve ever owned instrument-wise in it. I take five guitars. And do you know what else we’ve been bringing around? A massive cardboard box of Minions. People give us Minions – and we just collect and collect. This is our last festival today, so now I’m going to go home with this box of Minions. What am I going to do with them all? I’ve got four boxes at home already. I think I’m going to give them to a charity shop. I want them to go to a good home. Plus, every single show, someone has Minions face paint on.

Antony Szmierek: It’s a full band. It could have easily just been me, a microphone, and a backing track, but I was determined it wasn’t going to be that from the beginning. So, we have a live guitar – my brother plays guitar in the band. We have live bass and synth bass, and then we’ve got Robin at the back with drum machines and synth, where the drummer would usually be. It’s quite a unique setup – I’ve not seen many people do it.

Del Water Gap: I bring a neon horse. It’s called Horse With Bowl Cut. He’s my logo. I drew him on a napkin, and he’s exactly what he sounds like: a horse with a bowl cut. He lives on stage, and he is my spirit animal.

Any other must-haves in your kit that you always take with you?

Pale Waves: A bottle of Prosecco. And a fan!

Antony Szmierek: Guinness is the only thing we always ask for.And I’ve got this weird old Australian vocal coach that I watch on YouTube to warm up. It’s from 1983 and he’s got weird Windows Movie Maker screens. He goes through a vocal warm-up which I don’t really need, but it just makes me feel calm. He’s called Andrew Castle. He’s my guy.

Del Water Gap: A toothbrush.

Nxdia: A coffee place nearby. Sometimes you need to go and touch grass. And I just need caffeine.

Tell us about your songwriting process – how does an idea turn into a hit that a festival crowd are singing back to you?

Pale Waves: It starts differently every time. Sometimes a melody comes to me, sometimes a lyric or a concept. Once that original idea is there, everything falls into place. The worlds merge together with the music and songwriting. You need a twinkle, nice chords, and some yodelling –  that’s a Pale Waves song.

Nieve Ella: There’s four of us, and recently, we went to a house in the middle of nowhere – on an airfield in Maidenhead – for a week, shut ourselves away and wrote, then recorded them in the room together. It’s just being around my best friends really.

Nxdia: Every time I’m in the studio, I close my eyes and if I can’t imagine this live – with drums hitting, with guitars – I’m not interested. I want moments that will translate that way.  So when I’m writing, I try to make it as personal as possible, but also something I can scream. I want to really enjoy that, and hopefully someone else has a cathartic moment and thinks, ‘I’m so happy I get to scream this!’

Del Water Gap: I’m a slow writer. I think I cracked it on this album. I did some writing trips with Gabe Goodman, who I write with a lot. For me, it’s about making space – no phone, no internet, just trying to have peace and quiet. And then as the noise comes down, usually some sort of miracle happens. We spent time in Mexico, we went out to Long Island and did some writing on the beach. I love reading poetry too, that always helps me get in the mood.

Antony Szmierek: It’s strange – you can’t manufacture that beginning bit. For me, it all happened by accident. I was a teacher for a long time, and the first tune that got on the radio, I didn’t think about it at all. It was just a monologue over a loop – no overthinking. But now, when you know people are going to hear it, and you’re going to perform it to thousands, you start to think, “This bit will be great live.”I write all the words first, then tunes. I don’t know many people who do it like that. I’ll have a complete story written, then I think, how do I either cheer it up with music if it’s too sad, or make it more sad if it’s too chirpy? I like to see-saw them out a bit, but I couldn’t teach it. It’s just an intrinsic thing that happens. If I overthink it, it’s like trying to remember your PIN number – if I think too hard about it, it just leaves me.

What about in the studio – what’s your must have bit of kit?

Pale Waves: Definitely all the guitars, and a chorus pedal. Last time in the studio, we bought two of the same chorus because we thought we’d lost it. We ended up with three between us – it was this vintage chorus from the ‘90s.

Nieve Ella: I used to write with my guitar a lot, but now I don’t even use it. I used to want my Fender Jag-Stang to be the sound of my music. But for the newest stuff I’ve been creating, like my new single ‘Good Grace’, I didn’t play a single instrument. I just have to have a mic in my hand the whole time. I’ll just record and record and record until I’m happy with what it sounds like. I’ll jump around the room with a mic in my hand the whole time. Then I’ll also have a Guinness.

Antony Szmierek: It’s usually just me. A producer is my big bit of kit. I’m aware I’m really annoying. I’ll sing into my phone a guitar line, asking it to be like that, and they’ll ask what key it’s in, and I’m like, ‘How the f*ck should I know? Can we just make it?’ So someone who understands me as a human is the most important thing. I’ll sometimes try to get demos as far as I can on my own, but I’m not a producer. I’m quite shit. I need a human person. And a comfy chair – I like to swing my legs around, so a spinny chair helps as well.

Nxdia: Obviously a guitar. Either my sh*tty Ibanez Iceman – it’s so old, it was so cheap, some guy gave it to me – or a notebook. I need it so I can doodle, write down what I’m thinking. As long as I have a notebook and a little Strat, I’m fine. Then, I love the Shure SM7B mic. I think it’s great. I need a mic I can feel close to. All mics have different sounds, but the SM7B is my favourite.

You’re part of this new wave of cool, alternative grunge pop artists coming out in the UK. It feels like there’s a resurgence. Are you seeing that in the genre?

Nxdia: Recession pop – I’ve seen that a lot. Hopefully I’m part of it. I think people are angrier, and people are actually putting out what they want. I’m seeing more indie artists, more people finding avenues outside of the traditional music path. I get so excited at festivals because I know I’ll bump into people I love, I’ll see friends I love watching perform, and I’ll find new acts. It’s amazing – like being in a school canteen, in a really good way.

You’ve had hits like your single ‘Feel Anything’ go viral and trend on TikTok. What are your thoughts when it comes to TikTok and musicians?

Nxdia: I completely understand why people might find it stressful, and I do get the aspect of it that could feel draining. However, I love social media. I think it’s f*cking cool. It’s a good way of connecting with people. You reach parts of the world where you wouldn’t otherwise. I like being able to decide what I’m recording, what I’m posting, what I decide to share. Half of it’s obviously daft, but I really enjoy it, and I’m finding it more and more interesting as time goes on, because it changes a lot. I think it’s fascinating. It’s a whole different beast.

What’s one song you wish you’d written but didn’t?

Nieve Ella: Probably ‘Don’t Delete the Kisses’ by Wolf Alice. That’s one of my favourite songs.

Pale Waves: ‘Linger’ by The Cranberries.

Del Water Gap: Beethoven’s Ninth. Imagine if I could say I’d written that. Or ‘My Way’ by Frank Sinatra. I played my first album for my grandma when I finished it, and she said it was bad. Then she played me ‘My Way’ and said it should be more like that. So I’ve always had a bit of a chip on my shoulder about ‘My Way’.

If you had to swap lives with another band or artist, who would it be?

Pale Waves: Coldplay – playing stadiums everywhere in the world. But then they have a family vibe. We want to be rowdy too.

Nieve Ella: I’d love to swap with Amyl and the Sniffers. Their life is completely different to mine. The music is so different. I don’t know how they keep up so much energy.

If you could collab with anyone, who’s the dream?

Pale Waves: If I’m going totally unrealistic – well, maybe not too unrealistic – Robert Smith.

Antony Szmierek: I really want to do something with Wet Leg. I really like Rhian’s voice – she’s got a spoken word-y bounce to her voice. I haven’t asked her yet. I met her in a pub recently, so I need to ask her. I really like Lambrini Girls and Soft Play. They’re a few people who are making important music that feels like it’s about something. That’s who I’d like to work with.

Del Water Gap: There’s this children’s singer in the US called Raffi. It’d be cool to work with him, because it’s so random. I don’t know if he even plays music anymore. The first cassette I ever had growing up was Raffi. My parents don’t believe me that I have a career; they think I’m a total bum. But I think if I collaborated with Raffi, they’d actually believe I have a career, because they know who that is. That’s the goal!

The artists spoke to us at Reading Festival. Sign up for Reading 2026 at readingfestival.com

The acts of Download 2025 reveal their must-have gear and talk music making

Oasis at Cardiff Principality Stadium review, July 4th 

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Renowned Dutch sound designer and plugin developer Rob Papen has unveiled WirePluck, a brand-new virtual instrument plugin that brings a fresh and futuristic edge to the world of plucked string synthesis. Available now for PC and Mac, WirePluck blends physical modeling synthesis with subtractive synthesis and analog-style filtering, delivering a rich palette of timbres ideal for modern music production.

The latest addition to Papen’s acclaimed virtual instrument lineup, WirePluck is not simply another plucked string emulator. Instead, it pushes the boundaries of synthetic string-based sounds by using a hybrid synthesis engine that allows for extensive tonal sculpting and sound design possibilities. While physical modeling typically aims to emulate acoustic sources, WirePluck leans into the electronic, embracing the sonic potential of synthetic modeling to create textures that range from crystalline and delicate to gritty and futuristic.

At the heart of WirePluck are two independently tunable sound sources—String 1 and String 2. These virtual strings can be played separately or layered, with users able to detune, modulate, and filter each source to craft complex, evolving tones. The subtractive synthesis section includes analog-style filters that offer vintage character, while a built-in Arpeggiator, Ensemble effect, and Reverb further expand the instrument’s creative reach.

Rob Papen himself described the plugin as “ideal for composers looking for new and inspiring sounds that traditional string instruments simply can’t provide.” The flexibility of WirePluck makes it well-suited to a range of genres, from ambient and cinematic scoring to EDM and experimental electronica.

Longtime fans of Papen’s work will be pleased to know that WirePluck retains the intuitive interface and powerful modulation capabilities that have become synonymous with the brand. Users can assign modulations using the familiar Mod Matrix, while XY control pads allow for expressive, real-time manipulation. The interface also includes a smart preset management system, featuring contributions from Rob Papen himself as well as a curated selection from sound designers 4Tune and Treasure Tape.

WirePluck ships with hundreds of presets and offers full support for popular plugin formats including VST3, AU, and AAX, ensuring compatibility across all major DAWs. It also benefits from Papen’s usual attention to performance and efficiency, making it suitable for both studio and live use.

The release follows a string of successful plugin launches, which continues to innovate by reimagining synthesis in fresh and musically inspiring ways. With WirePluck, Papen expands the sonic palette available to producers, inviting them to explore the uncharted space between acoustic realism and electronic experimentation.

WirePluck is available now for €79 EUR / $79 USD.

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In the historic Bad Cannstatt district of Stuttgart, Tonstudio Gress is setting new benchmarks for immersive audio production. The facility, founded by brothers Alexander and Raymond Gress in 1989, has unveiled a state-of-the-art 7.1.4 Dolby Atmos control room built around Genelec’s acclaimed 8000 Series monitors, delivering precise localisation, clarity, and creative flexibility for a diverse range of projects.

From its humble beginnings as a local studio, Tonstudio Gress has evolved into a multifaceted audio powerhouse specialising in cinematic sound design, spatial mixing, and high-end voice production. Over the decades, the studio has built a reputation for meticulously crafted audio for both national and international clients, spanning feature films, television, museum installations, and music.

“Whether you’re a solo artist or a major institution, we approach every project with the same dedication,” says co-founder Raymond Gress. “The new Atmos room is a continuation of that ethos – it allows us to deliver truly immersive, emotionally engaging soundscapes with confidence.”

The Atmos room

At the heart of the new 7.1.4 Dolby Atmos room lies a carefully configured Genelec monitoring system: 8040B models for LCR channels, 8030C monitors for surrounds, and 8020D units for the height array. This system, powered by an AVID MTRX interface and DADman software, provides a hybrid workflow that combines the reliability of analogue with the flexibility of modern immersive formats.

“We’ve been working with immersive audio for years, so the transition to Dolby Atmos was a natural step,” explains Gress. “The Genelec monitors immediately gave us enhanced localisation, greater detail, and significantly reduced listening fatigue. It’s exactly the level of precision we need for critical mixing sessions.”

The upgrade reflects Tonstudio Gress’ ongoing commitment to cutting-edge audio. Their original Genelec 5.1 setup, featuring five 1030A monitors and a 1092A subwoofer, is still in regular use – a testament to the brand’s reliability and longevity. “Our 5.1 Genelecs have been trusted reference points for countless TV mixes,” adds Gress. “With the new Atmos suite, we now have a future-ready system that complements that legacy.”

The project benefited from the expertise of Dolby’s David Ziegler and German reseller SMM Munich, who provided critical guidance on designing a balanced and cost-effective room. Final calibration was handled by renowned acoustician Roger Baltensperger, who optimised the space for consistent, fatigue-free monitoring across all positions.

“It’s a setup that just works – day in, day out,” says Gress. “We were able to achieve exactly the results we envisioned while staying within our budget.”

Since completing the upgrade, Tonstudio Gress has expanded its Dolby Atmos Music services, taking on projects for major streaming platforms alongside film and television post-production. The studio’s expertise in immersive sound has also found applications in museum and exhibition installations, where precisely sculpted soundscapes help bring narratives to life.

“This new room opens up fascinating creative possibilities,” says Gress. “We can now craft experiences that go beyond traditional stereo or surround formats – something audiences don’t just hear but genuinely feel.”

Tonstudio Gress has long been ahead of the curve when it comes to immersive formats. Their early experiments included binaural radio plays recorded deep in the forests of southern Germany, followed by years of refining 5.1 mixing workflows. This foundation made the transition to Dolby Atmos both seamless and inspiring.

Looking ahead, the studio remains focused on delivering quality, care, and creativity, with Genelec monitors providing the foundation for every project. “Genelec has always given us a sound we can trust,” says Gress. “This new Atmos room simply takes that trust to the next level.”

For more information about Tonstudio Gress, visit www.tonstudio-gress.de. To learn more about Genelec’s range of professional monitors, visit www.genelec.com.

Review: Genelec 8381A

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German boutique microphone manufacturer WeissKlang has unveiled the L1 Plus, an enhanced successor to the acclaimed L1 condenser microphone. Building on the original’s sonic character while introducing new levels of versatility, the L1 Plus is designed to become an essential tool for recording engineers, producers, and content creators seeking top-tier performance in a sleek, modern package.

At the heart of the L1 Plus is the newly developed dual-diaphragm WMK‑1D capsule, a refined evolution of the original WMK‑1. It maintains the L1’s signature openness, airy high-end, and subtle presence boost around 10–11 kHz, while introducing true multipattern capabilities. Users can now select between cardioid, omnidirectional, and figure‑8 polar patterns, opening up a wealth of recording possibilities—from intimate vocal takes to room ambience and advanced stereo techniques.

WeissKlang has addressed common pitfalls associated with dual-diaphragm microphones, such as phase inconsistencies and tonal coloration, ensuring that the L1 Plus maintains a coherent and balanced sound across all pickup patterns. The new polar pattern switch is robust, intuitive, and engineered for minimal handling noise, with an integrated decoupled mount design that enhances usability during live or studio sessions.

The L1 Plus doesn’t just deliver flexibility—it also sets a high bar for technical specifications. A transformerless discrete transistor circuit ensures exceptional clarity and ultra-clean amplification. With an impressively low self-noise rating of just 4 dB(A), the microphone excels at capturing quiet, nuanced sources such as acoustic instruments or delicate vocal performances without introducing unwanted noise.

Its transient response, clocking in at a remarkable 14 microseconds, captures every detail of a performance, from the subtle attack of a finger-picked guitar to the crisp articulation of a snare drum. Meanwhile, a high SPL handling capacity of 140 dB ensures that even loud sound sources, such as brass instruments or close-miked drums, can be recorded without distortion.

The L1 Plus remains compact and lightweight, weighing approximately 414 grams. It ships with the custom MA‑L shockmount, which offers up to 20 dB of mechanical noise isolation, depending on the polar pattern selected. This combination of low weight and effective damping makes the L1 Plus ideal for both fixed studio setups and mobile recording environments.

Additional design elements include an integrated pop filter within the microphone grille to reduce plosives, replaceable rubber components in the mount for long-term durability, and an adjustable tilt mechanism for flexible positioning. The microphone is fully compatible with standard 48 V phantom power and connects via a high-quality XLR interface.

The L1 Plus is currently available for pre-order at a special launch price of €299, which includes VAT and worldwide shipping. This introductory offer runs until 31 July 2025, with deliveries expected to begin on 16 August 2025. After this period, the microphone will return to its standard retail price.

The post WeissKlang reveal L1 plus microphone appeared first on Audio Media International.

In a move signaling its intent to grow its footprint across North America, DAS Audio has announced the appointment of seasoned audio industry professional David Kuhner to its U.S. team. The hire is part of a broader strategy aimed at strengthening the brand’s presence in the professional audio and ProAV markets, with additional hires, new rep partnerships, and a portfolio of next-generation products shaping its U.S. growth story.

With an eye on the future amid ongoing market challenges, DAS Audio is investing in talent and partnerships to expand its reach. According to Jaime Villegas, General Manager of DAS Audio of America, the company’s recent growth initiatives align with its 30-year legacy in the U.S. market.

“This is the moment to grow,” said Villegas. “We’ve just celebrated our 30th anniversary in the U.S., and we’re building something meaningful. That starts with the right people, the right partners, and a vision that looks beyond short-term headlines.”

Kuhner’s appointment marks a key milestone in this strategy. Known for his blend of technical expertise and relationship-driven leadership, he brings decades of experience from both sides of the professional sound industry — starting as a touring musician before transitioning into senior sales roles with leading manufacturers such as L-Acoustics.

“I’ve known the DAS team for years,” Kuhner commented. “What sets them apart is the people — their curiosity, their kindness, and their care. They design and manufacture their own systems, and that uniqueness is evident in every product they deliver.”

Kuhner’s track record as a trusted voice among engineers, integrators, and production teams has positioned him as a significant asset for DAS Audio’s next chapter. His appointment coincides with the addition of Burton Ishmael, a highly respected front-of-house engineer and broadcast audio expert, who has also joined the U.S. team.

Before officially joining DAS Audio, Ishmael was already an avid advocate for the brand’s products, leveraging its systems across live events, houses of worship, and major broadcast productions. Now, as Senior Market Development Manager, Pro Audio, Ishmael will focus on bringing the ARA Series to a broader audience.

“Burton has been a longtime believer in DAS Audio,” Villegas said. “His experience, credibility, and deep connection to working engineers make him an invaluable part of our team.”

Strengthened U.S. Partnerships

To support its growing operations, DAS Audio has also formed new partnerships with two top-tier manufacturers’ rep firms: Mizzen Marketing and Pro Media Marketing. These alliances will ensure comprehensive coverage across key regions in the U.S., particularly in markets where the demand for high-performance audio solutions is increasing.

“The timing couldn’t be better,” added Villegas. “We’re investing in the right regions with the right people. Our rep partners understand our story and share our belief in what’s possible.”

Innovation and Product Focus

The company’s renewed emphasis on the U.S. market comes as DAS Audio continues to innovate with products such as the ARA Series and the versatile EVENT Series, both designed to deliver exceptional clarity, power, and reliability for a wide range of applications. From live sound and touring to fixed installations and broadcast, DAS Audio’s product lineup reflects its mission to deliver world-class sound experiences.

“We’re not here to follow,” said Villegas. “We’re here to lead with a clear voice, with heart, and with a team that believes in what we’re building together.”

Looking Ahead

For Kuhner, joining DAS Audio is about more than just a career move. It represents an opportunity to contribute to a company that blends cutting-edge engineering with a family-driven ethos. “This is a company that knows who it is and where it’s going,” Kuhner said. “There’s a sense of care and connection here that you can feel — from the offices in Miami to every DAS Audio event across the country.”

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Swiss loudspeaker manufacturer PSI Audio has announced the launch of the A326 D-REX, a low-frequency extension system developed specifically for its flagship A226 MAIN studio monitor. But contrary to what the design might suggest at first glance, the A326 D-REX is not simply a subwoofer – it’s a “Dynamic Range Extender,” engineered to provide enhanced low-end dynamics and transparency, rather than just extended bass.

The A226 MAIN already boasts an impressive low-frequency response down to 20 Hz, making traditional sub-bass supplementation unnecessary. Instead, the A326 D-REX is designed to reinforce and refine this range, giving audio professionals greater clarity, punch, and realism in the crucial 20 Hz to 100 Hz region. With three 10-inch drivers and precise integration, the D-REX doesn’t merely add bass – it redefines it.

“We’re not interested in just making things louder or boomier,”  PSI Audio says. “The A326 D-REX is about resolution, not rumble. It extends the range with surgical accuracy, allowing the A226 MAIN to breathe freely and deliver incredibly lifelike dynamics.”

The D-REX and A226 MAIN are designed to operate in perfect synchrony. According to PSI Audio, the two units are aligned not just in frequency, but also in phase, creating a floor-standing full-range system that functions as one coherent monitor. This tight integration results in a monitoring system capable of delivering up to 126 dB peak SPL – but more importantly, with unmatched fidelity in the low end.

This transparency in the bass range is not just about depth, but about control and nuance. PSI Audio positions the pairing as ideal for mastering suites, high-end post-production rooms, and immersive audio installations where accuracy and detail are non-negotiable.

True to PSI Audio’s long-held philosophy of neutrality and phase-accurate performance, the A326 D-REX benefits from seamless compatibility with the company’s full monitor lineup. Engineers and designers can mix and match across the product line – from the A14-M to the A21-M – without introducing tonal inconsistency.

This approach provides significant flexibility in immersive or multichannel setups. For instance, a studio might deploy A226 MAINs with A326 D-REX units at the front, while employing compact models like the A17-M or A14-M for surrounds or ceiling speakers. Thanks to PSI Audio’s rigorous commitment to linear phase response and neutral voicing, such hybrid systems retain coherent imaging and balanced tone across channels.

As with all PSI Audio products, the A326 D-REX is manufactured entirely in-house at the company’s Yverdon-les-Bains facility. Every unit undergoes individual calibration in an anechoic chamber, with performance data supplied alongside the product. This artisanal attention to detail is a hallmark of the brand’s commitment to uncompromising quality and performance.

“Every component, every circuit is fine-tuned to perform exactly as intended,” the company states. “The result is a system that doesn’t color or compromise the audio – it simply delivers exactly what’s there, with nothing added or lost.”

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Nashville is gearing up for another season of world-class live performances as Gibson Garage Nashville rolls out its Summer 2025 calendar. Located at 209 10th Avenue South in downtown Nashville, the Gibson Garage—home to the legendary guitar brand’s flagship store—has become a cultural epicenter for live music, guitar craftsmanship, and artist-fan connection.

With a focus on spotlighting both major label artists and rising voices, the Gibson Garage’s summer program brings in a curated slate of free, in-store events across July and August. These shows, open to the public and performed on the Garage’s state-of-the-art stage, are designed to capture the spirit of Nashville’s rich music tradition—intimate, accessible, and always live.

Brandon Davis: Country’s Viral Crooner

The first of July’s headline performances takes place on Wednesday, July 16 at 3:00 p.m., when country singer Brandon Davis returns to the spotlight. A 29-year-old rising star whose career skyrocketed during the pandemic, Davis has built a digital fanbase of more than 2.1 million followers on TikTok alone. His emotionally charged songwriting and relatable narratives have resonated with audiences far beyond the country genre. More information about his music and tour dates can be found at brandondavisofficial.com.

Known for balancing radio-ready hooks with heartfelt themes of family, resilience, and love, Davis’s set is expected to draw a wide cross-section of Nashville’s music-loving community.

Sydney Quiseng: A New Americana Voice Emerges

The following evening, Thursday, July 17 at 5:00 p.m., sees Sydney Quiseng—best known as the lead singer of the multiplatinum band Echosmith—step into her solo spotlight. Now 27 and embracing a Country/Americana sound, Quiseng brings deeply personal stories to her latest EP, titled “Phases,” which debuted last month. Listeners can explore her music and career at sydneyquiseng.com and echosmith.com.

From forming a family band at age nine to touring internationally by sixteen, Quiseng has experienced the music industry’s highs and lows. Her new solo work reflects this evolution, blending introspective lyricism with polished, emotionally resonant melodies. Her Gibson Garage set also doubles as a release party for the EP, promising a performance rich in vulnerability and authenticity.

Morgan Wade: Raw and Unfiltered

On Wednesday, July 30 at 4:00 p.m., acclaimed alt-country artist Morgan Wade will preview her new album “The Party Is Over (Recovered),” officially releasing August 1. Known for her fearless lyricism and genre-defying style, Wade brings a unique voice and honest storytelling to every performance. Fans can find her music and summer tour dates at morganwademusic.com.

Produced by longtime collaborator Clint Wells, the record revisits unreleased songs from Wade’s early years—now reimagined with fresh sonic clarity. The album’s lead single and other tracks explore emotional volatility, heartbreak, and personal growth.

Halestorm Celebrates Everest at Gibson Garage

Capping off the summer lineup is an exclusive album release and Q&A with Grammy-winning rock band Halestorm on Friday, August 1. Slated just one day before their show at FirstBank Amphitheater with Volbeat, the event at Gibson Garage celebrates the release of their sixth studio album, “Everest,” out August 8. Fans can pre-save the album and follow the band at halestormrocks.com.

Produced by Dave Cobb, “Everest” chronicles the band’s artistic and emotional journey over two decades, capturing themes of endurance, transformation, and elevation. The in-store session offers fans behind-the-scenes insight into Halestorm’s songwriting process and sonic direction—an unmissable moment for followers of Lzzy Hale and the band.

The Store

Now entering its fourth year of operation, the Gibson Garage Nashville stands as a beacon for musicians and fans alike. Beyond its live events, the Garage offers an immersive experience, from testing out guitars and amps to exploring a diverse range of brands, including Epiphone, Kramer, Mesa/Boogie, Maestro, and KRK.

One highlight includes the Made-to-Measure program, allowing visitors to customize their dream instrument—from neck shape and pickups to finish and fretboard. Coupled with rare memorabilia, custom fashion collaborations, and a rotating inventory of over 400 playable guitars, the Garage redefines the modern retail experience.

Located inside Cummins Station at 209 10th Avenue South, Suite 209, the Gibson Garage is open Monday through Saturday from 11 a.m. to 6 p.m. and Sunday from 12 p.m. to 6 p.m. Admission is free, and events are first-come, first-served. For the latest event updates and artist appearances, visit gibson.com/garage or follow @officialgibsongarage on Instagram.

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