To mark the availability of the new A Series, ADAM Audio and Sonarworks have unveiled details of their studio monitors collaboration, the successors to the award-winning AX Series.

The ADAM Audio A Series delivers highly accurate, transparent sound across a full line of monitors. The line also includes a wealth of voicing and room adaptation options that can be controlled remotely and in real time via A Control, a free-to-download software application from ADAM Audio (available for Windows and MacOS). A Control also facilitates a highly anticipated feature of the series, delivered in collaboration with calibration experts Sonarworks.  Via A Control, users can upload and store SoundID Reference calibration profiles directly on the DSP of A Series monitors without the need to run the SoundID Reference application or any additional DAW plugin.

Technology & Benefits

Each A Series monitor contains an embedded platform on the loudspeakers’ DSP that can host calibration profiles created in SoundID Reference. This powerful software measures the acoustics of your space and generates a unique calibration to help counteract problematic frequencies and resonances. Typically, this calibration profile requires a VST or the SoundID Reference application to run, contributing to CPU usage and latency. The A Series integration nullifies CPU usage and significantly reduces latency by storing the calibration profiles directly on the loudspeakers’ DSP. Once transferred to the speaker, you can continue to benefit from the SoundID Reference calibration without the need for any software or network cables – a great example of the “set and forget” philosophy.

Extended 60-day Trial 

ADAM Audio and Sonarworks have shared details of an extended 60-day SoundID Reference trial for A Series customers. The trial license is available to A Series customers who register their speakers in the MyADAM area of adam-audio.com.

It offers the full functionality of SoundID Reference, including the ability to export calibration profiles so they can be imported to A Control and transferred to the loudspeakers’ DSP. A Series customers will be provided with the license by email by the team at ADAM Audio. A measurement microphone is required to perform the measurements necessary to create the calibration profile in SoundID Reference.

A Control

ADAM Audio A Control is a key component in this innovative collaboration. Designed internally by ADAM Audio, the free-of-charge application provides A Series customers with a modern speaker management and equalisation system. As well as facilitating the transfer of SoundID Reference calibration profiles to the loudspeakers, users can also create their own calibration profiles across 6 bands of parametric equalisation or make changes to the voicing and room adaptation settings found on the backplate. All changes made in A Control can be heard in real-time from the listening position, allowing users to be confident in their equalisations and toggle between uncalibrated and calibrated audio.  A tutorial video can be viewed below.

As reported back in April, ADAM Audio, the studio monitor company that is now part of the British conglomerate Focusrite Group, announced the launch of a complete new range of studio monitors, with a total of 5 models. The new A Series is the successor of the original and most popular designs from the Berlin-based company, now adding rotatable HPS waveguides for the company’s X-ART tweeter, DSP-based room correction and voicing with remote control software. The most significant innovation is the DSP-integration of automated room correction in partnership with Sonarworks.

ADAM Audio is the latest studio brand to partner with the Latvian company on an automated room correction solution that runs directly on the DSP of the A Series monitors. This allows the speakers to adjust to multipurpose environments in which people currently create music, such as a bedroom or living room where acoustic treatment is often not an option.

Using the A Control software, users can push advanced filters directly to an embedded platform onboard the monitors to help compensate for imperfect room acoustics, and this platform supports filters from Sonarworks. Using Sonarworks SoundID Reference software and a measurement microphone, users can create calibration curves specifically for their room and run them directly on A Series monitors.

Prices for ADAM Audio A Series monitors:

The post ADAM Audio and Sonarworks unveil details of A Series collaboration appeared first on Audio Media International.

The Outlier Inn is not your average recording studio.

Set over 12-acres and located in the Southern Catskill Mountains 90 miles outside of New York, the Outlier Inn property doubles up as a wellness retreat, with a farm, lake and various types of accommodation.

The studio was founded and is run by Josh Druckman, whose background is in computer music, having studied algorithmic synthesis at Columbia University in New York City.

He moved out to the Catskills after running his own studio in New York.

“I operated the studio for a little over a year before I closed it because the costs of operating it were just so high,” he says.

“It forced me to just say yes to everybody that walked in the door and after a year of recording music that I was not into, I moved out of the city and up to the country, which is where my family was originally from, but I had never lived up here. I was 26 at the time. I kind of impulsively bought a little house and a property not knowing anyone and I set up a little electronic music studio in my house. And then over the years that little studio kind of grew into what it is today.”

The facility now features two studios, A, with its large, wood-panelled live room and Studio B, which offers a control room and isolation booth, having attracted a wide range of clients, from the likes of Parquet Courts to The War On Drugs and Delicate Steve to Solange Knowles.

At the heart of Studio A is a 72 channel Neve VR with flying faders. Monitoring comes in the form of ATC SCM110ASLs, Yamaha NS10Ms and an eight-channel Hear Back system.

The studio also boasts floating FX such as EMT 140 Plate Stereo Tube, Lexicon 480L, Roland Space Echo 501, Fulltone Tube Tape Echo and a Morley Electrostatic Delay.

Who designed and built Studio A?

It was designed by Wesley Lachot. His firm, Wes Lachot Design Group, is based in Chapel Hill, North Carolina. I had worked in a studio that he designed. As I walked into the control room and heard the sound coming out of the speakers, I knew that that was what I wanted.

So it took me a couple of years to save up and get all my ducks in a row, but there was really no doubt who I was going to hire when it came to designing the studio. Then the building was done partially by local contractors who have helped me build all of the things here over the last 15 years on the property and then the acoustic finish work was done by a firm that works pretty much exclusively for Wes. They’re called Brett Acoustics and they’re based in Durham, North Carolina, so I’m really happy that I decided [to go with them].

You can just hire Wes and kind of do everything yourself or you can hire him and his team. I’m really happy that I not only hired his acoustic contractors, but I also hired his wiring guy, Thom Canova. Canova Audio is also based in North Carolina and so I hired kind of the whole team.

The process is so meticulous and every little detail, every quarter of an inch is critical and you’re only as good as the weakest link. That really proved to be true and so having multiple layers of redundancy to kind of double check and triple check the whole build process along the way was really, really helpful.

And so yeah, I hired Wes, he came up and I told him what I wanted. Obviously it wasn’t a new structure. It was an existing structure, so we were limited by the dimensions that we had, but fortunately, I had the dimensions that afforded me the ability to get everything that I wanted.

So I was able to not only get the control room, I was able to get two more ISO booths which made four ISO booths in total and a nice-size machine room, which was able to accommodate all of the power and guts of the studio. And then I was able to get a really nice utility room and a locker.

So I was very confident because I had experienced Wes’ room at Strange Weather. I was very confident that, acoustically, I was going to get the results that I desired. My main concern was that, aesthetically and vibe-wise, the room was going to seamlessly integrate with everything else that I already had going on here because studios can be very clinical or Star Trek-like, or kind of like a dentist office.

That was not the vibe that I was looking for and I talked to Wes about this before he came up and he said, “Well, you know, my main concern is acoustics first and foremost and I will try to give you the vibe that you want. But you know, it’s got to sound right”. I had never met him in person and he was a little stern about it.

He came up here and he’s kind of a rock star in his own right and he deserves to be, because he’s a badass studio designer. I showed him around the property and he was kind of stone-faced and I was talking about the vibe and everything and then I showed him the live room which is all barn wood and rustic and he looked around and I’ve got a black sepia tone photograph of The Band on the wall and as soon as he saw the photo he took his glasses off and his face lit up and said, “Okay, I get it now”.

“They’re my favorite band. I almost recorded a record of theirs in 1982, but then Richard Manuel killed himself and the project fell through.”

He said, “Okay, I know what you want. Instead of using of one type of acoustic fabric for your studio, we’re going to go with an open weave kind of burlap look and we’re going to use rough cut barn wood on the acoustic treatments and that’s going to get you the vibe that you want.

I expressed the desire to have as much natural light as possible in the studio so that when you’re sitting at the console, you’ve got light streaming in from both sides and also from the back. You can sit at the console and you’ve got light coming through to the ISO boost on the side and then you look straight through the live room and you’ve got big windows at the back and you can see the animals grazing, so we also went with like sepia tones in the control room.

So the whole studio and the control room has like a ’70s, warm, naturally-lit vibe. Of course it’s going to be like a spaceship because of the gear, but it’s like a spaceship from the 1970s.

Could you tell us about the console you chose for the studio?

To get a console or not to get a console, that was the question. There’s plenty of reasons not to get a console or plenty of reasons why having a console these days is not necessary, but being a child of the ‘70s and having grown up using consoles, I knew that I wanted one just as a workflow choice.

When it came to which console to get I set my budget for what I could afford and I thought that the world was going to be my oyster because I had budgeted about $60,000 for a console installed. Having come from more of a DIY recording background, I really thought that I was going to have a lot of options in that price range. It turned out that the options were actually very few. And for that money, I was looking either at some kind of hybrid workstation like an SSL Matrix, or a 16 channel API or a smaller boutique kind of desk.

I was like, OK, I can get a 72-channel, fully-automated Neve console. Which for running a commercial studio, it’s kind of the only name that people know that are not studio heads. I didn’t understand how it could be so cheap.

I really didn’t understand why this desk, which was half a million dollars when it was new was all of a sudden $25,000. I now understand why these desks are on the cheaper side. The maintenance on these consoles is very intense. What happens with them is that they were not vented properly from the factory. There was a design flaw where the engineers thought that the heat would just kind of dissipate through the top through the console but there’s so much heat generated that it’s not able to escape from the modules.

So whereas electronics components like to operate at like 70 to 74 degrees Fahrenheit, this console runs at about a 118 or a 120 degrees Fahrenheit.

So the modules just cook and the capacitors leak and the plastic components for the switches and the rotary pots all just basically get fried. So people that own these consoles are faced with having to recap these consoles every five to seven to 10 years at the most and a full recap of one of these consoles costs about $20,000. So you’re faced with a tremendous amount of downtime and stress as the hours tick away. So really the heat is the issue with these consoles. And so before I bought the console I discovered that there’s one guy in LA who created a cooling modification for this console, where you have a dedicated exhaust system, which sucks the heat out of the console. You go in and you physically cut the ends of the modules to allow the cool air to be drawn in from the front and the hot air to be sucked out the back.

So once I discovered that I decided to go for the VR and I incorporated that modification into my studio. So now, instead of running at a 118 degrees, my modules are running at 80 degrees. And of course I had to do a full recap of the console. I got the console a year before I installed it and that year was filled with technicians coming from LA, from Nashville and from New York City to work on this console.

My decision to get a console was proven correct on the very first session that I had up here because when you don’t have a console and when you’ve got a workstation with a computer and you’ve got the engineer, there’s only one person that can run it, so you’ve got the engineer working the mouse and then the band on the couch with their cell phones, reading books, reading magazines and are basically half checked out of the process. The first session that I did here with the console, the entire band was up at the console for the whole session playing around with faders and playing around with mixes.

There’s plenty of room for the band and it really engages the bands so much more in the process. So rather than just being checked out on the couch, they’re all up at the console, playing around with the faders. So the first session I was like, OK, I made the right decision to get a console.

Studio Profile: Grouse Lodge, County Westmeath, Ireland

Studio Profile: Black Rock Studios, Santorini

Rockfield Studios: Studio Profile

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With so many different studio monitor options on the market, choosing the right ones can be a daunting task. In this end user focus, we feature the products of six companies and hear from top professionals about the product they like to use and why…

Dynaudio LYD 48

Goldie: “My Dynaudios sit 120cm apart at the perfect angle. And I sit in that perfect place and I listen. It’s the perfect place to be”

According to Dynaudio, the LYD range of monitors was designed to be used without needing a manual because, getting “started in your engineering or producing career…is daunting enough without needing to decipher another complicated set of switches and dials”. Good point.

There are four speakers in the range: LYD 5 (with a 5” woofer), LYD 7 (7” woofer), LYD 8 (8” woofer) and LYD 48 (a three-way fully active speaker with a 4” midrange driver and an 8” woofer). They all use the same lightweight aluminium voice-coils as the company’s high-end hi-fi speakers, paired with Class-D amplification as well as a 24-bit/96kHz signal path with advanced DSP. Artist and producer Goldie uses the monitors in his studio in Thailand.

Unity Audio Rock MKII

David Wrench: “The low mid is excellent and that’s an area where I find a lot of smaller speakers tend to struggle” 

Unity Audio’s Rock MKII is described as “a small and stylish speaker”, designed for a wide range of applications including tracking, mixing and critical mastering.

It is equally at home sat atop a large-format mixing console, in a home studio or a mastering facility. The Rock is equipped with two 180-watt Class D amplifiers and the Tim de Paravicini designed input/crossover. The Rock uses a 50KHz folded ribbon tweeter and the 180mm woofer features a 0.2mm aluminium foil. The combination of drivers delivers a frequency response of 37Hz-38kHz +/- 3dbB and provides a microscopic view of any programme system, incorporated to eliminate cabinet flexing.

David Wrench has two Rock MKII’s in his studio. “I’m a huge Rocks fan and bought my first pair a while ago,” he says. “They’re different to any of my existing monitors. I usually use three different sets of monitor in order to get a good contrast.

“The Rocks low mid is excellent and that’s an area where I find a lot of smaller speakers tend to struggle.”

PMC IB2S XBD-A

Gareth Johnson: “Tracking with them is really exciting” 

PMC’s IB2S XBD-A loudspeakers offer all the benefits of the company’s large ATL reference active monitors but in a more compact form. The three-way IB2S-A master cabinet is paired with a single-driver XBD bass cabinet that adds an extra 3 dB of low frequency headroom to create the IB2S XBD-A system. These Class-D powered cabinets are DSP-controlled and incorporate PMC’s ATL (Advanced Transmission Line) bass-loading technology. The bass units in both cabinets are identical and feature 10-inch carbon-fibre/Nomex piston drivers.

Producer, mix engineer and multi-instrumentalist composer Gareth Johnson uses the speakers in his studio at Metropolis Studios, London.

“When I was designing this place, I wanted the largest monitors PMC made that would work in here,” he says. “That’s why I got the IB2 Actives with the XBD bass unit. Tracking with them is really exciting and they’re brilliant for checking that you’ve got the bottom end right.”

Focal SM9

Steve Aoki: “I wanted to make sure both studios had Focal because I’m very confident with the sound, I really can trust the speakers” 

According to Focal, the idea for the SM9 was to “create the most sonically transparent monitoring system ever built”. The SM9 offers two monitoring speakers in one cabinet: a two-way monitor (Beryllium tweeter, 6.5” ‘W’ woofer, which offers a frequency response from 90Hz to 40kHz and a three-way monitor featuring a Beryllium tweeter, 6.5” ‘W’ woofer, 8” ‘W’ subwoofer and an 11” passive radiator. This monitor offers a frequency response from 30Hz to 40kHz.

DJ and producer Steve Aoki uses the speakers in both of his studios: “I wanted to make sure both studios had Focal because I’m very confident with the sound, I really can trust the speakers,” he says.

Genelec ‘The Ones’ 8331

Andy Barlow: “The definition is second to none”

Billed as “the world’s smallest three-way studio monitors”, the smallest in ‘The Ones’ range allow for longer, fatigue-free working hours than traditional loudspeakers, because according to the company, unnatural imaging – a main contributor to listener fatigue – is minimised.

Genelec refers to them as being in “an elite league of their own”. Dispersion is controlled over an unusually wide frequency range thanks to the large integrated waveguide (DCW) with hidden dual woofers; and orientation may be either horizontal or vertical. The monitors integrate with the Genelec GLM calibration software, allowing the listener to compensate for detrimental room influence and delay, regardless of whether they work in mono, stereo or immersive formats. “The definition is second to none,” says Andy Barlow who produced U2’s Songs Of Experience.

“The room is far from perfect with little in the way of acoustic treatment, but with GLM weaving its magic, the 8331s fill the room in an amazing way. Also, for such a small speaker with no sub, the bottom end is physics defying. The top end is refined and smooth, and the stereo sweet spot seems much bigger than any other speaker I’ve used.”

Adam Audio S3H

Opher Yisraeli: “I’d been researching various three-way speakers for months and tested a number of models. What I found was that the Adams performed equal to or better than monitors that cost almost twice as much”

The S3H builds on the successes of Adam Audio’s most popular studio monitors, the S3A and S3X-H, and, like its predecessors, sets new standards in terms of technical innovation and design.

Adam Audio’s newly developed DCH, a 4” hybrid dome/cone mid-range driver, is powered by a 300 W Class D amplifier and handles audio above 250 Hz and below 3 kHz, its hybrid design offering the sonic advantages of both cone and soft-dome drivers in a single, one-piece unit.

Frequencies above 3 kHz are routed to the innovative combination of the S-ART treble driver (each handmade at ADAM Audio’s Berlin factory), the new precision HPS waveguide, and a 50 W Class A/B amplifier.

The post 6 of the best studio monitors appeared first on Audio Media International.

HD Pro Audio is holding a Technology Workshop in the Oak Room of the h Club in London’s Covent Garden on Monday, 25 March.

Presentations on the day will include KLANG:technologies’ immersive IEM mix engine, and the Waves eMotion LV1 live mixing console, based on SoundGrid technology with industry-standard Waves plug-ins. This compact and customisable software-based mixer will be complemented by the latest Rupert Neve Designs RMP-D8 8ch preamp with Dante audio networking and remote control.

Lastly is the Green-GO networked digital intercom system, offering flexibility and routing using a traditional network infrastructure. The event will also provide the opportunity to evaluate the increasingly popular 10EaZy sound level monitoring and logging system, designed for venues and events of all shapes and sizes.

HD Pro Audio staff and manufacturers’ representatives will be on hand to provide a comprehensive overview of all technologies on show, as well as hands-on demonstrations.

The workshop will run from 11:00am to 5:00pm and lunch is provided. The event is free but numbers are limited, so anyone wishing to attend should book their place as soon as possible online at https://goo.gl/5ZGERk or by email to info@hdproaudio.co.uk

HD Pro Audio’s sales director, Andy Huffer, commented, “These popular workshops provide a relaxed environment in which attendees can familiarise themselves with new products and real life use of advanced technologies, with experienced professionals on hand to discuss and answer questions.”

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Calrec Audio will be showcasing its latest virtualised solutions at NAB 2019, including its VP2 headless mixing system, the RP1 2U rackmount broadcasting mixing system, and its modular IP-based system, Type R.

The VP2 virtualised mixing system has no physical control surface and utilises Calrec’s Assist software for setup and control. VP2’s 4U core comes in three DSP sizes; 128, 180 and 240 input channels and incorporates the company’s Hydra2 networking solution. Calrec Serial Control Protocol (CSCP) can allow the audio console to be completely controlled by an automation system.

Meanwhile, RP1 is a broadcast mixing system in a 2U rackmount box, containing Calrec’s Bluefin2 processing. Calrec’s RP1 is designed to provide solutions to three major challenges in remote production workflows – latency, transport and control. On-board DSP enables the generation of monitor mixes and IFBs onsite with no latency, Hydra2 interfaces provide a mechanism to output audio in a variety of formats and Calrec’s True Control gives an operator in a remote studio direct control over channel functions.

Finally, Type R is a modular, expandable, IP-based mixing system, which utilises standard networking technology and combines it with configurable soft panels that can be tailored to operator needs. It provides simple customisation across established networks, open control protocols and surface personalisation. Type R can be used without a physical surface with control and setup via Calrec’s browser-based Assist application and is fully compatible with automated systems using CSCP.

Calrec and its latest virtualised solutions can be found on Booth C7408 at NAB 2019.

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Berlin-based ADAM Audio is this month celebrating 20 years since it was founded in March 1999.

The company achieved its breakthrough on the international stage with its ADAM S3A active studio monitor, with many still serving faithfully in renowned recording studios.

The A7 (2007) and A7X (2010) models wrote new chapters in the company’s ongoing success story. Among the latest ADAM Audio products is its flagship S series – the first ADAM Audio speakers to feature DSPs.

In 2018, ADAM launched the T series, providing newcomers on a limited budget with the ‘ADAM sound’. In the same year the company also introduced its SP-5 headphones, a mobile professional monitoring solution.

“We’re very happy and, of course, also a bit proud that our studio monitors have been part of countless music productions over the last twenty years,” commented Christian Hellinger, CEO at ADAM Audio. “It’s a challenge – a wonderful and gratifying challenge – to be part of a creative process and to help artists, producers and audio engineers make decisions by providing them with innovative new technology when recording, mixing or mastering their material.

“Our ART tweeter still reveals details, even to experienced audio engineers, that the listener hasn’t heard before,” Hellinger added. “The X-ART and S-ART tweeters are still made by hand at our HQ in Berlin. But they’re far from being the only ADAM Audio innovation. Years of research and development continue to result in future-oriented technologies, such as our new driver concepts, digital signal processing and software solutions.

“The most important driver for our development was and is our excellent team who are passionate about our aspiration to develop, build and distribute the best studio monitors. Our customers have now trusted us for 20 years, showing us that we’re on the right path.”

To celebrate, ADAM Audio has created a limited white edition of its A7X speakers, in a production run totalling just 20 units. This special version will be available through several channels throughout 2019. One pair will be given to the winner of the company’s Instagram competition while another pair will be auctioned via eBay with all proceeds going to the charity Doctors Without Borders.

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London based creative music technology start-up, Vochlea Music, has launched the Dubler Studio Kit, a highly innovative, live vocal recognition MIDI controller.

Vochlea Music are graduates of the Abbey Road Studios music technology incubator and winners of the SXSW 2018 Pitch Competition.

The kit offers a method for musicians to translate their musical ideas into reality using just their voice. Capturing musical ideas using traditional instrumentation and MIDI inputs can be challenging and requires know-how, even for the most accomplished musician. Vochlea Music’s vocal recognition AI technology unlocks the power of the voice, allowing musicians to create music and control sounds quickly and intuitively.

The Dubler Studio Kit allows artists to hum a synth pattern, beatbox to trigger a virtual drumkit, or manipulate effects and filters with a “hmmm”, “laaaa” or “oohhh” sound — all in real-time straight into a DAW. Pre-launch beta testers of the new technology include Mercury Prize Nominated MC and producer Novelist, alongside a number of other musicians and producers.

The kit comes as two parts. First is the Dubler software, a virtual MIDI instrument for Mac and PC that’s compatible with any DAW. Second is the Dubler microphone – a custom low-latency USB mic – tuned for the Dubler software.

“The Dubler Studio Kit unlocks musical expression, fuels creativity and is generally a lot of fun. It speeds up the traditional music creation workflow by allowing the user to control and manipulate MIDI outputs through audio inputs,” said George Wright, Vochlea Music CEO and founder. “Essentially meaning you can lay down melodies, drum loops, effects tracks… whatever you want, directly from voice to DAW.”

Using all of the timbral qualities of the voice, Dubler Studio Kit allows musicians to trigger samples, control synths, manipulate filters and effects, track pitch, pitch-bend and control envelopes, velocity and MIDI mapping values simultaneously, based on the way they make their unique sounds.

The Dubler Studio Kit launched as a Kickstarter project this week and is looking to raise £40,000 over 35 days. During the campaign, backers will have the opportunity to pledge to be amongst the first Dubler Studio Kit users. Kickstarter backers will receive fulfilment priority when the kits are delivered in mid-2019.

https://www.kickstarter.com/projects/vochlea/2044359653?ref=763509&token=dee3df6a

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The March edition of Audio Media International is now available online.

In this issue, Colby Ramsey speaks to the owner of Beechpark Studios, a Dublin-based studio that is celebrating its 25th anniversary against the backdrop of AES this month.

Meanwhile, Grammy nominated singer/songwriter John Parr gives AMI the inside story about his studio Somewhere In Yorkshire, Daniel Wray talks to British punk producer, engineer and mixer Nick Launay about his 40 years in the business, and NUGEN Audio’s co-founder and now CEO gives us some insights about the company’s journey so far.

Elsewhere in the mag, Rosewood Studios’ owner Ed Scull talks us through the dos and don’ts of building a studio, and WSDG’s Dirk Noy reveals all about the company’s Acoustic Simulation Lab in Basel, Switzerland.

As usual, an assortment of interesting opinion pieces can be found towards the front of the mag, while the back pages feature a number of cracking product reviews including Genelec, HEDD, Sennheiser and Cubase 10!

Read all this and more in the latest issue of AMI online, here.

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d&b audiotechnik has officially established a new subsidiary in Greater China.

On 31 January 2019, 44 co-workers in Hong Kong, Beijing, Guangzhou and Shanghai officially joined the newly created d&b audiotechnik Greater China Group. The three-member advisory board has also been completed.

Daniel Chan, managing director (CEO) of d&b audiotechnik Greater China Ltd, said: "As the setup has been completed officially, we are all pleased to be able to support the d&b Greater China partners and customers even better in their quest for best professional audio solutions."

d&b Greater China, the ninth subsidiary in the global d&b family, has been active in the market since 6 December 2018. The co-workers and management of the new venture are already well versed in the d&b brand and portfolio as they join d&b from the previous d&b distributor in China. The new organisation is responsible for sales, marketing tasks, service and support for customers and sales partners in Greater China.

Daniel Chan and his long-time partner Freddie To – previously the heads of the d&b distributor in China – are co-owners. An advisory board will support the Greater China management team on issues of strategic importance and assist in fulfilling the team’s mission and goals. The advisory board members are Amnon Harman (CEO of d&b audiotechnik Group), Freddie To and Mike Chao (China audio market expert).

Advisory Board member Chao has spent nearly two decades in the China technology market, including leadership positions at Dolby Laboratories, The Boston Consulting Group and Microsoft Corporation. He is currently a Founding Partner at GeoFusion, an advisory firm specialising in helping technology companies advance their positions in China.

"d&b is a recognised leader in the Chinese professional audio market, and d&b Greater China is well-positioned for future growth,” said Chao. “I look forward to seeing more customers across China have the opportunity to experience and enjoy d&b technology and solutions.”

Amnon Harman, CEO of the d&b audiotechnik Group, added: "The establishment of a third d&b subsidiary in the Asia-Pacific region – after Japan and Singapore – proves that d&b is deepening its commitment to the Asia Pacific region in general and specifically to China as globally important growth market. We will continue growing – in the typical d&b style – with the closest possible proximity to customers and partners in order to jointly provide the best sound for installations and mobile applications.”

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Microphone manufacturer Telefunken has introduced the new Alchemy Series, its latest range of large diaphragm tube condensers.

The new models, which will begin shipping this spring, include the TF29, TF39, TF47, and TF51. They are designed as evolutions of past models in the R-F-T Series (CU-29 Copperhead, AR-51, and AK-47 MkII).

The range includes newly designed custom headgrilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers. Also included are two modern mount options, microphone dust cover, high-flex seven-metre cable, and a power supply.

TF29

The TF29 Copperhead is an evolution of the CU-29 Copperhead, an original Telefunken design known for its natural and non-hyped tonality. The TF29 features a new old stock American-made 5654W vacuum tube, all-brass K67-style capsule, and a premium Lundahl output transformer.

TF39

The TF39 Copperhead Deluxe is an expansion of the "Copperhead" sound with the addition of a dual membrane K67-style capsule, allowing for three-pattern selection between cardioid, omnidirectional, and figure-eight. This added feature set is designed to give the TF39 greater flexibility and options in the studio. Sonically and component-wise, the two microphones are otherwise the same.

TF47

The TF47 is a new design based, drawing inspiration from the historic U47 and M49. With a deep low end and a forward midrange, the TF47 is designed to add depth and presence to a source, making it ideal for recording vocals, guitar amps, and drums. At the heart of the TF47 is an all-brass K47-style capsule, new old stock 5840W vacuum tube, and custom-made BV8 transformer (as found in the U47).

TF51

The TF51 is a fresh take on the "Austrian" microphone sound associated with the Telefunken ELA M 251E and C12. It exhibits a smooth midrange and airy top end, making it a reliable choice for stand out vocals, acoustic instruments, and percussion. The 6072A vacuum tube (also found in Telefunken’s ELA M 251E and C12) is mated with an edge-terminated style capsule similar to the historic CK12.

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