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Found 7 results

  1. Vienna, Austria (April 9, 2020) - Musician Derek Brown recently tested out an Austrian Audio OC818 microphone, using it to capture his unique style of saxophone playing – dubbed ‘BEATBoX SAX’. Part beatbox, part instrument-slap technique, and part saxophone playing, Brown has turned BEATBoX SAX into a phenomenon – his YouTube music videos and tutorials are enormously popular among saxophonists and music lovers alike, racking up over 150,000 Youtube subscriptions. Previously the director of jazz studies at Abilene Christian University for six years, Brown received his BM in Music Performance (Classical and Jazz) from Hope College in 2006, and his MM in Jazz Studies at the University of Cincinnati, College-Conservatory of Music in 2008. Crossing genres from jazz, to classical, to funk (and without using any looping or electronic effects), Brown’s unique playing style was born out of a love of blending musical genres. “I grew up with a very normal way of playing the saxophone,” he said. “I studied classical music and I started liking jazz. I went to university and I studied all the techniques and different ways of improvising. I was always feeling a bit lost, thinking ‘what’s my new thing to say on this?’ Am I a jazz musician? Am I a classical musician? Am I a pop musician?” Brown decided that he didn’t need to choose - the result being a unique blend of jazz and pop-style saxophone playing, combined with instrument-slapping techniques. Requiring a microphone that was up to the challenge, Brown tested an Austrian Audio OC818: “It was great; it is everything I look for in a mic,” he said. “I had a very quiet signal and it seemed to pick up all the different things I'm doing on the saxophone, which is very important because everything I do – even though it sounds like it’s being looped or has an electronic effect – it’s not, it’s all acoustic. So I need a microphone that is going to pick up every little detail, from the ring scratching that I’m doing, to all the intricate sounds coming out of the belt, and my voice. This was a perfect mic; it had a great sound to it. It seemed to produce a very natural-sounding saxophone.” Brown also likes that the OC818 microphones are handmade in Vienna: “I love the idea that these are being created in Austria,” he enthused. “I know it’s very easy to have things outsourced to other countries, so I love that this tradition is being continued. I can't wait to see what Austrian Audio comes up with next.” Handmade in Vienna, the OC818 is a multi-pattern dual-output condenser microphone equipped with a world-first: optional wireless control. At the heart of the range is the patent-pending, handmade CKR12 ceramic capsule, made to the same critical dimensions as the legendary CK12 capsules. However, the CKR12 goes further still, utilising a revolutionary new material offering far more stability, meaning every OC818 is inherently paired with any other OC818, or even Austrian Audio’s OC18 mic.
  2. SANTA MONICA, CA, USA: launched last year to widespread critical acclaim as the world’s first bus-powered modeling microphone, cleverly combining the ease and convenience of a digital mic with the flexibility and sound quality of a recording studio, Antelope Audio is proud to enhance Edge Go’s Synergy Core capability — centred around a single ARM- based DSP (Digital Signal Processor) plus custom-designed FPGA (Field Programmable Gate Array) chip architecture (following in the trailblazing formative footsteps of its innovative Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core, and Zen Tour Synergy Core audio interface namesakes) — via various vocal-oriented virtual effects emulations available as paid software expansions, while also adding seven new vintage mic models for free, as of April 2… Simply speaking, Synergy Core combines the phenomenal parallel computational capabilities of FPGA processing with industry-standard DSP, as brought into play on Antelope Audio’s game-changing Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core, and — most recently — Zen Tour Synergy Core audio interfaces. All are capable of latency-free direct monitoring with effects when recording as a direct result, readily allowing users to hear already processed signals in real-time — even before pressing record, and acting as a time-saver and creative workflow enhancer in the process. Another added user benefit comes courtesy of offloading the host CPU (Central Processing Unit) from effects processing when mixing and/or mastering, making it perfectly possible to work with larger DAW (Digital Audio Workstation) sessions without compromising channel count or creativity with effects processing. Having ‘hinted’ at Edge Go’s Synergy Core capability late last year when announcing availability of Auto-Tune Synergy as a custom-designed software plug-in that leverages the next-generation hardware acceleration of the Synergy Core platform to deliver the legendary Auto-Tune® pitch correction and vocal effects with ultra- low latency, Antelope Audio has hereby effectively enhanced Edge Go’s Synergy Core capability still further via various vocal-oriented virtual effects emulations. Entering the radical realm of the world’s first bus-powered modeling microphone for the first time, Antelope Audio’s Opto-2A carefully captures all the subtleties and nuances of an iconic Sixties-vintage electro-optical compressor that needs no introduction. Its continued use in broadcast and recording studios worldwide over half a century after its inception is testament to its audio engineering excellence. Exceptionally warm sound and a gentle compression character have endeared it to generations of artists and producers, possibly gracing more hit records than any other outboard unit in hardware history. Having said that, key to its unique personality is the T4 optical attenuator, the outcome of time spent developing optical sensors for the US military. Its sonic signature is the two-stage release, greatly contributing to its smooth and musical compression. Clearly, Opto-2A is similarly simple to dial in, with only GAIN and PEAK REDUCTION controls needed to tweak the resultant sound, and now the authentic-sounding Synergy Core effect that is Opto-2A is available to a whole new realm of users as a paid software expansion for owners of Edge Go. Meanwhile, MG4+ faithfully recreates the superlative sound of an acclaimed 500 Series EQ module making its presence felt sonically on hundreds of top charting records from the likes of Madonna, Snoop Dogg, and many more well-known faces of popular music. MG4+ also authentically emulates its innovative SKY BAND — but boosted by offering 10 (2.5, 3.5, 5, 7, 10, 15, 20, 25, 30, and 40 kHz) settings above and beyond the original hardware’s five — to add the kind of expensive-sounding gloss and sheen typically heard on hit recordings benefitting from high-flying production teams and expensive equipment. Enhancements continue with an additional master GAIN control not present on the original hardware. However, since this six-band EQ is also notable for its highly-linear phase operation — far from easily achievable in the analogue domain, it stands to reason that MG4+ manages that, too, preserving any audio being fed through it without suffering from any phase-shifting artefacts. As such, purity and clarity combine, perfectly powered by Antelope Audio’s latency- and CPU-free Synergy Core effects processing — perfect for enthusiastic Edge Go users seeking latency-free direct monitoring with effects when recording. Helpfully, hearing an already processed voice without any distracting latency makes for faster creative decision-making, which is clearly a winner in itself. Antelope Audio’s Adaptive Vibrato’s virtual effect development derived from closely examining some tried-and-tested circuits before incorporating those impressions into a virtual unit delivering a veritable vibrato toy box — complete with LATCH and TRIGGER MODE; RATE and DEPTH controls; five-way WAVE modulation; DELAY and RISE controls; THRESHOLD and ENDFREQ controls; plus control over the DRY/WET MIX. Antelope Audio’s appropriately-named Adaptive Vibrato is another notable new (to Edge Go) Synergy Core effect to be reckoned with! With Space Flanger, owners of Edge Go can creatively set the following controls to apply a distinctly modern twist to a popular pioneering effect to the sound of any vocalist or instrumentalist: GAIN — adjust input volume (-12dB to +12dB); WAVE — choose between triangle and sine wave modulation; FEEDBACK — adjust the amount of output signal being fed back into the input (produces resonance); DELAY — adjust the offset between the source and delayed signal (in milliseconds); RATE — adjust the frequency of the modulating wave (perceived as a change in modulation speed); DEPTH — adjust the amplitude of the modulating wave (perceived as volume change); and MIX — blend between the DRY (unaffected) and WET (processed) signal. Similarly, Antelope Audio’s Synergy Core-powered Vari-Speed Tremolo really represents a fresh and versatile virtual take on vintage tremolos, courtesy of its five-position WAVE selector and the addition of a VARI-SPEED RATE knob. Needless to say, by adjusting how quickly the frequency of the modulating wave varies, Vari-Speed Tremolo users — including owners of Edge Go, of course — can spice up their tremolo effects with a welcomed touch of unpredictability. Ultimately, expecting the unexpected is often the way forward for owners of Antelope Audio’s high-end professional audio equipment. Edge Go comes complete with no fewer than 18 vintage mic emulations — including seven (Berlin K86, Berlin 47 TU, Berlin V563, Berlin/Halske MN25, Berlin M251, Minnesota 20, and Illinois 7B) new ones — embedded as realtime Synergy Core-based, CPU-free software within Edge Go’s onboard processing and also as AAX-, AU-, and VST-compatible plug-ins for post-production, together with 20 real-time effects (including Auto-Tune Synergy), so is no exception to this unwritten rule! Record or stream live with the kind of fidelity only a professional large diaphragm condenser microphone with high-end audio converters can deliver — sample rates start at 44.1kHz and go all the way up to 192kHz, with a wide and open 117dB dynamic range. Results are polished and immediate, thanks to authentic-sounding effects and presets produced by top audio pros. Powered by a macOS 10.12 Sierra- or above-running Mac (2012 or newer with available USB 2.0/USB3.0/3.1 port) or Windows 10-running PC (with available USB 2.0/USB3.0/3.1 port), Edge Go does not require 48V phantom power to function. Forget about preamps, mixers, and power supplies — simply plug it in and start recording... with various vocal-oriented effects now available as paid software expansions for this truly Synergy Core-capable creative wonder! Why not expand Edge Go’s generous capabilities, then? There is no need to break the bank in doing so. Edge Go comes complete with all necessary cables, a rugged shock-mount, an adjustable pop filter, and a sleek desktop mount — all packed in a portable, sturdy suitcase, and available for purchase (priced at an RRP of $1,295.00 USD/€1,295.00 EUR) through Antelope Audio’s growing global network of authorised dealers (https://en.antelopeaudio.com/dealers/). Or order online directly from Antelope Audio via the dedicated Edge Go webpage (https://en.antelopeaudio.com/products/edge-go/), which also includes more in-depth information. Opto-2A is available for Edge Go (and also Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core, and Zen Tour Synergy Core audio interfaces), priced at $75.00 USD/€75.00 EUR directly from here: https://en.antelopeaudio.com/products/Opto-2A/ MG4+ is available for Edge Go (and also Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core, and Zen Tour Synergy Core audio interfaces), priced at $125.00 USD/€125.00 EUR directly from here: https://en.antelopeaudio.com/products/mg4plus/ Adaptive Vibrato is available for Edge Go (and also Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core, and Zen Tour Synergy Core audio interfaces), priced at $55.00 USD/€55.00 EUR directly from here: https://en.antelopeaudio.com/products/adaptive-vibrato/ Space Flanger is available for Edge Go (and also Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core, and Zen Tour Synergy Core audio interfaces), priced at $55.00 USD/€55.00 EUR directly from here: https://en.antelopeaudio.com/products/space-flanger/ Vari-Speed Tremolo is available for Edge Go (and also Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, Orion Studio Synergy Core, and Zen Tour Synergy Core audio interfaces), priced at $55.00 USD/€55.00 EUR directly from here: https://en.antelopeaudio.com/products/vari-speed-tremolo/
  3. Vienna, Austria (March 26, 2020) - Austrian Audio OC818 microphones were recently put to use on British singer-songwriter, Sam Smith’s tour as overheads. Smith’s profile raised significantly in 2014 after debut album release, In the Lonely Hour. 2015 saw Smith awarded with four GRAMMY Awards for Best New Artist, Record of the Year, Song of the Year, and Best Pop Vocal Album. Smith’s FOH engineer, Jim Ebdon started his career in audio straight out of school whilst working at Surrey Sound Studios, where The Police recorded their first two albums. He later progressed to working as a studio engineer, then as a live sound engineer for high profile artists such as Maroon 5, Annie Lennox, Sting and Aerosmith. “I’ve had a very colorful career,” he says. “I started as a tape op assistant in the studio and I quickly learned mic techniques, how to cut tape, and how to operate a mixing console! That put me in good stead to become a live sound engineer a few years later, which is a whole different process and discipline compared to being a studio engineer.” Ebdon states that while he has always been a fan of what he calls “the other brand of microphone,” he thinks that Austrian Audio has the upper hand: “This [OC818] is just that one step ahead,” he enthuses. Although Ebdon is familiar with Austrian Audio’s free PolarPilot app, which facilitates real-time wireless control over analogue patterns, high-pass, and pad-in real time via Bluetooth, he admits that he has never had to make use of it yet: “I’ve got to be honest with you – I haven’t used it because the microphone sounds so good, I don’t need to use it! I don’t want to interfere with something that is great off the bench.” Commenting on the Sam Smith tour, Ebdon is full of praise for the OC818: “We’ve been using them on the Sam Smith tour as overheads, and we have had great results. It just works; I can knock those overheads out of phase and the fatness that comes into the drum sound is incredible!” 3 Reasons Why The Austrian Audio OC818 Is One Step Ahead, According To Jim Ebdon The OC818 is Austrian Audio’s premier, professional, large diaphragm microphone. Its high sensitivity, low self-noise and ability to handle everything from a whisper to extreme SPLs make it the most advanced microphone for studio, broadcast and live applications. As the unique ceramic capsule design is so consistent, any OC818 can be match-paired with any other OC818, and when in cardioid mode, it can also be match-paired with any OC18, its smaller sibling. For more information, please visit https://austrian.audio/
  4. Vienna, Austria (March 11, 2020) – Metropolis Studios' Senior Engineer, Paul Norris recently tested Austrian Audio's OC818 microphone at the London studio complex. After gaining his degree in music technology at Hull University, Norris landed his first work experience job at Metropolis Studios in 2010. Ten years on, he’s now Senior Engineer with credits including Rag 'n' Bone Man, Paloma Faith, Gorillaz, Ed Sheeran, The Black Eyed Peas and The Kingdom Choir – winning a Grammy award for his engineering work on Rihanna’s album, 'Unapologetic'. Paul Norris in London's Metropolis Studios On a recent visit to London, Austrian Audio’s CEO, Martin Seidl personally delivered a pair of the award-winning microphones to the studio. “I’ve used them on every recording session I’ve done since we got them: on overheads and room mics for drums and piano, and I recorded strings on them the other day, then on a choir session,” enthused Norris. “My favourites were on the piano: it sounded amazing, but they’re also fantastic for drum overheads.” Handmade in Vienna, the OC818 is a multi-pattern dual-output condenser microphone equipped with a world-first: optional wireless control. Its unique design and outstanding sonics, combined with new wireless control technologies offering highly optimised workflows, has garnered the OC818 five-star reviews from all over the world. At the heart of the OC818 is the patent-pending, handmade CKR12 ceramic capsule, made to the same critical dimensions as the best legacy CK12 capsules, only offering far more stability: every OC818 is inherently paired with any other OC818, or even the OC18, its smaller and more affordable sibling. “Obviously the lineage of the mic [Austrian Audio was born out of the closure of the AKG offices in 2017] was one reason why I was quite excited to try them because I love to use [AKG] C12 and 414s on drums,” Norris furthered. “We did a shoot-out; the OC818s were definitely preferred by everyone to the 414s". “Everyone's used them when they've had a chance. I think drums have been the main thing people have used them on as we had a lot of drum sessions at the end of 2019. They are really great for overheads and room mics for drums; that very natural sound and the top end on the OC818 is so smooth, and it just doesn't get harsh at all with the cymbals.” “I’ve recorded piano three times with them,” Norris added. “In fact, the OC818 was used on the Fazioli Grand Piano that Freddie Mercury and Adele have played on in Studio A. I was using C12VRS before, but I think the OC818s are nicer sounding and give such a natural sound on the piano without having to do anything like having to EQ it too much. I never use massive amounts of compression when I'm recording piano anyway, but it just sounds like a piano straight away without having to do too much. It makes life much easier.” Norris stated that although characterising a microphone is a personal thing, he found the OC818 to be “very natural sounding, open, and the top end is just so smooth. I recently used them as room mics on the Frank Carter and the Rattlesnakes Live to Vinyl session; it’s not hyped, but has a top end that isn't at all harsh. And you can make things bright without it sounding off.” For more information, please visit https://austrian.audio/
  5. Tjena! Jag är en glad amatör(!) som länge haft ambitionen att få bättre kvalitet på mina inspelningar som hittills enbart bestått av inspelningar från mobiler osv (läs dålig kvalitet). Det Jag har införskaffat mig hittills är: Ljudkort: Focusrite Scarlett 2i2 Hörlurar: Audio Technica ATH-M50x Det jag saknar nu är ju då självklart mikrofon/er. Jag är helt lost här måste jag säga, så jag vänder mig hit. Efter mycket YouTube:ande så ser jag att en hel det bara använder sig av en mikrofon med gott resultat, istället för två, så det kanske räcker? Jag tänker dock att 2 st mer riktade (säger man så?) mikrofoner vore bättre för att minska att det "blöder" ljud från mikrofonerna och att det även blir lättare i efterbehandlingen då man har två olika spår? De mikrofoner jag främst funderat på (mer eller mindre bestämt mig för kanske, om ingen här säger tvärt nej! haha) är: Gitarrmikrofon: Shure SM57 Sångmikrofon: Shure SM58 Dessa verkar vara klassiker som än håller måttet? Är det ens någon större skillnad på dem, förutom pop-filtret på SM58 t.ex.? Skulle dessa fungera som en bra kombination eller finns det bättre alternativ i samma prisklass (ca 2-3000 kr)? Vad mer kan ni tipsa om när jag ändå är i farten? Speciella stativ, kablar, pop-filter, programvara osv? tl;dr: Jag vill spela in Akustisk gitarr + sång och behöver tips på mikrofon/er för ca 2-3000 kr. Även lite tips om kringutrustning uppskattas. Ljudkort och hörlurar har jag redan. Tack på förhand! Mvh Tomas
  6. Jag har fått undran, vilken riktningskaraktäristik ger inte någon närhetseffekt? Blev ställd mot väggen då jag faktiskt inte kan svara ordentligt på detta. Jag kan ju svara som så att Kula/rundupptagning inte ger närhetseffekt såsom åtta eller njure, men jag kan inte svara mer ingående eller hur det funkar i teorin. Vill någon upplysa mig?
  7. Hej. Jag har fått ett lite ovanligt ljuduppdrag. En koreograf vill spela in ungefär vad en dansare hör medan hon dansar en given koreografi, som man senare kan lyssna på. Han vill ha det gjort "binaurally" (svenska Binauralt?) Jag vet ungefär vad tekniken innebär, men jag har aldrig gjort det själv. Det måste inte vara superklass på inspelningen, men den ska inte vara alltför dålig heller. Det finns troligen 1000-2000 kr för att hyra mikar om det behövs. Jag har förstått att jag bör skaffa ett skyltdocks-huvud, på vilken jag sen fäster mikrofoner. Sen tänkte jag röra huvudet på ungefär samma sätt som dansarens huvud rör sig under koreografin. Så mina frågor är, vilka mikrofoner är passande och hur kan jag fästa dem på ett skyltdockshuvud? Jag är nu i Bryssel och ska göra detta. Jag har 2st line audio cm3 kondensatormickar, sm57-or, och en Röde NT2-A. Kan man kanske spela in med hörlurar på något sätt? Jag har BD dt 250 och pro 990, samt små vanliga apple-hörlurar, dessa kan ju kanske passa öronen på dockan... Jag har dessutom ett apogee duet och ett focusrite 24 dsp som ljudkort. Tack för alla tankar och ideer och råd. mvh
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