CRAS live sound instructor Keith Morris guided students through Roland’s compact yet extremley powerful V-Mixing system during a clinic held August 8th, 2009.  Students were given hands on time with the M-400 mixer as it drove sound through CRAS’s L-Acoustics Kudo line array PA system.  In addition students could acquaint themselves with the brand new M-48 personal monitor mixers just released by Roland. Keith demonstrated how musicians can have instant control over their stage mixes, or how the system can allow the front of house mixer to step in and remotely control an artists mix via a laptop.  To top things off, Keith even showed how the Roland system can accomodate multi-track recording with a laptop running the Sonar digital audio workstation.  All of this is made possible through the use of Roland’s digital audio snake system that uses standard Ethernet networking cable to connect the front of house mix position to the stage.  Photos of the event can be found here.

Masterlink Studio’s engineer reviews the Digidesign C24 Pro Tools controller. The Conservatory has two C24s dedicated to Surround production and mixing classes.

Auto Time Adjuster is a $50 RTAS plug-in for Pro Tools LE/M-Powered, designed to ease your workflow when using plug-ins that generate significant latency. Currently to compensate for plugin latency you have to either move individual audio tracks backwards/forwards, or use the included Time Adjuster plugin to adjust the delay of each track in turn. One plug-in change can mean a lot of tweaks every time you change a plug-in in a large project.

Auto Time Adjuster uses audio pinging to automatically calculate and compensate for insert latency on your audio, aux tracks with the click of a button. When you add or remove a plugin on a track all you need to do is click the ping button on the master ATA to calculate all current latency and synchronise your tracks, even when using hardware inserts. ATA’s site has videos demoing the new product.

REAPER is a fully featured, cross-platform (Mac/PC) multitrack audio and MIDI recording, editing, processing, mixing, and mastering environment that is only $50, has no dongle or copy protection and can be tested for 30 days with full functionality. Features include a 64 bit audio engine and signal path, low-latency single and multiprocessor performance and stability, audio effects including multiband EQ and compressor, oversampling technical compressor, convolution reverb engine, real-time pitch correction, and a dozen others. The installer is only a few MB so the app is easy on your hard drive. I recently saw it used as the recording platform for the new Digico SD8 live sound digital console at the LDI show in Las Vegas. Digico uses the platform across its entire product line.

Rogue Amoeba, the makers of Airfoil and Nicecast, have released Fission v1.6, a DAW with a few tricks up its sleeve. Fission sports a simple GUI and audio editor that does what you’d expect including cut/copy/paste, fade in/out, adjust volume and normalize, but its also the only app that will let you losslesly edit AAC files. You can also create iPhone ringtones with Fission, something it shares with GarageBand. A single license is $32 and can be purchased from their website

Pro Tools 8 made its world debut at the recent AES Convention in San Francisco

photo caption: l to r, Kirt Hamm (CRAS), Adolfo Acevedo (KRK S’west Rep)

KRK Systems was founded in 1986, by Keith Klawitter, an engineer with credits on such films as Brainstorm and The Doors. Keith was frustrated by the fact he couldn’t find a monitor that gave him clarity and accuracy, so he began building his own. Other engineers and producers began to take notice of Keith’s high-end studio monitors, a groundswell began and a company was born. Recently, KRK dropped off 5 sets of speakers for evaluation in the Conservatory’s 8 recording studios and critical listening classes.

“Our ongoing relationships with manufacturers are a big part of why the program here at the Conservatory has a ‘real world’ feel and intent,” says Administrator Kirt Hamm. “KRK is just one of our partners who realizes the value in exposing up and coming audio professionals to the best products in the industry”. The Conservatory has solid relationships with such companies as Sennheiser, Digidesign, Fender, Audio Technica, Royer, TC Electronic, Ruper Neve Designs and many more.

photo caption: Blackbird Studio’s C-24 serial number 001

Nashville’s Blackbird Studio has a mic locker that would make an engineer drool. They have the original AKG C-24 mic, the stereo version of the coveted C-12. AKG developed the C-12 condenser microphone in 1953 based on a dual backplate/dual-membrane idea patented by Kalusche and Spardock in 1951. The modified version of this idea became the basis for the CK-12 capsule. AKG was the first to manufacture a split electrode microphone. The original capsule membrane was 10-micron-thick PVC, which was later changed to 9-micron-thick Mylar. The amplifier design was based on the 6072 tube, and the C-24 stereo edition of the mic with two CK-12 capsules utilized this dual triode to its full extent. The C-12, like the M 49, had a remotely controlled pattern selection from omni to bi-directional via the selector switch located in a box between the microphone and the power supply. The C-12 and C-24 remained in production until 1963.

One of the many mics in the Conservatory’s locker, the Holophone is a specialty surround mic that also has numerous stereo applications.

There are a lot of cool changes in the curriculum and studios at the Conservatory for 2008