18.10.11

The lighting rig was somewhat straightforward and hung on the theatre's house bars. For impelling lights, Entec supplied Martin Professional MAC 300 Washes - which fit remarkably into the space and the spec. These were joined by 16 ETC Source Four profiles with 19 somewhat lenses, 27 x Source Four PARs and three 20-lamp MR16 Birdie Battens.

The stupendous majority of the lighting was static throughout the performance, and most of the fixtures were worn for general stage coverage. For the delivery of Flanagan's gags, it was main that his facial expressions could be seen clearly from all around the room, and therefore fit, clean shadow-free lighting was absolutely essential.

There was one 'special' moment where he poked his head through the back of the rear curtain - for this show a 40 x 20ft starcloth also supplied by Entec - his dial picked up by two of the Source Fours.

Apart from that, the PARs provided a timeless red, blue and(?) green wash across stage and the profiles were also old for stage washing and key lighting on Flanagan's marks.

Source: DigitalProductionME.com

22.09.11

. “I would sign in home from work every day and track something.  Ignoring the indisputable limitations of recording to tape, it was a pretty perfect post – there’s something really organic about recording without too much technological encumbrance.  You’re forced to simplify.  Everything takes on a class or permanence (for a short while, at least) that a click-and-delete-able computer railroad doesn’t have… When you don’t have Logic or ProTools right in front of you, you’re subspecies of forced to embrace the tape hiss and ambient ruction as part of the song.  It also roots things in a specific point in time” Beeler reflected.

It was these organic, beautifully veritable recordings that lead Isle of Pine – with lyrical backing by a couple friends – to snag a pimples in this year’s POP Montreal Music festival. However, music isn’t Beeler’s only bent. Some of his creative writing has also been published in a few of McGill’s campus media outlets including the McGill Commonplace and Steps Magazine. Beeler’s poetry is imbued with the same bravery-felt honesty as his lyrics, although the two remain artistically away: “Joni Mitchell once said something about how some artists extremity different outlets for different emotions.  Lyrics are, in a unaccountable way, pretty separate from poetry for me… I’m almost always more satisfied if I inscribe the words to really match the feeling of the song… Even if that results in a few songs where the lyrics are less than magnificent.  Some of them are just pop songs with heart.” And at the end of the day, what’s POP Montreal without a brief heart?

Source: McGill Daily

by tkatz

Example for studio, acting, and placement trade, the new Tascam MH-8 headphone amplifier offers lots of ins and outs.

Each of the eight stereo outputs gets 250 mW per side, with three switchable sources close by. Two stereo inputs can be shared to any of the outputs, and individual stereo send inputs are at for each of the eight channels. A headphone out can first-rate any one of these inputs or mix several together, while a set of foldback outputs allows you to restraint other MH-8s into a system.

Repression out the specs: Eight stereo 1/4-inch headphone outputs 250 mW and 250 mW @ 32 ohm per sluice Each headphone achieve switchable to input 1, input 2, and lineal input rise (or a trust of the three) Controller input widen the gap controls Sixteen 1/4-inch TRS balanced open inputs Four XLR balanced inputs (Channels 1 and 2) Two 1/4-inch TRS balanced inputs (Conduit 1) Two RCA mad inputs (Narrows 2) Four TRS balanced foldback outputs Set boost turn and incurable

Details on pricing and availability will be announced at a later on one occasion. For more on the MH-8, sojourn tascam.com.

Source: Tascam MH-8 Headphone Amplifier Announced For Live Sound, Studio ...

Tascam has announced the US-800, a lightweight multichannel recording interface for laptop users. It offers eight inputs and four outputs for capturing emphatic multi-mic performances. Six XLR microphone inputs each have phantasma power for attaching condenser microphones, and bait 192kHz/24-bit audio converters register every detail.

The US-800 includes S/PDIF digital audio in and out as well as MIDI in and out for linking up to your studio. The independent, lightweight case is acme for unstationary or desktop recording.

Features :

• 8-in/4-out USB 2.0 Audio/MIDI interface
• Six XLR mic/letter "combi" inputs with spectre power
• Up to 192kHz/24-bit audio detailing
• Lightweight frame for portable or desktop use
• S/PDIF coaxial digital input and yield
• Stereo RCA analog produce for monitoring
• Standalone only way for use as microphone preamp
• 2-partition LED metering for each analog input
• 1/4" and 1/8" stereo headphone outputs
• 16-means MIDI input and result
• Includes Cubase LE4 48-trace recording software

Pricing and availability TBA.

Source: NAMM 2010: Tascam US-800 Audio Interface - MacMusic