Sound Devices launches new audio recorders/mixers with USB audio streaming – Pro Video Coalition

At NAB 2017, Sound Devices has announced the new MixPre Series of audio mixer/recorders with integrated USB audio interface. The lightweight, high-resolution MixPre-3 & MixPre-6 audio mixers recorders with USB audio streaming offer hefty preamps combined with extreme durability.

The new Kashmir microphone preamps have much more gain than competitive units, as I’ll cover ahead. They also feature a published -130dBV noise floor, analog limiters, and new 32-bit A-to-D converters to ensure high quality, stress-free, professional-grade audio recordings. I hope to review one very soon. Ahead is more info and a video.
For dynamic mics, at least +60 dB is considered a bare minimum, and even more for an ElectroVoice RE20 or Shure SM7B to avoid having to max out the potentiometers, or avoid having to purchase a FetHead or CloudLifter for each source.
“Our new Sound Devices MixPre Series is the culmination of decades of experience designing products for the best-of-the-best in the professional audio industry,” says Matt Anderson, CEO of Sound Devices, LLC. “Our mic preamps simply have to be heard to be believed, whether mic’ing drums, birds, or dialog, using condenser, dynamic, or ribbon mics, the finest textures of the audio are preserved. The MixPre-3 and MixPre-6 merge the latest advances in audio technology with an unintimidating, compact and rugged design. These products are a must-have piece of equipment for anyone ranging from production engineers and musicians to YouTubers.”


Vinyl is back. But until now, record-making has been stuck in the ’80s. – Popular Science

Just over two years ago, Rob Brown was transfixed by an eBay auction. He and colleagues Chad Brown (no relation) and James Hashmi were bidding on a record pressing machine. It was the only one the new entrepreneurs could find, and it was in the middle of nowhere—in Russia. No one knew if it worked, or could even be refurbished back into working order. Yet, the bidding was feverish: Brown’s team walked away, but the press ultimately sold for some $60,000.

So went the shopping experience of anyone looking to open up a pressing plant amid the vinyl resurgence of the last decade. No company had made a new record press since the ‘80s, and used ones were nearly impossible to find. Longstanding plants, like United Record Pressing in Nashville (the largest facility in the U.S.), would absorb equipment from shuttering competitors. And upstarts would have to either wait out the second-hand market or build their own from scratch.

But Brown, Brown, and Hashmi wanted to get their hands on a press for a different reason. They wanted it as reference, a benchmark against which to measure the singular goal of their Toronto company, Viryl Technologies: to build the first new fully automated record pressing machines in over 30 years. Thanks to carefully orchestrated automation and cloud-based monitoring software, their WarmTone presses were going to be easier to use and simpler to service—and therefore more-efficient—than their hulking hydraulic predecessors.

Record Scratch

Even in the best circumstances, making a record is a laborious process. There are machines to cut studio recordings into a master version of the audio, then another set to create a metal negative plate of the master for the giant waffle iron that is a record press. The biggest piece of the puzzle, literally and figuratively, is the pressing machine itself, which stamps out copy after copy after copy.

The number of workers trained to use and repair the machines dwindled when record sales bottomed out and plants began shutting down in the early ‘90s. Facilities that did retain skilled pressmen held onto personnel (and their expertise) with a firm grip. “There’s just not a lot of people doing it,” says Jonathan Berlin, owner and partner at Vinyl Record Pressing in Atlantic Beach, Fla. “The people that are doing it want to be the only ones doing it.”

Workers learn the ins and outs of their machinery, its quirks, and its red flags. And, because most plants contain a mashup of presses—recycled, revamped, and reengineered with modern components—there’s little, if anything, in the way of manuals or guides. “Because the industry had died off, and the companies that produced the presses were all long gone, there really is no level of service left,” says Rob Brown, Viryl’s chief operations officer. Breakdowns are common, and fixes tricky.

This largely bespoke approach has contributed to a problem: For years, vinyl production has been at or over capacity. According to U.K. research firm Deloitte, total record sales in 2017 will hit 40 million worldwide. And Nielsen’s 2016 Year-End Music Report showed the eleventh straight year of consistent upswing. That’s a lot of discs for the few dozen up-and-running plants and couple hundred or so working presses worldwide.

It’s so many records, in fact, that about two years ago United stopped taking on new clients for about a year to clear up its backlog and shorten turnaround times. For smaller shops and upstarts, backups are harder to manage—and sometimes exacerbated by the run-up to major selling seasons.

Source- Corinne Iozzio Popular Science

Knops earplugs turn down the disco so you can hear it clear – Stuff

Time was, tuning out the louds sounds of life meant stuffing some rubber plugs in your canals. Effective as the trusty bungs were, though, pulling them out for a quick chinwag was a right hassle. Thankfully, Knops has served up an adjustable solution on Kickstarter: stick its circular sound-stoppers in your ears and you’ll be able to control just how much sound gets in by twiddling the dials – whether that’s blocking out the bus drunk’s dystopian ramblings or letting in a little more bass at the office party. It’ll still sound crisp and clear, mind, as there’s no digital trickery going on: the plugs’ physical construction does all the magic, distortion-free.

AudioQuest JitterBug: Can a USB Filter Really Improve Your Audio? – GeekDad

The AudioQuest JitterBug isn’t a new pair of headphones with better speakers. It’s not an amp to boost the robustness of the sound being delivered to your headphones, and it’s not a DAC, trying to deliver the highest-resolution signals to your amp and headphones. It’s much more esoteric: it’s a filter for your USB port.

First, backing up: if you’re getting into higher-quality sound, delivered from your laptop or desktop computer, the first thing you learn is that you don’t want to listen to the music from the mic port. The on-board mic ports on most computers are using a very basic DAC (digital-to-analog converter) to change the bits of your sound files into analog audio signals going into your headphones or speakers. Instead, you plug a higher-grade DAC into a USB port. Then you probably plug an AMP into that, to boost the resulting signal (or the DAC and Amp are a combo unit). And then you plug your headphones/speakers into that for listening nirvana.
But the audiophile engineers at AudioQuest, ever looking for ways to improve the resulting sound just a little bit more, hit upon one of the weak points in this sonic workflow: the quality of the signal coming out of the USB port. Most people just think data is data, and if you’re getting a steady stream of 1s and 0s that isn’t doing anything special until the DAC turns it into analog signals, then what can you do to improve it

A Guide to Types of Cable Connector… | Dawsons Music

Picture this common scenario… You’ve just bought a new audio interface from your local branch of Dawsons. With your new toy clutched in your hand, you travel the distance home, anticipating setting it up, and beginning to record your ‘Magnum-Opus’, the double album concept that you’ve been working on for over a year. On arrival… Read More

Source: A Guide to Types of Cable Connector… | Dawsons Music

Turning Cellular Bacteria Into Sound | ADSR

Turning Cellular Bacteria Into Sound

Get acquainted with Micro-ritmos (micro-rhythms in English), a machine that transforms cellular bacteria into audible sound. In short, the machine analyzes real-time variances in the bacteria to send signal triggers to the lights. TheirPython code then finds patterns in the signals, subsequently triggering randomized, real-time sound.

Our simplified explanation doesn’t do much justice to the sophistication of the project; however, Create Digital Music has provided a detailed explanation, as well as listing the overall rig of Micro-ritmos:

  • RaspberryPi B+
  • RasPi camera module
  • Micro SD cards
  • Arduino
  • Bacterial cells
  • Lamps
  • SuperCollider for sound synthesis

Visit the full article from CDM for personal insight into the project. Also, the team has provided the full Python code for Micro-ritmos.

Source: Turning Cellular Bacteria Into Sound | ADSR