Monthly Archives May 2012

‘Bob Moog Birthday’ Patches

Spectrasonics Release New Sounds for the Bob Moog Tribute Library from Sound Designer Eric Persing

To celebrate the anniversary of Bob Moog’s 78th birthday, Spectrasonics have released 78 brand new Omnisphere patches for the Bob Moog Tribute Library! With the addition of the new ‘birthday’ patches created by Producer Eric Persing, the library now features over 800 stunning sounds for Omnisphere, the company’s flagship synthesizer.

The new patches are a continuation of the tribute to honor the legacy of synthesizer pioneer Dr. Robert Moog and support the ongoing work of the Bob Moog Foundation. In 2011 Spectrasonics produced the Tribute library with the generosity and creative talents of many renowned synthesizer artists, and has been a huge success in benefiting the Foundation allowing them to expand their educational outreach programs. 100% of the proceeds from the “Bob Moog Tribute Library” go to benefit the Bob Moog Foundation.

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CEntrance at Newport ‘T.H.E. Show’

Audiophile Desktop System: stereo pair of "MasterClass 2504" desktop 2-way coaxial speakers, the "DACmini PX"

At the 2012 T.H.E. Show in Newport Beach, CEntrance, Inc. will be showing its new Audiophile Desktop System product bundle. The system packs a stereo pair of “MasterClass 2504” desktop 2-way coaxial speakers and the “DACmini PX” desktop amplifier, headphone amp and DAC. The bundle also includes a travel case with custom foam cushioning as well as speaker and USB cables. The Audiophile Desktop System was designed from the ground up to bring Hi-Fi sound straight to the desktop for today’s Internet-connected consumers. The DAC, amp and speakers are closely matched and properly voiced to work in concert. The Audiophile Desktop System provides a complete digital audio listening solution for a street price of $2,000 USD and is available for ordering now.

“Today’s networked users, who spend their day at the desk, are forced to listen to inferior audio quality piped through standard computer speakers. That’s no fun. We pioneered the Audiophile Desktop concept to free your music from consumer-grade sound, offering mastering-level audio quality in a compact, desktop-friendly format,” states Michael Goodman, Managing Director of CEntrance. “We have tuned this system for performance and it offers better results than ad-hoc collections of components from several manufacturers. We’re confident that the new Audiophile Desktop System will turn some heads and ears.”

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Billy Mohler Gets Dangerous

Artist development business takes a leap with Grammy nomination, record deals and Dangerous Music equipment

Musician and producer Billy Mohler uses the Dangerous D-Box

A musical life can take a few twists and turns before settling in. Early on as a musician Billy Mohler studied upright bass at both the Berklee College of Music, and the Thelonious Monk Institute of Jazz. But he’s found a niche developing artists and producing, especially solo artists and Indie bands. Mohler also plays guitar and keyboards – and drums. In fact, when he’s working with a solo artist he often plays all the instruments on the album. These days, he works in his own studio in the Los Angeles area and harnesses the power of the Dangerous Music D-Box for analog summing and monitoring. At the 2012 Grammy(r) Awards one of the recent albums Mohler has songwriting credit on was nominated for “Best Latin Pop Album,” Nuestra by Gustavo Galindo.

Mohler says, “I’ve been using the D-Box for about 3 months, and it’s incredible, I love it. I work mainly in-the-box, so it’s nice to have for bouncing out mixes or songwriting sessions. Everything sounds wider, a little more transparent, more punch. It kind of bridges the gap for me,” he explains. “You can drive it hard so you can give it a nice analog crunch. It adds that next level of glue that I wasn’t getting from my in-the-box mixes. Mixes have a clear separation between the instruments and being able to sum the bass on it’s own output, I notice a smooth consistent bass response that I wasn’t getting from my in-the-box mixes. There’s just more definition in each instrument, more character and punch.”

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Back in the Day: Silicon Valley & Music

As told to Linda Jacobson (

LJ: Paul, what were you doing in 1984 — the year before you became a founding staff member of Opcode Systems? How would you describe the “work lifestyle,” routine, and group dynamic behind-the-scenes in your world then? Was the SF Bay Area audio industry back then influenced more by the cultures of the computer industry and Silicon Valley, music industry, San Francisco scene, and/or film industry and Hollywood?

PdB: In 1982 I had purchased a Rhodes Chroma synth and in 1983 created one of the first computer-based electronic music “home” studios in the San Francisco Bay Area around that instrument. I had added the Apple II computer and the sequencing and editing software from Fender along with the SIMPLE System synchronizer for video and audio and the requisite mixers, mics, speakers, 2-channel and multitrack tape decks. I was composing music for film and television and through my friend Doug McKechnie’s connection at Lucas Film I even had a chance to write a demo cue for the final Ewok scene in the latest Star Wars: Return of the Jedi movie, apparently Lucas wanted to hear some other ideas than what John Williams had come up with. Three of us in the San Francisco Synthesizer Ensemble got to write a sketch for the cue. It was exciting to see part of the movie before it came out.

The Rhodes Chroma and Chroma Polaris

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Dangerous Music Rocks The Grammys

Dangerous Music is extending congratulations to several of their users who have Grammy(r) nominated projects for 2011. All the clients have great praise for the Dangerous Music gear they used in their productions, from the Foo Fighters, with mastering engineers Emily Lazar and Joe LaPorta, the Kings of Leon with co-producer and engineer Jacquire King, Glenn Schick mastering for Canton Jones, and Nashville’s producer and engineer John Schirmer for Keb Mo, to the engineers and producers at New York’s Stadium Red studios who turned out a host of nominations for projects from artists J. Cole, Chris Brown, Marsha Ambrosius, and classical composer Steven Mackey.

Rock royalty Foo Fighters and platinum favorites Kings of Leon share Rock Grammy accolades with Best Rock Album nominations, while the album and songs from the Foo Fighters “Wasted Light” also have nominations for Album of the Year, Best Rock Performance, Best Hard Rock/Metal Performance, Best Rock Song and Best Long Form Music Video. The Foo Fighters album, (produced by Butch Vig who’s up for Producer Of The Year, Non-Classical), was mastered by Emily Lazar and Joe LaPorta at The Lodge Mastering in NY, using Dangerous Music equipment. While the Kings of Leon release “Come Around Sundown” was co-produced and mixed by Jacquire King using Dangerous Music gear extensively throughout the production process.

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Adam Young of “Owl City”

Adam Young of “Owl City” Mixes on Focal Monitors

New chart-topping artist chooses Focal Twin6 Be monitors on breakout album ‘Ocean Eyes’

Adam Young of "Owl City"

Adam Young of "Owl City" with Focal Twin 6

With a growing fan-base and a world tour that continues throughout 2010, Adam Young, the creative force behind the band “Owl City,” is taking off. His first independent release in 2008, ‘Maybe I’m Dreaming,’ received much praise and made Young into a phenomenon, with over 16 million profile views and over 80 million plays on MySpace, all stemming from posting a few songs from the year before.

That’s led to Owl City’s newest CD – ‘Ocean Eyes’ – released in 2009 by Universal Republic Records. The album has sold over 1 million copies in the U.S. alone, while the first single “Fireflies” hit #1 in 23 countries. During the making of the ‘Ocean Eyes’ album Young discovered Focal Twin6 Be monitors, then got himself a pair. “I absolutely love the Focals. I had mixed with other brands over the years, but it was always a bit deceiving. Other monitors seemed somewhat overly polished, bass heavy and even ‘clubby.’ The Focal Twin 6s are so transparent, but still easy to listen to and work with: they really help my mixes translate to anything I play them back on,” states Young.

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Mix Engineer Jeff Juliano

Mixer Jeff Juliano Chooses FOCAL Monitors

Twin 6 Be Powered Monitors with Sub6 are now his Main Measure of a Mix

Jeff Juliano

Mix engineer Jeff Juliano and Focal Twin 6

Mixer Jeff Juliano has used a lot of different speakers, and in the past 10 years he’s relied on the supposed ‘industry standard’ Yamaha NS10. But no more. Juliano recently tried the Focal Twin 6 Be powered monitors at his Delaware mixing studio and has now made them his number one choice. Having mixed a host of platinum-selling albums for artists such as Jason Mraz, Josh Kelly and Lifehouse, as well as John Mayer, who won a 2003 Grammy for his album “Room for Squares” which he mixed, Juliano has a great ear for sound, but was ready for the change.

“I’ve been going through so many speakers in my time mixing, I was an NS10 guy for so many years, and started to believe that was the only speaker in the world that mattered. The Focal Twin 6 Be monitors are the best that I’ve used in terms of studio-to-consumer listening translation for car stereos, clock radios — iPod ear buds, you name it. They really translate: what I hear in the studio is what the outside world hears, in my experience. When I go to the car and check a mix, it’s what I hear in the studio. That’s the end-all, that’s what matters,” stated Juliano.

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TV Audio Engineer Chris Prinzivalli

Engineer Chris Prinzivalli on the Focal Twin6 BE Monitors for TV Production

Chris Prinzivalli

Engineer Chris Prinzivalli with Focal Twin 6Engineer Chris Prinzivalli on the Focal Twin6 BE Monitors for TV Production

These days engineer Chris Prinzivalli and his Focal Twin6 BE monitors go everywhere together. His specialty is live music recording and mixing, and he is working on a lot of music for TV. He has mixed live music projects for TV with artists such as Cyndi Lauper, Julio Iglesias, Huey Lewis & The News and many others. When at Kaufman Astoria Studios to mix the Sesame Street Workshop music, he brings in his Twin6 monitors.  Prinzivalli honed his live mixing and recording techniques from behind the desk at countless shows, festivals and television specials. Along the way he has worked with Record Plant Remote, MTV Networks and ABC Television. These days, when he gets the call to record and mix in a TV studio or remote truck, he brings along his Focal Twin6 monitors. A sound he can trust.

A friend of Prinzivalli’s and distributor for Focal Professional who always offers him new gear to try out, told him about the Twin6 BE monitors, he got to try them and liked what he heard. Remembering the first time he tried the monitors Prinzavali said, “My friend always calls me up and says ‘Hey I just got a new piece of gear, I want you to check it out, I want your opinion.’ Focal had released a new series of monitor, so I grabbed the Twin6s from him and they were absolutely fabulous. They sound great and they look great.”

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Engineer Ian Boxill

Engineer Ian Boxill Mixes an Urban Sound with FOCAL Monitors

Focal Solo 6 Be Monitors are Key to Mixing in his Personal Studio

Ian Boxill

Engineer Ian Boxill with Focal Solo 6

Engineer Ian Boxill recently installed Focal Solo 6 Be monitors in his personal studio, and has begun mixing a top-secret project. With the past three Prince albums behind him, and a 2008 Grammy for “Best Male Vocal” on the Prince penned song Future Baby Mama, Boxill is primed for new and great things. Deciding to upgrade his studio with new monitors, Boxill chose Focal and is loving the sound, “Focal speakers have the rare quality of being very musical sounding, while maintaining clarity and detail. Not a very easy feat to pull off. While listening to my favorite recordings on a pair of Focal Solo 6 Be’s I heard instruments and parts that I had not heard before. Wow. Well done Focal, well done.”

Known for his deft touch with powerful R&B and Urban vocal artists such as Tupac Shakur, Janet Jackson, P. Diddy, Aaron Neville, K Ci, Jo Jo, Christina Milian, and Prince, among many others, over the past 15 years Boxill has divided his time between working in his personal studio and studios that artists choose. Now with his own personal studio upgraded with Focal monitors he’s embarked on a mixing project that will be revealed in early 2009.

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Producer Nathan Chapman

Producer Nathan Chapman Chooses Focal Monitors for Taylor Swift’s Chart-Topping Release

Focal Solo6 Be powered monitors used in producers’ studio for all his production work: “I love these monitors,” says Chapman, “the Solo6’s are perfection.”


Producer Chapman Nathan

Nashville Producer Nathan Chapman is on a roll with his country music productions, scoring a hit again with Taylor Swift’s latest album “Speak Now” – and continuing to use his Focal Solo6 Be powered monitors in the studio, “I used the Solo6’s on the Taylor Swift album, I love these monitors,” Chapman says. The Grammy-winning producer’s credits also include Jewel, The Band Perry, and Laura Bell Bundy, among many others.

“The first time I heard the Focal Solo6 studio monitors I was beyond impressed,” explains Chapman. “They were true and accurate and at the same time didn’t sound ‘boring’ like other monitors I have used. Hearing what is actually going on inside a mix or recording session is just as important as any other part of making a record. Focal monitors are my top choice. For my small home studio, the Solo6’s are perfection. And FYI, I didn’t get them for free or at a discount. I bought these monitors because I loved them.”

Chapman co-produced Swift’s latest album “Speak Now” which sold over 1 million copies in its first week of release, the album garnered the number 1 slot on the Billboard 200 album charts as of December 22, 2010. Chapman also produced Taylor Swift’s “Fearless” album, which became the biggest selling album of 2009 with over 3 million copies sold. Earlier this year the country music industry declared Swift’s album “Fearless” the most awarded album in the history of country music, as the only album to win the Grammy for ‘Album of The Year’ and ‘Country Album of the Year’ from the Grammys, the Country Music Association, the Academy of Country Music and the American Music Awards.

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