Blue Microphones, has hired in industry veteran Dino Virella as Director of Global Sales – Professional Products.

“With our expansion into the live market segment and some exciting things coming on the studio side, the timing for bringing in Dino couldn’t be better,” said John Maier, CEO of Blue Microphones. “His energy
and experience will help us deepen our key relationships as well as help in building new ones.”

Virella comes to Blue having served in key sales and marketing roles at a number of prominent professional audio companies such as Digidesign, Focusrite, Harman International (AKG), and Emu Systems. An excellent presenter and motivator, Virella brings his award-winning multi-lingual sales and marketing expertise to Blue and will be responsible for reseller channel development and management and
building a focused sales team as Blue expands into new professional markets.

“I’ve enjoyed a great relationship with Blue Microphones over many years,” said Virella. “Now that I’m officially a team member, I’m looking forward to working with the creative minds at Blue to increase their worldwide presence. Their outstanding reputation for innovation and sound quality has no equal.”

About Blue Microphones
Headquartered in Westlake Village, California Blue Microphones is commonly referenced as “the
microphone company of today” because of their unique philosophy— to meld the lessons of the past
with the technology of today, leading to continuous innovation in the field of audio recording. In short,
Blue does not imitate the past— they improve upon it. Blue has an award-winning line of microphones
and accessories and is recognized as one of the top brands in the industry. Recently, Blue launched a
new line of products targeted at the consumer mass market, including Mikey, a recording device made
for the iPod, and Eyeball, the world’s first HD audio/video webcam.

The new RØDE M1 is built for late nights, crowded stages and long tours. With a rock solid die-cast body and sturdy dynamic capsule it can take all the abuse you or your Roadie can throw at it, without showing signs of age or neglect.

“Vocalists will love the M1’s tactility, with a great balance of weight and ergonomics.”

The M1 even offers a lifetime warranty, although if you’re touring too hard, this might not be as long as you’d like…

This guarantee is RØDE’s promise to offer consistent high-quality performance day after day, gig after gig—The M1 will be as ready to rock as you are.

“RØDE have so much confidence in the M1’s rock credentials that we are prepared to back it with a lifetime warranty” commented Damien Wilson, Sales & Marketing Director at RØDE Microphones. “So you can be sure that in choosing the RØDE M1 you are investing in a microphone that not only looks and sounds rock n roll, but will be a part of your kit for a long time to come.”

Key features:

•    Live dynamic vocal microphone
•    High output dynamic capsule
•    Gold plated XLR connectors
•    Internal pop-filter to reduce plosives
•    Feedback rejecting pick-up pattern
•    Heavy duty metal body
•    Low handling noise
•    Designed and manufactured in Australia
•    Lifetime warranty (online registration required)

Blue Microphones announce the latest additions to its award-winning line of products; the BottleRocket Stage One Solid-State Microphone System and the Bottle Rocket Stage Two Tube Microphone System.

The Stage One BottleRocket is a transformerless solid state microphone system with the clarity and detail you’ve come to expect from Blue. Fully compatible with the Bottle Caps, the same interchangeable capsule system used with Blue’s legendary Bottle mic, you can add an array of tonal characteristics and pickup patterns on the fly. It’s like having an entire mic cabinet in one mic! It comes with Blue’s versatile B8 capsule as well as a custom shockmount and wood storage box. The Stage One is every bit as versatile as its tube-based sibling, excelling on a wide variety of sound sources.

Stage One Features:
• Class A discrete solid-state amplifier circuit delivers superb detail
• Includes Blue’s versatile B8 capsule & shockmount
• Hand-tuned and tested
• Mic System — allows for different capsules to be swapped “on the fly” for extreme versatility

The Stage Two BottleRocket is a transformerless tube microphone with a warmth and character all its own. Like the Stage One, the Stage Two is also fully compatible with the Bottle Caps, adding incredible array of tonal choices to compliment its highly desired tube microphone warmth. Stage Two comes with Blue’s versatile B8 capsule as well as a custom shockmount, high-definition 5-conductor tube mic cable, Blue’s Powerstream power supply and an ATA-style flight case. Great for recording vocals, electric guitars, acoustic guitars, strings, drums, woodwinds, and more! You get impressive versatility and, of course, impeccable Blue quality.

Stage Two Features:
• Class A discrete amplifier circuit with hand-selected ECC88 vacuum tube delivers superb detail
• Includes Blue’s versatile B8 capsule & shockmount
• Hand-tuned and tested
• Mic System — allows for different capsules to be swapped “on the fly” for extreme versatility
• Includes custom flightcase, Powerstream power supply and high-definition tube mic cable

Pricing and availability
The BottleRockets will be available at Blue pro audio retailers on October 31, 2008 for $899 MSRP (Stage One) and $1999 MSRP (Stage Two).

In a press release from Sontronics, it claims to have had a groundbreaking year thanks to the release of the brand’s first handheld dynamic mic (the STC-80) and the soon-to-arrive European-made preamps (Chimera and Sonora).

If that was groundbreaking, wait til you get a load of this. Who’s your Daddy now?

It’s a mobile mounting system in the shape of the MATRIX-10 professional mic stand. Designed to support a weight of up to 6 kilograms, this light but sturdy stand with telescopic boom arm is made from brushed aluminium tubing and features a heavy-duty ABS clamp and quick-release adjustment clips.

The centre post extends from 1.12 to 1.70 metres and is internally damped to support heavy loads. The boom arm extends from 1.2 metres to an impressive 2.25 metres and is counterbalanced by a moveable cast-iron weight.

The Sontronics MATRIX-10 comes with a dolly cart that transforms it from a static stand into a mobile one. The dolly can be fitted to the tripod thanks to its simple adjusting clamps, and adds 10cm to the overall height of the stand. Each wheel has a foot-operated brake to provide optimum stability. When not in use, the wheels fold up to be stored in the rugged canvas bag.

The MATRIX10 is available now and will retail for an RRP of just GBP £149 (inc. VAT) or EUR €169 (ex. tax).

Matt Robertson has worked with the UK’s biggest producers, on films like Hot Fuzz and The Other Boleyn Girl, as well as producing the music for over 100 TV ads including campaigns for Mercedes, Pepsi, HP and Land Rover. With such a myriad of different musical projects, Matt demands the best gear and says of his sE purchases: “price v performance really is that good.”

Matt Robertson learned his production skills from one of the best in the business: Prodigy producer Neil McLellan. “We started a music production company and he basically taught me pretty much everything I know about recording and producing and makes amazing records,” says Matt.

The company they founded was bought by New York based The Lodge with whom Matt now produces, arranges and orchestrates music for film and TV including the aforementioned smash hit films and TV adverts. Part of Robertson’s philosophy is to make the best of his surroundings and gear when recording…

“I’m a firm believer in the fact that you can get good results out of less than ideal recording situations with a bit of knowledge and patience,” he says. “However, having the right tools on hand makes life very much easier. Packages like the sE4 mic pair and the sE Reflexion Filter definitely fall under the category of ‘making life easier’. They are good, solid products that perform very well.”

So how is Matt specifically using his sE gear? “I’m using the sE4s as instrument mics and also as close drum mics,” he says. “They are great on snare drums. I’m also using them a lot on acoustic guitar and was using them as a cross pair somewhere in between room mics and close mics on things like piano and glock and when re-amping stuff. With the sE4s I really like the whole package: stereo bar, shock mounts and all. It’s good quality hardware.”

“I have been using the Reflexion Filter for vocals in less than ideal recording environments,” he continues, “where it really does help a great deal in getting rid of bad room sounds. It has made it possible to do credible vocal work in very much less than ideal rooms and is a good workaround for many situations.”

Finally one of the other sE items that Matt is a fan of is one of the company’s simplest: a mic stand! “Yes, but good mic stands are very hard to come by,” he laughs, “and is a very welcome addition to my recording gear!”

Over all Matt simply judges the sE range on its quality and astonishing price…

“The last studio I was in,” he recalls, “the studio owner refused to believe that any good mics could be that cheap, but I proved him wrong. Price v performance really is that good.”

Matt is currently finishing an album with Kelly Malone, recording with composer Michael Price for the film Wild Child, and working on a project with producer Damian Taylor for the artist Atarah Valentine.

Matt’s top recording tip

“I love recording the sounds of instruments in real places. I think the sense of space around recordings is very important in setting up a mood and a sense of integration between instruments. Obviously this depends a lot on the kinds of projects that you are working on, but if at all possible I like to be able to record in a good sounding room where you are more likely to want to keep the room sounds than try and turn them off!”

A little tip for anyone who’s been saving their pennies for a Neumann U67. You might want to try a Gemini, from SE Electronics.

When producer Rob Aubrey needed to service his trusted Neumann U67, he discovered a worthy sE replacement for only marginally more than the U67’s service charge!

“My first purchase was the sE Gemini,” he says. “I then heard great reports about the ICIS and Z5600, so those were next on my shopping list along with the Reflexion Filter, mic stand and a stereo pair of SE3s.”

“With the Gemini I needed a large diaphragm mic to replace my trusted Neumann U67, which was in desperate need of a service. I was so happy with it that I sold the U67 after it came back from the service. That service cost me nearly as much as the Gemini itself! It is a superb replacement for the U67 and on both ICON albums I used it to record John Wetton’s lush vocal arrangements with ease.”

“I have also had a few occasions when only the biggest mic will do – the ‘ego’ of the vocalist requires something of equal magnitude. And I’m happy to say that the Gemini delivers on all counts!”

There are mixed feelings about Marshall Electonics‘ latest release, the MXL USB.008-24.

A 24 Bit/96Khz, HDTV Broadcast quality USB microphone; Marshall have come up with something which is pretty much ‘The Works’ on paper. Podcasters and home recordists alike now have an all-in-one solution for all their needs.

Of course, the pro’s are all over it, wondering whether Marshall Electronics has sacraficed quality for features. Only time will tell. If it delivers what ME says it will, though, then you’re looking at the first of a new wave of plug ‘n’ play solutions.

The MXL USB .008 24 features  32 mm pressure gradient condenser capsule with a gold sputtered diaphragm,  24-bit A/D and D/A converters, 96 kHz recording capability and a dynamic range of 114 dB.  A low nose analog front end, with front panel gain control, keeps signal at the correct levels before the A/D section. With a 1/8th-inch stereo headphone jack and adjustable level control the mic provides a convenient means to monitor a recording—with zero latency, while bypassing the computer entirely. The MXL USB.008-24 also has a mix control for adjusting the balance between playback and the direct source signal—providing a fully self-contained monitoring solution for multitrack recording. A attractive blue LED behind the grill illuminates the large capsule while providing visual confirmation that the microphone is powered and active.

A new range of day courses, founded by Sound On Sound contributor Mike Senior, has been launched by Cambridge Music Technology.

Mike is the author of SOS cover features including Recording Guitars  , and the Piano Recording piece in Sound On Sound’s January 2008 issue. He will give live demonstrations of audio equipment and techniques so that atendees can compare different studio gear and recording approaches first-hand.

The courses cover topics such as vocal production, electric guitar recording, drum miking, piano recording, and mixing, with special emphasis on exploring the techniques employed by top-name producers.

Vocal

In the vocal production course, for example, participants will be able to take part in a shootout of mics costing between £80 and £2000, allowing them to make their own mind up about what yields the best results and value for money.

Mike has also recently appeared as a guest lecturer at London’s School of Audio Engineering (SAE), where he gave a talk to students about mixing on a budget.

Put your money where his mouth is!

The courses, delivered by Mike and his hand-picked team, cost £145
per person, and run from 10am to 4pm, with time for Q&A. They take
place on Saturdays in selected locations around Cambridge.

Course Dates:

Recording Electric Guitars: Compare the recording techniques of the
world’s top producers first-hand, and learn how to apply the same
principles in your own studio. Saturday 8th March 2008

Maximum Drums, Minimum Mics: Lots of famous producers can get a great
drum sound without using masses of mics. Find out how they do this,
and how you can make these tactics work for you. Saturday 15th March
2008

Mixing Secrets For The Small Studio: Over the years, professional
producers have worked out how to make consistently high-quality mixes
even when the gear and acoustics are far from perfect. Discover the
benefits of these skills for yourself and learn how to remedy the
mixing errors most commonly made by less experienced engineers.
Saturday 29th March 2008

Recording Pianos: Compare the wide variety of different mic
techniques for recording grand and upright pianos, so that you know
when to use them and how to get the best out of them. Saturday 5th
April 2008

Vocal Production: Learn how to make vocal performances shine in this
series of live recording, editing, and mixing demonstrations. Plus,
take part in a shootout of vocal mics of varying budgets. Saturday
12th April 2008

AKG announced the new D 4 stage microphone at Winter NAMM 2008, which is pimped for live performance. The company has developed the mic for intended use with drums, percussion instruments, wind instruments and guitar amps.

Featuring AKG’s patented Laminate Varimotion diaphragm technology, the D 4’s response is fine-tuned without extra tuning resonators. With custom-built capsule mounting, a spring steel wire-mesh grill and a heavy all-metal body, the D 4 is a durable and reliable microphone solution for the active demands of live musicians.

The D 4 stage microphone was designed with the live musician in mind,” explained Thomas Umbauer, Product Manager, AKG Acoustics. “The capsule is positioned right under the wire-mesh grill for an “up-close sound” and high sound pressure levels while the rugged all-metal body provides the necessary durability required of professional equipment.”