Dallas Baptist University – Horner Music Hall

Dallas Baptist University – Horner Music Hall

DBU Chooses EAR Professional Audio/Video for AVID Audio System Design, Integration and Equipment Supply

EAR Professional Audio/Video was selected for system design, Integration and equipment fulfillment for the newly constructed Horner Music Hall Recording Studio at Dallas Baptist University. The new complex was designed by Russ Berger Design Group.

This new all new facility features a first floor complex with a main surround control room, Production A and B control rooms, each fully integrated with studios and a central machine room. Each of the three independent control room environments feature AVID Audio Pro Tools HD systems with AVID ICON control surfaces including D-Control ES and C|24 models.

The Pro Tools file based workflow is designed for collaboration between each of the control rooms, depending on various project and curriculum objectives including film scoring, Foley, music recording, and music composition.

Audio for Film/Video Mix Room Processing Rack Processing and Patching Racks

John Gibson of EAR worked with DBU engineering staff to create and document the system integration and wiring interface for the Audio Recording Studio Level of the new complex. EAR also supplied the AVID Control Surfaces, as well as the vast array of signal processing, monitoring, and studio furniture needed to complete the facility.

Dallas Baptist University features an Avid Audio D-Command console. Ask about our special educational professional pricing programs or get a quick quote today.

For additional information on this project please contact John Gibson – john (at) ear.net 800-473-6914

Tempest Turns 30 – Mix Magazine

Mix Feature: Tempest Recording Celebrates 30 years

Our congrats go our to Clark Rigsby from Tempest Recording and 30 years of the finest in audio recordings! Having the pleasure of working with Clark and watching his many talents shine has been an honor. Mix Magazine agrees.

The recent December Mix issues features Clark noting some of his many Grammy award winning projects including Tower of Power, Steve Gadd, World Saxophone Quartet, Kim Wilson, James Moody, Jimmy Smith, N.Y. Philharmonic Principals, Joe Allessi and Phil Smith, Joey DeFrancesco, George Coleman and Glen Campbell, among others.

EAR first started working with Clark in the analog multitrack days of the early 1980’s. Like many professional engineers, he would stop by Fridays to pickup a case of 2 inch Ampex tape and a pack of razor blades for weekend projects.

Our many thanks to Clark for his great work. We wish him many more years to come of the finest in audio recordings.

Vintech – Class “A” Audio Processing

Vintech – Audio processing like no other.

EAR is proud to represent Vintech as their full line reseller. Vintech has a complete line of hardware products with that “sound”. Designed for the very best front end to digital and analog recording – Vintech manages the finest microphones and prerecorded sources with delicate care and confident control.

Vintech featured products (buy now or call for a quote):

Today EAR offers their products as stand alone items – or as a complete system including everything from mics to studio consoles and monitoring systems. Contact one of our product specialist today at 800-473-6914

For More about Vintech

Contact one of EAR product specialist to find the right product for your tracking or live recording. We have hundreds of specialty products and great people!

For complete details about the Vintech line and special (we pay your sales tax) professional pricing contact an EAR product specialist today 800-473-6914.

Early Non-Linear Editing – EAR History

The Early Days of File Based Editing And Workflow

Now before you reach for a Kleenex to wipe the tears from your eyes, I promise not to get too sentimental about how we started editing video with computers for the first time, 20 years ago.  The world was a very different place for video editors in 1993. Between Sony, Ampex and few other tape manufacturers – getting into the professional video business was a $1M dollar plus proposition.

Avid MSP circa 1993 click for enlarged view

Today it seems unimaginable to spend seven-figure money to set up a video editing shop – much less “wait” for even a simple edit to take shape with clients over our shoulder. But soft leather couches, patient production people working long hours and a good cappuccino machine made the process  manageable. It was early in the 1990s and we all thought the professional video world would always be this way, expensive and slow. Within a span of just 2-3 years it all changed dramatically.

Typical of dramatic changes in high technology products, some people adopted early. While the subjective quality of the new hard disk based editors left some hold-outs, many were quick to save money and benefit from the much quicker new “non-linear” editing workstations. It would be a few more years before hard disk based editing was “broadcast quality”.

In 1993 Avid Technologies, an already successful manufacturer of $100,000 editing systems announced the first “affordable” editing solution Media Suite Pro. Five years before Apple announced Final Cut Pro, Avid was on their way to drive down the entry level price point for video editing.

EAR was the first  Apple and Avid professional video reseller in the Southwest and the new “MSP” was a huge success. At only $30,000 it was a bargain! Professional Sony tape decks were $15,000-$25,000 alone. The new price point and “AVR25” resolution made it an instant hit with smaller production companies and schools. The workflow of the day still required your edited project to be finished back to tape (ie: “layback”). However, the cost savings of buying one tape deck compared to three decks more than paid for the cost of the computer and software.   (Media Suite Pro Specification sheet from 1994)

Early MSP Features (click to view)

The system was built on the Apple Quadra 900, an early robust Mac tower computer. Apple was still a renegade computer for right-brained people, but their superior graphics and creative feel made them the obvious platform of choice. EAR was also an Apple reseller – a perfect fit for our clients! Some may remember these days with fondness, others with frustration.

The early system were not without their temperamental crashes. Like most new technology, as long as the head aches  don’t out number the advantages – people grew with the improvements and stability over the years.

Today EAR is the largest professional video editing workstation provider in the Southwest. We now cover everything from lights and cameras to content distribution and automated filed based workflow products.

We’re proud to have had the opportunity be the first of our kind in so many ways over the past decades, while still blazing new technology trails today!

EAR’s nationally renowned award winning staff offers deep product knowledge and first rate integration, management and “after the sale” support for professional audio and video products and services. We help make your purchase the most effective investment possible. Put simply – we’re in business to keep you in business profitably, since 1978.

Neve Releases New Module Options for Mixer

AES NYC, Rupert Neve Announces Two New 5088 Modules

At this year’s AES conference in New York City, Rupert Neve Designs is announcing the release of the two new modules for the groundbreaking and multi-award winning 5088 console: The 5051 Inductor EQ / Compressor module and the 5088 Stereo Module.

The new Stereo Module for the 5088 uses the same high-voltage, transformer-coupled topology found throughout the 5088, and allows both twice the density, and considerable cost savings when compared with mono modules.  The Stereo Module is outfitted with a single 100mm fader, individual left/right pans, individual trims, 6 auxes and a stereo width control.  When Aux to Groups on Aux 5/6 is activated, the stereo channel signal can be routed with an independent mix level to any of the 8 groups.

The 5051 combines a classic three band EQ based on Rupert’s vintage designs with the power and flexibility of the Portico Series compressor.   Utilizing a discrete, class-A signal path and high performance input and output transformers, the 5051 delivers the performance and musicality expected from a Rupert Neve Design.

For additional details including special professional, educational or government pricing – contant an EAR product specialist today 800-473-6914 or on line.