Rock legends Metallica have raised over $1.3 million for a variety of charities through their Helping Hands streaming party, which is available to livestream until December 1.

Access to the 2020 Metallica Helping Hands streaming party, which benefits the band’s All Within My Hands Foundation, has been extended due to popular demand, with 100 per cent of proceeds from this year’s event going to numerous causes, including Feeding America and several charities assisting those in the events and entertainment industry who have seen their livelihoods severely impacted by the COVID-19 pandemic. 

All Within My Hands is a non-profit foundation established in 2017. So far this year, it  has donated $645,000 to COVID-19 related relief funds and $350,000 to aid those affected by the West Coast wildfires. Furthermore, the foundation’s Metallica Scholars Initiative is now in its second year, supported by a $1.5 million grant benefiting 15 community colleges across the country.

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There are three different ticket packages available for the concert, which can be purchased up until 11.59pm PST, December 1 at https://nugs.tv/assets/nugstv/metallica.html

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DPA Soundco of Denmark installed a Coda Audio PA in Copenhagen’s new Royal Arena, which opened earlier this year with a concert by heavy metal legends Metallica.

Ten days after this opening gig on 7 February, the first Danish acts to play at the venue DizzyMizzLizzy and D-A-D performed to 16,000 fans at a sellout show that received rave reviews not only for the quality of the musicianship on show but also the audio.

The system comprised 60 x AiRAY, 42 x ViRAY and 24 x LA12 boxes, while 6 x SCV and 28 x SCP subs were used with 16 x SC-3 bass extension boxes.

Driven by 56 x Coda Linus10 DSP amplifiers, the system attracted a huge amount of positive attention from concert reviewers, while the bands’ respective front of house engineers were equally impressed as was DPA system tech, Ulrik ‘Thunder’ Rasmussen.

"The engineers for both bands were blown away by the PA and said its output was unbelievable,” said Rasmussen. “The Coda gear really is extremely powerful for its size and delivers very high resolution and fantastic projection. The sound is really ‘in your face’ but the clarity is still exceptional and the low-end is warm, tight and distortion free.

“The fact that Coda systems are all seamlessly compatible meant that we were able to get exactly what we wanted for optimum coverage in the arena without any problems. The AiRAY boxes in particular are just so light and easy to handle yet still pack an amazing punch.”

www.codaaudio.com

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Metallica’s summer-long WorldWired Tour is currently rolling through the largest stadiums and festival sites in North America with a massive Meyer Sound LEO Family reinforcement system.

The system, which was supplied by VER Tour Sound, incorporates for the first time anywhere the company’s new VLFC (very low frequency control) element.

FOH engineer "Big Mick" Hughes, who has been at the helm of Metallica’s sound for 33 years of the band’s 35-year history, has listed the LEO systems as his first rider preference over the past five years of intermittent tours and one-off events.

"I just love the clarity of LEO," said Hughes. "It’s a very powerful box that produces a fantastic guitar and vocal sound. Also, having a two-way system, with the crossover point down where it is, keeps everything smooth and sweet in the mid-highs. You can pick the volume you want and it doesn’t change tonally, unlike some other PA’s where you have to hold it in a certain sweet spot. It’s the easiest PA in the world to turn down when you have to."

Making its global concert debut on the WorldWired tour is Meyer Sound’s new VLFC (very low frequency control) element, which reproduces only a single octave – the one that spans the lower threshold of hearing from 32Hz down to 14Hz. The tour features two colossal end-fire arrays each made up of 21 VLFC cabinets: “We use the VLFC’s as a special effect to create a realistic experience of an explosion, one that you feel in your chest more than you hear with your ears," Hughes explained.

An even larger assembly of 85 1100-LFC low-frequency control units, operating from 28Hz to 90Hz, handles the audible portion of the show’s deep bass. These are variously deployed as flown arrays, end-fire arrays beside the stage, and at the delay towers. The balance of the system, in the standard stadium configuration, is anchored by four main hangs of 18-each LEO line array loudspeakers.

Covering the far end of the bowl are three delay towers, each carrying arrays of eight LYON-M main loudspeakers over eight LYON-W wide coverage loudspeakers. Twenty LEOPARD loudspeakers are spaced across the stage as front fills, with an additional 12 LEOPARD on the ground at the delay towers. A contingent of UPQ-1P loudspeakers is utilised as needed for miscellaneous fill.

The WorldWired Tour also boasts by far the most extensive implementation to date of Meyer Sound’s Galileo GALAXY networked platform. A total of 14 GALAXY frames and ten Extreme Networks Summit X440 series switches are interlinked via a redundant fibre optic network using the IEEE-developed AVB protocol. The three GALAXY 816 frames at FOH serve as the hub, broadcasting streams to the GALAXY frames positioned near the main left and right arrays and at the three delay positions. All activity at FOH revolves around Big Mick’s favoured Midas XL-8 console.

The summer stadium leg of the WorldWired Tour – during which Metallica are playing some venues of more than 50,000 – kicked off at M&T Bank Stadium in Baltimore on 10 May and wraps up at Commonwealth Stadium in Edmonton, Alberta on 16 August.

https://meyersound.com/

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Mastering engineer Dave Kutch is celebrating the tenth anniversary of his Mastering Palace studio in 2017.

Kutch has mastered some of the biggest records of the past year, and has over the past decade earned the trust of artists such as Beyonce, Chance The Rapper, Justin Timberlake and Alicia Keys.

A Bronx native, Kutch began his career in 1992 at 19, assisting Tiki Recording Studios’ owner/engineer, Fred Guarino on a Debbie Gibson album being produced by the legendary Phil Ramone. That led to an assistant engineering slot with the late Hit Factory owner Eddie Germano, and to an opportunity to work with some of the best producers, tracking and mixing engineers of that era. An early collaboration with Alicia Keys led Kutch to brokering a deal for her to buy Tiki Studios, and provided him with the seed money needed to gear up a studio of his own.

“I’d been busy long before opening the doors of my own studio,” he says. “It felt like only months ago that I discovered a decommissioned firehouse a few blocks from Harlem’s Apollo Theater and turned it into a mastering studio. But it was 2007!” 

Today, the Mastering Palace features two custom mastering studios, piloted by Kutch and his talented cohorts Tatsuya Sato (A Tribe Called Quest), Mark Santangelo (Metallica) and assistant engineer Kevin Peterson.

The recent Grammy Awards provides a telling illustration of the span of Kutch’s client base. “We mastered 14 2017 Grammy nominees,” he reports. “Beyonce’s Lemonade was up for nine, including Record of The Year, and Album of The Year, and won two. Coloring Book, Chance The Rapper’s debut won for Best New Artist, Best Rap Performance and Best Rap Album.”

Biding his time as he searched for an appropriate site, Kutch began gathering gear for his own studio. In 2005 he left Masterdisk and signed on with Sony Studios. In 2007, when that studio was sold to condo developers, Kutch purchased all the gear he’d been using in his Sony Suite. In a flash of perfect timing, Alicia Keys, her then producer/partner Kerry Brothers and engineer/studio owner Ann Mincieli asked him to master Keys’ As I Am album in her Oven Studio – the same room where he began his career as an intern 15 years earlier.

Setting up on Long Island provided Kutch with a temporary home for his gear and enabled the Keys team to quickly provide custom mastered remixes of her hit No. 1 single on request for radio play. “They’d finish mixing a cut at noon, I’d master the song at 1pm, and it would be on the air at 2pm,” he recalls. “It worked so well I mastered Alicia’s next album the same way.”

The process inspired Kutch to design a ‘Private Mastering Service’ for other artists who prefer to master in their own studios. “I can have the entire studio ready to begin work anywhere in the world in two days time,” he says. “It provides artists with the comfort, and security of their personal listening environment. In fact, I mastered Beyonce’s Lemonade album this way.”

Above: Dave Kutch

By 2007 when he was ready to settle into his new Harlem digs, word was out on Kutch’s skills and service. “The vibe was right at The Mastering Palace,” he says. “Artists and record labels got what we were doing. They heard it! I was amazed when I took a step back and realised this is my tenth anniversary.”

To help grow his business, Kutch reached out to accomplished mastering engineer Tatsuya Sato. “Tats had worked on some incredible projects as a recording engineer including Michael Jackson’s Invincible and The Miseducation of Lauryn Hill, Kutch says. “He’d also been Grammy nominated for Kanye West’s The College Dropout. We have a simpatico work ethic and mastering philosophy. We added a dedicated studio for Tats in 2015.”

Mastering engineer Mark Santangelo rounds out the engineering team with his extensive rock background and credits that include Slipknot and Metallica.

Assistant engineer Kevin Peterson began working with Kutch in 2012, and quickly became a crucial team member by building mastering credits like Tinashe’s Nightride.

“Over the past ten years we’ve cultivated an exceptionally talented team at The Mastering Palace,” Kutch concludes, "[and] clients pick up on it immediately. Artists know their music and their messages will sound exactly the way they envisioned them and with five winning Grammy nominations this year, it looks like the rest of the industry agrees."

http://www.themasteringpalace.com

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Firehouse Productions recently provided the fifth annual Global Citizen Festival (GCF) in New York City’s Central Park with an L-Acoustics K1/K2 PA system for its stage on the Great Lawn, where 60,000 concert-goers were in attendance.

Broadcast live on MSNBC in late-September, the event featured headliners Rihanna, Kendrick Lamar, Ellie Goulding, Metallica, Demi Lovato, Major Lazer and many others sharing their voices and music to help reduce world hunger, poverty and other pandemic social issues.

Visitors also got to see guest appearances by Usher, Pearl Jam’s Eddie Vedder, Yandel, Yusuf/Cat Stevens and Coldplay’s Chris Martin, creative director and curator of the festival, which is organised by the Global Poverty Project.

According to Firehouse system tech Jamie Pollock, “I had not done this show in previous years, and it already had a format, so when I got involved I tried not to shuffle things up too much. However, I knew that I wanted to use L-Acoustics products to take advantage of their long throw benefits and overall consistency that they can deliver for such a large-scale event.

“The main hang was 14 K1 with four K1-SBs above, on each side. We had 24 of the new KS28 subs set up as a line in the centre and an additional 16 SB28s used for the sides, plus 12 KARA in three stacks of four as front fill in the centre. The delays were all K2; we had two lines of delays that were 12 boxes per hang for a total of 48 K2s.”

The production was both demanding and challenging, as Pollock explains. “We were limited to where we could put things on the Great Lawn and had to work within those guidelines," he said. "The PA was carefully calculated in Soundvision before installation, and when performing the system tuning onsite, I found my measurements translated nicely to what had been predicted. The system tools in LA Network Manager are invaluable and offer a resolution that helped me deliver very even homogenous coverage.

"One of the biggest challenges that I faced was that the front-of-house position had to be set way off-axis due to the sensitivity of putting things on the lawn. This position was not ideal, but with the help of additional stacks of SB28s set wider we were able to specifically focus more energy to this area and help the engineers translate their mixes better.”

The set design, which accommodated both the needs of the television broadcast as well as the positioning of massive IMAG video screens on either side of the stage for the audience, was both a help and a hindrance.

“The main hangs had to be spaced very wide apart because of the set, which resulted in a small hole in coverage in the center of the audience," explained Pollock. "There was also a large amount of space between the downstage edge and barricade line for an access road and TV elements. This space helped me in achieving optimum placement for the Kara stacks to fill the center area, and also allowed me to keep the main PA flatter to achieve a more constant SPL throughout the array.”

http://www.l-acoustics.com/

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Metallica’s live sound engineer, ‘Big’ Mick Hughes, is to lead a seminar at Glyndwr University in Wales, discussing his 30-year career on the road with the American metal band.

Hughes, who has worked for the group since 1984, will host a ‘Mixing Metallica’ talk at the Wrexham institution’s Nick Whitehead Theatre from 1pm to 4pm on Friday 4 December, followed by a live Q&A with the audience.

The free-to-attend event will see him discuss his career and long-running affiliation with Metallica, as well as his innovative approach to mixing, gained from decades spent working front-of-house at more than 1,500 of the band’s shows.

The seminar is part of Meyer Sound’s Education series and has been brought to Wrexham with the help of Glyndwr graduate John Owen Jones.

Jones, who studied studio recording and performance technology, now runs a live production rental company and has established a close relationship with the loudspeaker manufacturer.

“Big Mick Hughes is a world renowned figure in the audio engineering industry and we’re very lucky to be able to welcome him here to Wrexham,” Jones said. “He brings with him a huge amount of knowledge and expertise from his work with Metallica through to his experience of mixing Led Zeppelin’s 2007 reunion concert in London.”

Other bands and artists Hughes has worked with include UB40, Queens of the Stone Age and Def Leppard.

The Wrexham seminar is part of a three-stop tour for Hughes, following similar sessions in Oxford and Liverpool on the same week.

“The event will be particularly useful for students and audio engineering professionals,” added Jones. “But anyone with an interest in hearing about Mick’s career is welcome to attend.”

To register for the event, click here.

http://www.glyndwr.ac.uk

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Harman Professional Solutions supplied tour sound provider Gabisom Audio Equipment with JBL VTX line arrays and Crown I-Tech HD amplifiers for the recent 2015 Rock in Rio festival in Brazil.

For 30 years, Rock in Rio has hosted live sets from many of the world’s top musical artists – originating in South America before later branching out into Portugal (Lisbon), Spain (Madrid) and the US (Las Vegas) – with Gabisom a long-standing provider of audio systems for Rock in Rio festivals across the globe.

Attracting more than a half-million people to the site in total over two weekends, Rock in Rio celebrated its 30th anniversary this year at the City of Rock, a specially built venue on the site where the Olympic Village will be located for the 2016 Summer Olympics.

As it has in years past, Rock in Rio featured performances by some of the biggest names in music, including Rihanna, Elton John, Metallica, Rod Stewart, Katy Perry, John Legend, Sam Smith, Queen + Adam Lambert and System of a Down.

“World-class sound quality and consistent performance are of the utmost importance at an event on as grand a scale as Rock in Rio,” said Peter Racy, Gabisom’s chief engineer. “Also, the integration between VTX and I-Tech HD enables us to easily manage the system, which would otherwise be a difficult task for an event featuring so many different acts.

"Our VTX and I-Tech HD system has served us extremely well over the past few years on a wide variety of events, but especially at recent Rock in Rio festivals. The Harman system once again came through for us in a big way and helped make this year’s Rock in Rio another rousing success.”

Photo credit: IHateFlash.net

http://www.jblpro.com

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The next generation of Radial Engineering’s JDV technology, the JDV Mk5, is now shipping.

The JDV Mk5 is a 100% discrete class-A active direct box designed to retain the zero-negative feedback topology of the original model, yet add an array of new features.

"The origins of the JDV can be traced back to the 1980s when Vancouver was a hot spot for some of the most commercially successful recordings of all time including works by artists Bryan Adams, AC/DC, Metallica, Elton John, Aerosmith, Loverboy and Bon Jovi," explained Radial president Peter Janis. "It was also home to Bruce Fairbairn and Bob Rock. Little Mountain Studios was the epicentre."

"Behind the scenes was studio designer and technical whiz John Vrtacic. John was the guy that designed the monitors, modified and rebuilt the consoles and created some of the unique tools that set Little Mountain Studios apart. Artists would often talk about the amazing bass sound that John’s custom-made direct box produced. What John had discovered was a way to buffer the signal without the use of negative feedback. I remember being in John’s home laboratory as we were testing various direct boxes. He put up a square wave and showed me how others had overshoot and ringing while his design was exceptionally accurate."

"Soon after we launched the Radial JDI passive direct box, and I asked John’s assistant Ron ‘Obvious’ Vermeulen to compare various direct boxes to prove that the JDI was best. During these tests, unbeknownst to me, Ron also tested John’s custom made unit. He called me up and told me that John’s box was so much better than the other active ones on the market that I should approach John to see if he would sell me the design. He did and the first generation JDV (V for Vrtacic) was born."

The new design begins with two inputs – each with a volume control signal presence and overload LEDs, plus a fully variable high-pass filter to tame excessive bottom end resonance. Selecting between the two inputs can be done using the front panel AB select or by adding an optional JR2 remote control. This also enables the user to mute the output to change instruments or quiet the system down between sets.

Although capable of handling any type of signal, the JDV Mk5 is primarily intended for use with bass and acoustic instruments.This means the two inputs have been optimised to handle any type of instrument, be it electric or acoustic with the intention of making it easy to switch between them without losing a step.

Input-A is equipped with Drag control load correction that enables the user to sweep the input range from 10 K-Ohms up to 1-megohms.This is of particular importance when using bass guitar as it enables the artist to replicate the ‘sound and feel’ as if connected directly to the bass amplifier. A side-access ‘mic select’ activates a dedicated balanced TRS mic input to allow the JDV to be used with instrument mounted condenser microphones. This ‘set and forget’ switch is complemented with 48V phantom power and a front panel LED indicator.

Input-B features a load selector switch that toggles between 200 K-Ohms for passive basses and 10-megohms for use with piezo transducers. Elevating the impedance on a piezo extends the frequency response and smooths out the transient response for a more natural sound. When combining the two channels, a side access ‘blend’ function turns both on at the same time, allowing the user to combine a magnetic pickup with a piezo or mix a microphone with a pickup.The built-in Phazer can be used to align the two audio sources to find the sweet spot, and deliver ‘what can only be described as the most natural sound ever from an electrified instrument,’ Radial says.

The rear panel is also packed with features: in addition to the two unbalanced instrument inputs and balanced mic input, a thru-put is provided to feed an on-stage amplifier. There is also a side-access switch that can introduce an isolation transformer into the signal path, should a ground loop be encountered. A dedicated tuner output has been included too, to provide the user with consistent visual feedback even when the JDV Mk5 is muted.

The balanced XLR output is equipped with a 180° polarity reverse to either phase align the PA system with the on stage amp or help eliminate acoustic hot spots on stage that could otherwise cause feedback. To reduce stage noise, a ground lift switch eliminates hum and buzz caused by ground loops while a transformer may be inserted into the XLR signal path to provide 100% isolation. When recording, the engineer can select between direct or transformer isolated outputs or elevate the output to a fully balanced professional +4dB line level to feed a recorder without having to pass the signal through an external preamp.

Janis concluded: "When artists plug into the JDV, they often comment how good it sounds. We tell them it is not the JDV that sounds so good, only that this is the first time you have ever heard your bass without distortion, artefact or constraint."

www.radialeng.com

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Mastering has become almost unrecognisable from how it was in the 1960s, but according to pro-audio veteran Vlado Meller, it’s "more important than ever." Here, he shares his views on this sector of the industry and the moves he made that took him to the top. 

When I began my career in the music business in 1969, things could not have been more different than they are today. I landed a job with a major label – CBS Records – which was an incredible opportunity for me to get introduced to the music business, especially for an immigrant looking for any job they can get. And, aside from great pay, my first role as a studio technician allowed me to witness firsthand the biggest artists of the period, such as Simon & Garfunkel, Johnny Cash, Barbra Streisand and countless others coming in and out of the studio.

After a year as a CBS Records studio technician, I wanted to get in to a more challenging job at the studio, so I jumped at the first opening the mastering department had, despite mixing being regarded as more glamorous. The job came with full salary and benefits, with complete training by seasoned CBS Records mastering engineers. That kind of opportunity just does not exist in today’s world.

Today it’s all on the Internet, and a lot of the instructions are shallow, flimsy and not created by mastering engineers. Even in today’s best music schools, mastering is only an afterthought in their curriculum. Since the labels and studios are now all separate entities, there are different producers and mixing engineers for each project, making it much harder for mastering engineers to compete in an industry that is so enormous and diverse. Today, experience and your discography are more important than ever. Additionally, home production has become much more prevalent, and the quality of those recordings can fall anywhere on the spectrum from tremendous to mediocre.

It’s crucial for mastering engineers to be completely objective and have a wealth of experience to rely on so the clients can go back and mix or record their songs differently, so they are ultimately happy.

Technically speaking, the changes between the 1960s and today have been enormous. The early days were all about razor blade editing and analogue. Two-track masters were delivered to mastering engineers and their job was to cut the best sounding vinyl for a client. The physical limitations of vinyl, tape, analogue EQs, processing and razor editing were very challenging.

Recording, mixing, editing and mastering are now mostly done digitally, and it’s opened a new world of creative possibilities for everyone involved. Given the way people consume their music these days, we now prepare the files for every different format: CD, iTunes, HD tracks, DVD surround, TV broadcast, etc. Depending on to whom the final files will be delivered, we master in high-res 96kHz/24-bit and even higher when required.

Consumers are now able to purchase and download full high-res albums – the way it was recorded, without the need for additional data compression like AAC or MP3, which wasn’t possible several years ago. With all of this, today’s mastering engineers face a constant and steep learning curve because of the always-evolving technologies being used and built upon.

How times have changed

Regardless of how up-to-date an engineer is on the latest technologies, there are some ways in which the industry today is unequivocally much easier to be involved in. For example, in the 1960s I never could’ve dreamed of working on records by the biggest artists of the day from somewhere like Charleston, South Carolina, where I now live and work.

The old studio system, in which the labels and studios were all intertwined in a central location, has completely gone out the window, and my partners and I realised several years ago that there was nothing keeping us attached to New York City or any other major metropolitan area for that matter. Everything is sent electronically, from demos to mixes to masters, so we could be set up literally anywhere (and frankly a whole lot of money has been saved by getting out of New York).

What I’m especially proud of in Charleston are the three-day workshops geared towards audio engineering professionals that I’ve been hosting for the last several years. There is absolutely nothing more valuable than first-person experience passed on from others, and after decades of successful experience in this industry, I’m more concerned about the next generation of mastering engineers, because this is something you can’t learn from a book – you need to have a kind of apprenticeship to develop your ear and learn about the techniques, hardware, software, plug-ins and approach to master whatever genre of music comes your way. No book, manual or YouTube video will teach you that. The workshops are small and personal with students from all over the world, and working with them has been one of the true highlights of my career.

Outside of all of the technical aspects we cover in my workshop, the best advice I could give to young mastering engineers is to take on any type of project, whether it’s classical or rock or pop or hip-hop, and take on as many as possible. After more than 40 years of this, I know that you will not get anywhere if you are afraid of tackling certain genres and sounds, and it’s why I’m proud to have ongoing experience working with everyone from Pink Floyd, Lil Wayne and Barbra Streisand to Metallica, Michael Jackson and Kanye West.

Mastering is more important than ever, because of the way the albums are recorded and mixed these days. Every artist wants the best possible sound for their album and they are the ultimate judge of mastering engineers’ work. I’m proud to say I’ve delivered exactly what they want, year after year – there is nothing better than to see a happy client coming back for more. Looking back on that early crossroads I faced decided between mixing and mastering, I couldn’t be happier with the path I took.

http://www.vladomastering.com

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PanGaia Studios, a new recording facility located in Stockholm, Sweden has held its official launch party.

The studio was designed to introduce an upscale unique environment for top talent and recording professionals worldwide.

In attendance at the party were Canadian record producer, engineer, and mixer Mike Fraser (AC/DC, Aerosmith, Metallica, Franz Ferdinand); platinum mixer, producer and engineer Eric Racy (Katy Perry, Pharrell Williams, Nicki Minaj, Drake) and Chris Tsangarides, Grammy-nominated producer best known for his work with metal acts including Judas Priest, Thin Lizzy, Gary Moore and Anvil.

The facility’s founder Geo Slam began his career as a professional session guitarist and producer for various studios in Sweden, and is now an accomplished international producer, songwriter, and member of multi-Grammy winning producer RedOne’s team. Geo Slam has written and produced hits for One Direction, Jason Derulo and more.

PanGaia’s staff have written, engineered and produced hits for Lady Gaga, Prince, Jason Derulo, One Direction, Jennifer Lopez, Backstreet Boys, Adrian Lux, Pitbull, Enrique Iglesias and Europe, to name but a few.

It features six "state-of-the-art" recording studios, a private conference room, pressroom and live streaming video system, as well as personal artist lounges, two kitchens and originative modern and parametric décor.

Located inside the Stockholm Hotel, PanGaia Studios is in close proximity to the city centre, airport, public transport, restaurants, shopping, banks and other amenities.

“We recognised a void. It’s not often that the studios we are working at have everything we need. Over the years, I have been in numerous studios all over the world, and I’ve taken notes on how to build the perfect studio," said Geo Slam. "Many of these places were constructed in the seventies, and they can’t necessarily be rebuilt.

"I wanted to do something from scratch that incorporated everything I felt was missing. We’ve got top-notch equipment, but we’ve also got the ultimate accommodations for artists and their respective teams to be comfortable.“

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