We're
proud to announce that the June issue of EQ Magazine features an
article by Mr. Noxon covering the history and development of our
Quick Sound Field system.
Some comments from the world-famous veteran engineer
right as his latest Michael Jackson album, HIStory, hits the streets.
Originally published in October, 1995.
Here is the inside scoop on the making of HIStory.
Independent producer/engineer Bruce Swedien explains techniques
used in miking Michael Jackson and mixing the tracks.
A roundtable discussion on room acoustics, equalization,
and DSP-based room correction originally published in The Absolute
Sound, October/November, 2004.
ASC President and Founder Arthur Noxon takes a tongue-in-cheek
look at how modern recording engineers can no longer rely solely
on the FX rack to get their music to be completely full of acoustical
life. Originally published in Audio Media Magazine, October, 2003.
Bruce Swedien takes a two-week tour through Germany,
sharing his expertise and knowledge. Follow Bruce and his ASC Tube
Traps as they take Europe by storm.
"The most accurate monitors and amplifiers
will not give an accurate account of spectral balance, transient
content and soundstage imaging during mixdown—or tracking—if
the room itself is plagued with standing waves, flutter echoes and
multiple reflections off nearby racks of outboard gear."
These two AES
papers are about acoustic spaces for recording. TubeTraps led recording
engineers to discover that lots of very early reflections produce
a better, more manageable sound than the traditional, reflection-free,
dry studio recording. The first paper introduces the concept of
a sampling room, highly reflective with a fast RT60. The second
paper introduces the free standing QSF version of Haas Saturated
recording approaches the same subject from a generalized overview.
"After using our Attack Wall for about six
months, it’s really hard to go back to anything else. It really
feels good (a most important ingredient in a workplace), sounds
great, and can be easily moved or reconfigured on a moments notice.
Now I really miss it when working in most other studios."
Transcript of a seminar presented by Arthur Noxon
P.E., President of Acoustic Sciences Corporation, at the Surround
2001 International Conference and Technology Showcase, December
7-8, 2001, Beverly Hills, CA.
"Think of your room as an instrument you make
music in, with its own unique frequency response and sonic character.
Like any guitar, drum set or viola you record, your project studio
should be tuned-up and sounding sharp. Before buying your next microphone,
effects processor or tone module, you should consider whether your
room could use some acoustic help."
Performing Songwriter, Issue 75. "IN A NUTSHELL:
ASC’s StudioTraps (and monitor stand tops and bottoms) are
a portable way to make any space sound better, whether tracking
or mixing."
"I first knew I was on to something special
when the guitarist at a session asked me what processing I had added
to make his acoustic guitar sound so good."
"Studio Traps allow you to alter the acoustics
of any room in minutes so you can quickly deal with troublesome
rooms or acoustically separate live mics from one another, Martin
Walker sets the traps..."
"Randy
Ezratty, owner of Effanel Music is no stranger to the world of remote
recording. Ezratty has taken his system to Africa, to record Paul
Simon's Graceland Tour; to Slane Castle in Scotland, to record U2's
platinum album The Unforgettable Fire; and throughout the United
States, to record just about every major act that has toured here."
"Randy
Ezratty, owner of Effanel Music is no stranger to the world of remote
recording. Ezratty has taken his system to Africa, to record Paul
Simon's Graceland Tour; to Slane Castle in Scotland, to record U2's
platinum album The Unforgettable Fire; and throughout the United
States, to record just about every major act that has toured here."