—By Arthur Noxon
The June 2007 issue of EQ Magazine features an article by Mr. Noxon covering the history and development of our Quick Sound Field system.
The article contains all our secrets, everything you need to know about how QSF works as well as a comprehensive history behind its development.
—By Arthur Noxon
Mr. Noxon discusses the art of recording lifelike-sounding vocal tracks that sound real, for easy dubs, ADR and voice-overs in film production.
—By Nick Batzdorf, October 1995
Some comments from the world-famous veteran engineer right as his latest Michael Jackson album, HIStory, hits the streets.
—By Daniel Sweeney, November 1997
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.
—Acoustics Roundtable Featuring Arthur Noxon
A roundtable discussion on room acoustics, equalization, and DSP-based room correction originally published in The Absolute Sound, October/November, 2004.
—By Arthur Noxon, 2003
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.
—By Marcel Schaal, 1997
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.
—An article written by ASC President Art Noxon for db magazine, November, 1991
Discover the secrets and nuances of successful recording using the incredibly versatile ASC TubeTraps.
—By Michael Cooper for Audio Media Magazine
"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.
—An article written by ASC President Art Noxon for the 83rd AES Convention, October, 1987
—An article written by ASC President Art Noxon for the 89th AES Convention, September 1990
—By Bobby Owsinski
"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.
—By Loren Alldrin
"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."
—By Mitch Malloy
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."
—By Martin Walker for Sound On Sound, February, 1999
"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..."
—By Randy Ezratty
"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."