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It looks like Bias Peak is in for some radical [and welcomed] changes. The company has formally announced Peak Pro 6. I frequently visit the support forum on the Bias site, and it is interesting to note that many of the requested features from community members have in fact been added to the application.

Peak 6 will now incorporate high resolution logarithmic metering with high-precision user configurable standard calibrations. Also, Voiceover Ducking DSP that dynamically lowers music levels during voice overs. Podcasting support has been added for authoring & uploading Podcasts directly from Peak.

Metadata audio file support has been enhanced in order to read/write metadata for most major file types including Broadcast WAVE files. Lastly, the UI will support Global Contrast Control and magnetic snapping windows for optimal screen management.

In terms of availability: Bias states that Peak 6 will hit the street in early Q3, 2007. I’m reading that the upgrade cost will be $179 for existing Peak 5 users. However, if an order is placed before the end of March, the price is discounted by $30. Anyone that is planning to purchase the full version of Peak at this time will be entitled to a free downloadable upgrade upon arrival of the new version.

I’m looking forward to Bias Peak 6. Peak 5 Pro XT is my main audio production tool.

The Shure 55SH Series II is a popular mic. In what manner? It’s used quite often by producers within this community as a visual reference on business cards, blog headers, and promotional media. Based on forum chatter, community feedback, and general inquires, my guess is that not many podcasters actually use this mic. I find this interesting because the 55SH II, commonly referred to as the “Elvis Mic”, is perfect for podcasting.

First, this dynamic mic has has a cardioid pickup pattern. This will help alleviate picking up sound that emanates from the rear. The frequency response – [50 to 15,000 Hz], is tailored for speech, it has an incorporated mount with internal shock protection, and it provides wonderful build quality. What I find particularly amazing is the price point. This is a professional quality mic that is readily available for less than $160 US. Great deal in my opinion.

Some thoughts … It would be difficult to state an accurate number, but I do think that it is safe to say that most radio stations continue to use the Electrovoice RE-20 microphone. There are obvious reasons for this timeless support: sound quality, build quality, and the fact that no special mic techniques are required in order to achieve optimum results.

Mic selection in Podcasting has become complex. I believe that podcasters spend more time contemplating mic choices than professional radio broadcast institutions do. My point is that radio stations do not try to “match” mics with air talent based on vocal characteristics.

Many of the podcasting community’s gear experts state that choosing a mic is a personal issue based on various factors. Besides sound characteristics and vocal matching, cost is an obvious consideration – not everyone is in the position to spend $400+ on a mic. Also, connectivity requirements [USB vs. traditional] play an important role as well.

I predict that new media producers will continue to embrace the “what mic works well with my voice” mentality. I believe that this approach will continue to create unnecessary confusion and contemplation. Can you imagine the confusion that would be created if the thousands of radio stations located around the world adhered to this concept?

I think that we need to pay close attention to the specific models that are designed for broadcasting within a predetermined budget, and we should forget the personal modeling approach.

The Korg MR-1000 portable recorder was announced late last year. Now that it is readily available, I thought I’d discuss some of its unique features. I would also like to point you to an excellent white paper that focuses on unique aspects of digital audio that in the end will help you to understand some of the advanced features included in the MR-1000.

This device is marketed as a recorder that delivers audio at a 1 bit/5.6 MHz super spec. 1-bit recording is one of the latest advancements in digital audio. In the past, this has been adopted for use in the critically acclaimed SACD recording format that provides pristine fidelity. The specified white paper explains in detail how a file format with a 1-bit [reduced] resolution benefits by supporting super-high sample rates. For example, 2.28224 MHz and 5.6448 MHz with the MR-1000.

The supported file formats are: WSD, or Wideband Single-bit Data. This format was created by the One-bit Audio Consortium, and it accommodates all formats of one-bit audio data without limitations in channel number or sample rate. Also, DSF, or DSD Stream File. Korg states that increasing numbers of software titles will support this format in the future, including shareware and freeware. Lastly, multi-bit PCM [BWF] format up to 24bit/192kHz.

Korg’s included AudioGate™ software bundle supports RT conversion and playback of 1-bit files, and can convert 1 bit recordings to familiar AIFF and WAV file formats with user defined bit rates.

The recorder features a 40 gig internal hard drive, combo XLR/1/4″ inputs with preamps, 48v Phantom Power and Limiting. Outputs include dual XLR and unbalanced standard RCA. USB 2.0 connectivity provides high speed media transfer. $1199 US.

Dimensions:

192(W) x 170(D) x 56(H) mm/7.56″(W) x 6.69″(D) x 2.20″(H)

Power Supply:

AC Adapter, or eight AA batteries (sold separately), Oxyride batteries, or charged nickel metal-hydride batteries

Recently I had to opportunity to work with my good friend Victor Cajiao, host and producer of the Typical Mac User Podcast. Victor has upgraded his studio configuration, and he asked for some assistance. We both agreed that it would be a good idea to share our experience with the community.

The first stage of the project was an exchange of emails with Victor specifying his new gear and specific intentions in terms of production scenarios.

Objectives:

• Create a Skype Mix Minus

• Create a Telos One Mix Minus

• Incorporate an external Cart Insert option

• Incorporate support for a future external Voice Processor

• Support recording to an external device

Our goal was to support three workflows: common Skype sessions, common Host/Telco sessions, and complex Studio Broadcast/Podcast sessions with external Talkshoe participation patched in by way of the Telos One. I went to work and designed a configuration diagram in order to simplify implemntation.

Please refer to the following notes:

General Configuration:

Stereo line output from the Cart machine feeds a set of Line inputs on the console using a 3.5″ stereo male to RCA left and right male cable. 3.5″ to 1/4″ male adapters are required.

Stereo Line Output from the main [MacPro] system feeds a set of Line Inputs on the console suing a 3.5′ stereo male to RCA left and right male cable. 3.5″ to 1/4″ male adapters are required.

Console Aux send 1 feeds the main Telos One Input.

Main Telos One Output feeds a single Line Input on the console.

Console Aux Send 2 feeds the MacPro Line Input using a 1/4″ to 3.5′ cable/adapter.

Console Main-Mix feeds external recorder Inputs.

Aux Buses:

Aux Bus Send 1 routes the Studio Mic, Skype participants, and Cart instances to the Telco participants. Notice that this Send is off on the Telco channel on the console. This alleviates sending the caller’s audio back to the hybrid.

Aux Bus Send 2 routes the Studio Mic, the Telco participants, and the Cart instances to the MacPro. Notice that this Send is off on the Skype channel on the console. This alleviates sending the Skype participant’s audio back to the MacPro that is in fact running Skype.

Keep in mind that the Aux Send Masters need to be set accordingly.

External Processing Support:

A standard insert cable will provide easy implementation of a voice processor on the Studio Mic channel.

Recording:

Considering that all channels are routed through the console, the main-mix can be recorded by feeding supported console outputs to an external recorder.

The Monster Power Pro 900 PowerCenter offers a host of great features that will enhance your system performance by providing clean power as well as protection from dangerous power surges for individual rig components .

This standard 1RU power center provides 1850 joule rating for a high level of surge protection. Monster states that the PRO 900 features exclusive Dual Mode Plus™ protection circuitry to automatically disconnect all of your connected equipment if your electric line is hit by a big surge. Additional features include: audible alarms, 8 switched rear outlets, 2 front panel outlets, and a heavy duty 8 foot Monster PowerLine 100 cable for maximum power transfer.

Power protection and management is often overlooked. The good news is that professional level protection systems are now very affordable and warrant serious consideration in order to maintain protection and maximize sonic efficiency.

The Monster Power Pro 900 retails for $99 US.

I have updated news in reference to my recent search for a new set of headphones. I decided to order a pair of the Sony MDR-7506’s. I can report that the results are good, but still very different than what I am accustomed to.

I am now convinced that my ears are accustomed to “colored” sound. This is not necessarily a bad thing. However it is no secret that uncolored “flat” headphone audio is a necessity during critical monitoring sessions. Since I spend a good amount of time tweaking people’s voices and occasionally mastering music tracks destined for productions, I think that it may be time to re-train my ears.

First let me say that the sound quality was pleasant right out of the box. It was necessary to re-calibrate my internal output monitoring level in order to achieve sufficient volume. Comfort level is good, and I experienced no problems during and after prolonged use.

Keep in mind that we are discussing a set of headphones that are considered the industry standard and they are readily available for less than $100. My guess is that if you are looking for a set of headphones that produce uncolored clean sound with very little effort, you would be very happy with the Sony MDR-7506’s.

As I stated – it took a while to adapt to their signature sound. After all is said and done, I’m quite happy.

I came across Radiologik yesterday on the MacUpdate site. The application concept and its incorporated features imply that the developer has past or current experience in live, “on-air” broadcast production.

Examples include: a real time animated colored warning system, attention to various aspects of timing management, and clear visual representation of important data that is necessary to monitor while on the air.

Radiologik supports iTunes playlist and file integration/management features for MP3, AAC, ITMS Protected AAC, AIFF and WAV files. Besides the three main players and corresponding outputs, a library player and output is available. Nicecast MP3 streams are supported as well.

During production, you have the option of switching to the auto mode. This feature simply plays the next track in the queue, overlapping segments by the amount of time specified in the preferences. In the current release, there is no support for cross-fading. This is a planned addition in a future release.

Radiologik looks interesting, and I am looking forward to monitoring its progress. Pricing has yet to be determined.

Last evening I was browsing through my new Pro Audio catalog from B&H and I noticed this sub $100 dynamic omnidirectional mic by Audio Technica. The AT804 is specifically designed for broadcast interviews, film ambience, and sounds effects gathering.

According the the manufacturers specs included in the product description, the mic is housed in a “rugged die cast enclosure with a hardened steel grille,” and produces a “natural uniform response with a slight high-end lift for additional source clarity.” The frequency response is 15 Hz-15kHz, and the mic includes an internal shock mount.

Typically I recommend the Electrovoice RE-50b or the Sennheiser MD-46 mics for correspondent style interviews. In fact, I own the Electrovoice model. For producers interested in a “budget” correspondent style mic, the Audio Technica AT804 looks like a pretty good deal in my opinion.

Street price is $89 US.

Time for a few updates:

Headphones:

It turns out that B&H Photo here in NYC sold me a set of the Sennheiser HD-280 Pro Headphones for $79.99. This made me happy – temporarily. My happiness rapidly subsided once I fired these headphones up and put them through initial testing.

First the positives: build quality is good considering the price point, and they do a nice job in shielding surrounding room ambience. The negatives: they are much heavier than I anticipated, and in my opinion, the sound quality is 100% unacceptable. I felt like I was listening to audio resonating from the interior of two Illy Cafe` tin coffee cans. I’m not kidding.

In all fairness, it is entirely possible that my ears are just too accustomed to the smooth sound of my BeyerDynamic DT-990’s, and comparing these two sets makes little or no sense. What puzzles me is that Sennheiser specifies how popular the HD-280’s are within the professional broadcasting and recording communities? Maybe so. Personally, they are just not for me.

Plan B: the Sony MDR-7506 – or – the Sony MDR-V6, [and Ebay for the Sennheiser set].

Telos:

I find it interesting that a handful of manufactures have managed to entice a brand new target user base that in the end has to be creating a major boost in sales. Telos, Marantz, and Mackie are prime examples.

Last evening I was searching around for technical documentation in reference to the new Omnia One on-air audio processor. Keep in mind that Omnia, Axia, and the familiar Telos brands are directly affiliated. All three product lines are designed for professional broadcasting installations and networking work-flows.

Well I came across this .pdf that includes an abundance of interesting information, focusing on all specified products in the group. I was surprised to see that the people from Telos were nice enough to include my personal endorsement of the Telos One Digital Hybrid. Pretty cool …

Podcastrigs:

The arduous task of moving all site content form Podcastrigs.com to the Podcast Academy site is just about done. The last phase of this transfer is in its final stages: the integration of our recommended system rigs and accessories.

I have to say that I am quite happy with the way things have materialized. In my opinion we have managed to fortify our presence on the web by combining the audio content channel, the weblog, and the forum.

I hope that you find what we are doing interesting and helpful.

Digidesign has formally announced their 003 product group. The 003 Factory [pictured left] is a table top firewire device that features eight touch sensitive motorized faders.

Additional features include: 24bit/96kHz resolution, eight analog inputs, 8 analog outputs, S/PDIF optical I/O, four mic inputs with 48v phantom power, BNC Word Clock I/O, and dual headphone monitoring support. Inserts and sends are easily. assigned directly form the control surface. The 003 Rack variation is housed in 2U rackmount chassis and features the same I/O configuration as the Factory.

As I read into this, it appears that the Factory includes Digidesign’s Premium Software Bundle, adding $3k of professional plugins to the mix. This device will retail for $2495 US. The Rack interface is priced at $1295 US, and it is also available with the same advanced plugin bundle for an additional $400.

Digidesign is offering a special program that makes it easy for current LE users, or users of third-party systems to upgrade to any new 003 system. No specific release date has been specified.

Needless to say that ProTools LE is included with both units.