|TRADE SHOWS||Date||Location||Booth No.|
|Musikmesse||12.03 - 15.03.2014||Frankfurt - Germany||Hall 5.1, booth #B57|
|NAMM Show||23.01 - 26.01.2014||Anaheim - USA||Mezzanine level, 210C|
|Music Production Show||29.11 - 30.11.2013||London - UK||Stand 14|
We are proud to announce that we will present our wide range of professional studio monitors at Musikmesse in Frankfurt, Germany from March 12th to 15th.
Alongside the monitors of our 2Way- and 3Way-Series the complete range of our newly available 4Way systems and subwoofers will be shown this year and also our two premiering products SC3010 and SC3012!
SC3010 and SC3012 are designed and assembled in Germany and serve as main monitors, making them especially well-suited for large recording studios, mastering suites, audio post-production studios for film and television, including cinema applications and in-wall installations.
SC3010 utilizes a new 10" low frequency driver while the SC3012 houses a 12" low frequency driver. Both models are equipped with a 5" Rohacel™ sandwich diaphragm woofer that has been designed to reproduce midrange frequencies very clearly and with utmost detail.
The SC3010 and SC3012 are the only monitors in the EVE Audio range that feature the newly developed RS6 Air Motion Transformer. Its larger geometry and increased folded diaphragm area are designed to achieve a higher sound pressure levels and serve a wider frequency range, with a crossover point as low as 1800Hz.
Interested in checking out the range of EVE Audio studio monitors? Then stop by at our booth at Musikmesse. We look very much forward to welcoming you at booth 5.1B57.
Stewart Adam began his work in the 1980s music industry, working in recording studios and traveling the country in a remote truck recording live concerts for B.B. King, Joan Armatrading, The Hank Jones Trio, Sha Na Na, and The King Biscuit Flower Hour including artists such as Roxy Music, Steve Forbert, Canned Heat, McGuinn, Clark and Hillman and Aerosmith. Stewart Adam has been in the thick of audio recording!
Later, a career working in film and video production for 30 years proved to be very informative. In fact, Adam's career has given him the opportunity to work on more that a thousand commercials and corporate videos (McDonalds, Ocean Spray, Bank of America, etc.) where his acumen for "getting it right" was refined.
More recently, documentary projects such as the Oscar-nominated "On Tip Toe" (a film about Ladysmith Black Mambazo featuring the African singers that famously backed Paul Simon on his landmark Graceland album) and "Road to Reconciliation" (revealing the struggles in Northern Ireland), and "The War" by producer Ken Burns establishes Adam as a go-to audio pro for projects wide-ranging and complex.
Since its formation in 2005, Creative Audio Works has been growing and diversifying its services. These include audio archiving and restoration, and has also recently expanded into audio mastering for music and mix-to-pix services. Adam says, "The current market and transfer technologies demand high quality mastering services across a range of project types and we are perfectly equipped and situated to handle these new services."
In 2012 Mix Magazine nominated Creative Audio Works' new studio for "The Class of 2012" in the category of Best New Studio of The Year. Designed by Lou Clarke of Sonic-Space, its workflow enables two workstations, one for restoration, mixing and mastering and the other for transferring and ingest of analog media. It was largely built by Adam himself.
The studio has a complement of reel-to-reel and cassette tape recorders, as well as turntables and a host of other rare transfer playback formats. Adam explains, "iZotope RX, WaveLab and Cubase are only some of the software tools we utilize. Each project requires the proper use of restoration elements and treatments to get the best results".
After extensive evaluation of different monitor systems, Adam declares, "We chose EVE Audio SC208s, and we're extremely happy with our choice! The EVE Audio SC208 provides reliable and accurate monitoring down to 36Hz and the responsive and smooth AMT ribbon tweeter provides many hours of non-fatiguing listening pleasure." Stewart Adam further says, "The Eve monitors are perfect for the Creative Audio Works studio as they work equally well for our restoration needs as they do for music mixing and mastering. Accurate translation is essential, and ease of listening is a pleasure. EVE Audio monitors cover it all, beautifully!"
Beginning in January 2014 Creative Audio Works will be providing audio mastering services to members of Chartburst. Chartburst is a new crowd-sourced talent discovery platform website that connects indie musicians with A&R representatives of major record companies. Projects delivered from Creative Audio Works, with our EVE Audio monitors, will help shape the future of Chartburst members. For more information, please visit www.creativeaudioworks.com.
Cam Bluff is one of Australia's hottest hip-hop producers. Still relatively new on the scene, you could still get away with calling Cam an "up and coming" producer. But if he is in fact up and coming – his trajectory has him set for stardom.
Having penned beats for the crème de la crème of Australian hip-hop; such as 360, Illy, Mantra, Spit Syndicate (and with more in the pipeline), Cam is highly regarded amongst his peers, and all set to make a huge impact in 2014. Electric Factory recently sat down to have a chat with Cam, and ask him some questions regarding production techniques, musical influences, studio toys and what he has planned for the year ahead.
[Electric Factory] Your production seems to draw on a wide range of influences; from modern trap and electronic sounds and techniques to the more traditional looped samples and MPC-swung hip-hop. Who are your biggest musical inspirations, past and present? Which artists have helped shape the Cam Bluff sound?
[Cam Bluff] I'm inspired by a number of artists and producers throughout many genres. I love my hip-hop, but I think growing up listening to artists like Metallica and Dave Matthews has helped prepare me for transitioning between different styles of hip-hop production as well as influencing my style. I've definitely started using a lot more live instrumentation over the last year. Some of my influences include producers from, Black Milk, Pete Rock, Dilla, Ryan Leslie, DJ Khalil, Justice League and TropKillaz.
[EF] What is your general approach to writing? Do you generally start with a drum beat, start with a sample or employ a mix of different approaches?
[CB] Writing can usually start with me going through drum breaks to get an idea of the rhythm/pattern I want to roll with, to going through samples to see what kind of musical approach/feel I'm going to take. It also depends on the artist I have in mind to send the track to. If I just feel like banging out some ideas, sometimes I'll just mess around with some keys. All it takes is that one little idea or sound and things are underway.
[EF] Tell us about some of the "toys" you have in your studio; instruments, software, hardware etc.
[CB] I'm currently using an Apple iMac, Ableton Live 9, EVE Audio SC207 monitors (hands down the best monitors I've ever owned), Akai Pro MPC2000XL, Novation Mininova, Apogee Ensemble interface, Focusrite ISA Two pre-amp, Roland RS101 and a couple of MoogerFoogers. I also use a lot of soft synths and plugins. These include plugins from iZotope, Waves, Native Instruments and Arturia.
[EF] Do you use hardware of soft synths and effects? What are some of your go-to effects processors?
[CB] I've started using a mixture. I recently purchased the Mininova synth by Novation which has some amazing sounds, from pads to retro leads. My favorite soft synth at the moment has to be either 'Lush 101' by D16 or 'Massive' by N.I. For effects processing, I have a few go to plugins; Sound Toys 'Echo Boy' and iZotope 'Trash' and 'Alloy'. They each have their own distinct way of processing and drastically altering sound, so I find it beneficial to use a handful depending on what sound I'm after.
[EF] Your tracks have a really tight bottom end. What's the secret to getting the kicks, bass and subs (where applicable) all playing together nicely?
[CB] It's all about picking the right sounds to start with. Layering sounds can get you a great solid sound straight off the bat. I'll usually layer anywhere from 2-4 kicks. Each kick will usually contribute to, or help control a certain frequency range. 99% of the time I'll use side chain compression, whether it be on the bass or samples or instruments.
[EF] Thoughts on parallel compression?
[CB] Its great for not only helping to make your drums more punchy and prominent in a mix, but also for bringing instruments to the front of a mix. I use it on pretty much every track I work on. I tend to blend between the compressed bus and the dry signal. It really helps create a stable level in the mix. I'll also try different EQ cuts and gains on the bus depending on the song type.
[EF] If you could pick any 5 MC's in the world to write for, past and present, who would they be and why?
[CB] KANYE WEST – No matter how crazy or outrageous people may think the dude is, he is responsible for releasing some of the most inspiring and influential music in hip-hop over the last 10 years.
I know I sure have learnt a lot from him.
NAS – The main reason why I would want to work with him would be the fact that he is why I got into producing. 'Illmatic' really put things in perspective when I had just started messing around with beat making.
PARTYNEXTDOOR – new artist signed by Drake. It's been a while since I've heard a new artist who's come onto the scene that has really impressed me. He sings, makes his own beats and raps... triple threat! Looking forward to what he has in store for 2014
KENDRICK LAMAR – I love his creative approach to writing and making music. I remember when 'Section.80' came out a few years ago. I thought it way ahead of its time.
BLACK MILK – Dude has been a huge inspiration of mine for years. After I heard 'Album of the Year' back in 2010 it blew my mind how he was incorporating live instrumentation into his music. So organic and real. He's an amazing rapper too.
[EF] What projects are you working on right now? Any MC's, groups or bands you're currently working with or have picked up your beats that you can divulge?
[CB] I'm currently working closely with a number of artists from Melbourne on their debut albums which should be dropping early next year. Two of these artists are rappers, 'Allday' and Dylan Joel. I'm also working closely with an artist by the name of 'J Dwight'. He's a songwriter who has taken the initiative to start work on his debut release, so I'm stoked to be able to be a part of it. It's going to be on some new age/Drake r'n'b/old school New York hip-hop type stuff... hahaha. I'm also working on my production album, which should be out in May next year. It will feature emcees from across Australia. On top of all of this, I do have my fingers in a few other pies, so to speak. There's a lot in store for 2014.
[EF] Out of your peers, what local producers are you really feeling right now?
[CB] First two would have to be, Renz and Hamley from my hometown of Brisbane. Both having been killing it these last few months, so it'll be great to see what's in store for them next year. Chiefs (formally known as C1) He's been around for a minute but his new shit is absolute fire! He's from Melbourne.
[EF] In your mind, what makes a good producer? Can anyone be a good producer, i.e. is it something you can learn?
[CB] I think what makes a good music producer is being able to collaborate with different artists to achieve what they envision for their own work. Anyone can make beats, but to be able to diversify yourself amongst different artists and experiment with other genres is a true test of character. Another good lesson to learn is to stay humble. You can't expect things to happen over night. Continue to learn as much as you can teach yourself. I'm still learning and teaching myself everyday, or at least trying to. Always stay motivated. Never be bitter, be better.
[EF] So you've made the move from sunny Brisbane to "four-seasons-in-one-day" Melbourne. How are you finding Melbourne? What do you miss about Brisbane, what are you really digging in Melbourne and most importantly - have you picked a "footy" team yet?
[CB] Melbourne's been great so far. The culture is dope. It's like; everything Brisbane doesn't have, Melbourne has. Record stores, clothing boutiques, music retail stores, great music venues. Plus the majority of artists I work with are based down here. So from the start it seemed like the right move to make, I just had to make the decision to move at the right time. I haven't had a chance to start getting into footy just yet. It's hard growing up in Queensland with no real support of the game, compared to Victoria. We'll see what happens…. hahaha!
To check out some of Cam's productions, please visit
To follow Cam on Facebook, please check out https://www.facebook.com/cambluff
For beat enquiries and bookings, please email Nate Flagrant firstname.lastname@example.org
Story: Electric Factory, Australia
Please, check out our Sound On Sound video presentation which EVE Audio Brand manager Bruce Bartone from our North American distributor TruNorth Music and Sound gave at NAMM 2014! It's all about our range of 4-way monitors!
And thanks to all who came to see us at NAMM for your amazing support and an unforgettable show!
has announced a sale of a pair
Eve Audio SC305
to former bass player and leader of the Christina Stuermer band Gwenael Damman.
Gwenael Damman also played live and/or on album with Nina Hagen, Dave Stewart, James Burton (Elvis Presley), Neil Taylor (Tear for Fears, Robbie Williams), Harold Faltermeyer (Axel F, Top Gun), and many more.
Currently he co-produced Ulla Ihm's debut album "Ulla Ihm" (Globart Records) with Harold Faltermeyer, and he also mixed and mastered Neil Taylor's album "No God like Rock'n'Roll" (Earcatcher).
Damman said: "My thoughts about EVE Audio? Easy! Trusting the EVE SC305 leads to the best quality of your mixes.
If you want to have a chance to get your mixes under control, then EVE audio is the first choice. And if your mix still sounds not good, it definitely doesn't come from the box. Those monitors give you a chance to hear clearly all frequencies of your mix. Mids and highs are there, and, what is surprising for such a small monitor, the subs too. Those monitors do not sound "nice", they just do not lie. They are linear, and deliver a true stereo image. Nowadays, those monitors are enough to make sure your mixes will translate well to every common speakers, or to your car radio. Eve gives you the right balance on every frequency...so: If it is there, it is in your mix, if not, it is missing in your mix! If your mix sounds good with EVE, you are good to go.. for mastering. Another point: this quality would have been unaffordable few years ago. Now that the loudness war is getting at its end, it is time to go back to monitors able to deliver a true dynamic range. At high, or low volume... all the frequencies are here.
EVE... Now you can trust your ears!"
A number of Austrian dealers stock the range of EVE Audio monitors. For further information about your nearest EVE dealer in Austria please visit www.4audio.at or call +43 2272 61892-26. Gerhard Pogatschnig and his team are glad to guide you further.