Second Single from Supersonic Trio is a Force Majeure, Conjuring the Best in Rock ‘n’ Roll

North Hollywood, CA -- (ReleaseWire) -- 03/04/2019 -- The second single off of Emerson Loughman Palmer's [ELP] Be Empirical LP, "The Best I Can Give is All You Get", sees the all-star trio turning onto L.A. Freeway and opening the throttle, with raucous guitars, searing lead vocals and an infectious back beat. The band, whose debut ep was released last December, is comprised of Emerson Swinford [Rod Stewart] on lead guitar, David Palmer [ABC] on drums and Mancunian Mark Loughman [Queens of the Stone Age] on guitar, bass and vocals.

Watch the video here [runtime 4:08]: https://www.youtube.com/watch?v=Xb6eL7p3Dvs

Setting the stage with a Ronettes-inspired backbeat and power chords from a lone Telecaster with just the right amount of overdrive, the track ushers the listener onto its own Freeway of love and despair — with Loughman's vocals careening and pleading to be heard: "Well I sacrifice my friends in order to be close to you, but something in your past you won't forget." The track grabs the listener headlong, tossing him onto the tracks of an unpredictable relationship with no known destination.

The band's new single "The Best I Can Give is All You Get" is another example of ELP's uncompromising authenticity and raw emotion — an elusive quality in a music industry whose beats and melodies can seem contrived, or even composed by a bevy of computer algorithms. Last month, ELP hosted an exclusive record release party and live performance at The Viper Club, located on Sunset Strip in West Hollywood.

The new track, along with five other tracks, were recorded and engineered by Simon Phillips [The Orb, Mike Oldfield] in Los Angeles with produced by Mark Loughman in the producer's chair. Be Empirical is available now on CD and vinyl on LonMan records. To learn more about Emerson Loughman Palmer, please visit markloughman.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Uncompromising and Authentic: New EP from Supersonic Trio Harkens Rock ‘n’ Roll’s Better Days — with Meandering Guitars, Infectious Melodies and Rollicking Back Beats

North Hollywood, CA -- (ReleaseWire) -- 01/21/2019 -- Emerson Loughman Palmer's debut EP Be Empirical is out now following the superstar trio's blistering, dystopian single Finding Sense, having been just released in late November. The long-awaited EP, which features Emerson Swinford [Rod Stewart] on lead guitar, David Palmer [ABC] on drums and Mancunian Mark Loughman [Queens of the Stone Age] on guitar, bass and vocals, is available on vinyl via LonMan records, with the digital version soon to be available on multiple streaming services.

Be Empirical harkens an earlier, more authentic age of rock 'n' roll, featuring rollicking rhythms and hefty guitar tones set amidst six well-constructed, immaculately produced tracks. Engineered by Simon Phillips (The Orb, Mike Oldfield) at his LA studio and produced by Loughman, the EP is the result of a chance meeting among the three superstar rockers during a commercial airline flight, 30,000 feet in the air. Next month, the trio will play the EP in its entirety at Los Angeles' legendary Viper Room during an exclusive record release party.

The EP starts off with "Finding Sense" — an intelligent, if cynical, take on the status quo of the complacency and corruption in our modern government and society. During the ballad, Loughman pleads for common understanding and sensibility in an infectious tenor voice: "If I can find some sense I want it now." The second track, "The Best That I Can Give is All You Get" sees Loughman exposing the raw challenges of love affair amidst a Ronettes-inspired backbeat and a cacophony of inspired and meandering electric guitars. "I've Seen Everything" opens with a convincing Jumpin' Jack Flash-esque guitar riff that grabs the listener headlong and takes them through a journey of discovery: "I've been everywhere and I've seen everything, but I've never seen that."

Side 2 starts with "You See Wonderful, You See Pretty", which presents a societal mirror challenging us to question the information that is fed to us by the government and the media on a daily basis. The lyrically dark song opens with questions like: "Do you still think your government is working for you and that what the BBC reports is always true?" A conceptual anchor point of Be Empirical, punctuated by thundering drums and short, sharp power chords, the track beseeches us never to take things at face value and to uncover meanings for ourselves.

The remaining tracks of Side 2, "A Linear Husband" and "I Want You for Myself" are eminently more hopeful and laid-back, inviting the listener into a soft pillow of climbing and descending melodies and meandering guitars. Both tracks' lyrics capture a spirit of blissful devotion, amidst easygoing percussion and sumptuous, melodic basslines — the perfect closing tracks. "I Want You for Myself" sees Loughman letting loose on a soulful and evocative guitar solo, putting in place one of the final pieces of a landmark recording.

For more information on Emerson Loughman and Palmer, please visit http://www.markloughman.com

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Popular Breakfast Panel and Discussion at NAMM U Highlights UK Sound’s Opportunity to “Revolutionize a Lot of Home Studios”

Nashville, TN -- (ReleaseWire) -- 07/30/2018 -- Each year during Summer NAMM, the Best In Show breakfast panel and discussion is featured, offering attendees insight into some of the very best gear to appear at the venerable music industry trade show. This year was no exception, wherein six retail-buying experts descended on the show and presented their top product picks in four categories, before an audience of more than 300 Summer NAMM attendees.

The comprehensive list of categories included Best In Show, Company to Watch, Gotta Stock It and Add-Ons & Accessories. Panelists included professionals from all across the U.S. such as A&G Central Music, Instrumental Music Center, Groth Music, Vintage King, Guitar Center and Reverb. BAE Audio subsidiary UK Sound was chosen for the category of Company to Watch, among some very good instrument and equipment manufacturers including Gibson, D'Addario and three others.

Matt Knobel, Sales Specialist for Vintage King, commented on the selection of UK Sound as a 'Company to Watch': "There are a lot of companies that are remaking classic modules, but this is one of the best companies out there doing this. There's been a lot of demand lately for lower-cost items, but these guys are making super high-quality products at super affordable prices. This is going to revolutionize a lot of home studios."

BAE Audio President Mark Loughman was inspired in 2017 to launch UK Sound as a fully owned subsidiary of BAE, with the intention of offering commercial studio-quality recording gear — at a lower price. The company's first product, the UK Sound 1173 preamp / compressor, was enormously successful and combined timeless sonic characters of both the 1073 preamplifier and 1176 compressor.

UK Sound is set to launch more products before the end of the 2018. For more information on the UK Sound 1173, please visit www.uksound.com

About BAE Audio
British Audio Engineering are manufactures of high end microphone preamp/equalizers faithful to vintage designs of the seventies and earlier. With a penchant for high quality transformers, everything is as close to the vintage philosophy as possible. All BAE equipment is hand-wired and soldered using discreet electronics, rather than economized on a circuit board.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Nominations for Outstanding Technical Achievement in Three Categories include New Royaltone Guitar Pedal, 500C Compressor and PDIS Stereo Direct Box

North Hollywood, CA. -- (ReleaseWire) -- 07/27/2018 -- BAE Audio, manufacturer of audio equipment faithful to vintage design specifications, has announced that its new Royaltone guitar pedal, its 500C compressor and its PDIS stereo direct box have been nominated for the 34th Annual Technical Excellence & Creativity (TEC) Awards. This marks the fourth consecutive year that BAE Audio has received nominations — this year, in the categories of Music Instrument Amplification & Effects, Production Essentials and Signal Processing Hardware.

Presented by the NAMM Foundation, the TEC Awards are the pro audio and musical instrument industries' most prestigious awards, celebrating the spirit of innovation and honoring best-in-class products in the pro audio community. Following a call for entries across many different categories, a panel comprised of leaders in audio and production carefully evaluated each entry before selecting the Royaltone, the 500C and the PDIS. Nominees were announced at Summer NAMM last month, and Winners will be announced during an awards ceremony at the NAMM Show on January 26, 2019.

Guitar tones fit for a king
BAE Audio's latest sonically inspired guitar pedal: Royaltone builds on the recent success of the company's first guitar pedal launched last year, the Hot Fuzz — which has since become a go-to stompbox for studio rats and session musicians around the world. Royaltone harkens a lost era of '70s inspired fuzz tones, all captured in a rugged stompbox built to withstand the rigors of touring or the studio. The Royaltone further explorers the possibilities of 70's era vintage English fuzz circuits in a dual-stomp format featuring powerful in-series 3-band tone circuit. The Royaltone's fuzz imparts an instantly recognizable spitting, buzzy grit that cuts right through even the densest mix. Two distinct switches on the unit engage either the tone or fuzz circuits. With the tone switch engaged, users can access and adjust a full frequency range with dedicated knobs for bass, mid and treble. Meanwhile, the fuzz circuit knobs consist of attack and level — providing exactly the right amount of required boost and compression.

500 Series analog glue
BAE Audio's 500C compressor represented two firsts for the company: it is its first FET compressor as well as its first 500 series format compressor. Based on the design of studio staple FET compressors of the '60s and '70s heard on countless hit records, the 500C features controls for input and output gain, plus the four selectable, time-honored compression rations of 4:1, 8:1, 12:1, and 20:1. In addition to taming peaks, its premium components and classic circuit design add highly desirable analog warmth to your signal, making it an all-star for everything from drums to bass to vocals. Like all BAE Audio gear, the 500C is hand-wired in California to ensure the highest possible quality control.

Stellar sound for stage or studio
Meantime, BAE Audio's PDIS (passive direct injection stereo box) is based upon its highly successful single channel PDI launched last year. Like its mono sibling, the PDIS uses an OEP/Carnhill transformer to imbue any signal passed through it with a satisfying warmth and analog richness. The PDIS is an ideal DI solution for keyboards, stereo guitar rigs, drum machines and just about any other conceivable stereo application. Additionally, the unit can function as two independent separate instrument DI channels and handle two mono instruments if needed, such as a guitar and a bass, simultaneously. Tracks recorded with the PDIS easily integrate with mic'd sound sources in the mix as-is, or are well prepared for reamping if desired.

For more information on the TEC Awards please visit https://www.tecawards.org.

For more information on the Royaltone, the 500C or the PDIS, please visit http://www.baeaudio.com.

About BAE Audio
British Audio Engineering are manufactures of high end microphone preamp/equalizers faithful to vintage designs of the seventies and earlier. With a penchant for high quality transformers, everything is as close to the vintage philosophy as possible. All BAE equipment is hand-wired and soldered using discreet electronics, rather than economized on a circuit board.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Blistering New Single Takes Listeners on a Harrowing Drive ‘Up the Crooked Mile’

Hollywood, CA -- (ReleaseWire) -- 05/30/2018 -- Mancunian transplant and LA rocker Mark Loughman released the latest single from his acclaimed Bleedin' Aura LP, recorded at the legendary Sunset Sound alongside renowned LA session stalwarts Kenny Aronoff (drums), Grant Fitzpatrick (bass) and Steve Stevens (lead guitar). "Leave a Light On", co-produced by Loughman and Warren Huart (Aerosmith, Better Than Ezra) also features B-roll of Steve Steven's searing, frenetic guitar solo, captured live in the studio.

The official video can be watched on Loughman's official YouTube channel: https://www.youtube.com/watch?v=KZRxL2CvDYA

"It has been said that in order understand the light you've got to experience the darkness," says Loughman, who left Manchester and landed in New York City with only a bus ticket, his guitar and a few demo tapes in hand. In "Leave a Light On", Loughman seems to connect with the listener in a way that is both blinding and electrifying, while craving to escape the claustrophobic indifference of others.

The single was recorded at Los Angeles' Sunset Sound, the inimitable sonic temple where The Doors recorded Strange Days and The Rolling Stones recorded Exile on Main Street years ago. In keeping with his love for '70s rock music and his love of analogue equipment, Loughman relied heavily on BAE Audio's 312's and 1073's microphone pre-amps throughout his signal chain, helping imbue the very same vintage sound he grew up with.

Bleedin' Aura is out now on Spitfire Music and available at markloughman.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Debut Product from BAE Audio Imprint Enables Users to Access Timeless Circuits at an Affordable Price

North Hollywood, CA -- (ReleaseWire) -- 12/26/2017 -- UK Sound, purveyor of affordable and sonically concious analog gear, announced that its 1173 mic pre compressor is now shipping worldwide. The new 1U space rack unit — the first to combine the synergies of two timeless circuits, the 1176 compressor and 1073 preamplifier — was previewed earlier this year at Musikmesse in Frankfurt and will be on display at NAMM 2018 in Anaheim next month. The UK Sound 1173 is the first in a line of economically priced sonic equipment from BAE Audio imprint UK Sound.

Analog within reach

"UK Sound is addressing an increasingly important market need for emerging engineers and producers," commented Mark Loughman, founder and managing director of UK Sound. "In an industry where software plug-ins have become omnipresent and the defacto status-quo, our mission is to re-introduce analog gear as an affordable and superior alternative to lackluster digital emulations. With our new 1173, we have created the first manifestation of this promise."

The 1173, which is designed to appeal to experienced musicians, producers and engineers looking to diversify their sonic palette while still delivering tried-and-true analog warmth that BAE Audio customers are used to, is the result of a design collaboration among Los Angeles-based producer Warren Huart and gear designer Michael Stucker, produced and manufactured by UK Sound. The new product brings together the combined synergies of two timeless circuits: the 1073 preamp and studio FET compressor — at an affordable price. The marriage of these two classic pieces of analog gear opens up an entirely new sonic palette in the studio, either as a standalone piece in a project studio, or as a unique addition to a heavily fortified rack of outboard gear.

Brave new world

The 1173 owes its unique character to its combined 1073 preamp and FET compressor circuit. It features the recognizable FET compressor controls for input and output gain and the time-honored compression ratio options of 4:1, 8:1, 12:1, and 20:1. Attack and release controls allow users to tailor the compressor's action to for any given source. While the 1073 preamp helps bring depth and clarity to audio on the front end, the FET compressor is able to manage peaks, adding control and thickness to the signal. Drums, bass, vocals, and synths are among the many sound sources that will benefit from the 1173.

The UK Sound 1173 is priced at $1,200 US and shipping now. For more information, please visit https://uksound.com/1173-mic-pre-compressor/.

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound.

For more information on BAE Audio, please visit our website at http://www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Los Angeles, CA -- (ReleaseWire) -- 09/07/2017 -- Dave Pensado has been recognized as a top level mixing engineer since the '70s, and over forty years into his career he has his workflow down to a science. "Some of you have heard me say I don't need another reverb, I don't need another EQ, I don't need another delay, and I sure don't need another compressor," he says in a nod to the many viewers who tune into his popular weekly YouTube series "Pensado's Place," where he talks gear and practice with industry-leading producers, engineers, and mixers. But recently, the BAE Audio 10DCF compressor has caused a reversal in Pensado's sentiment. "I couldn't have been more wrong."

To test its mettle, Pensado tried the 10DCF in a battery of applications. He found the compressor both versatile and musical. First, he applied its compression to vocal takes by some of his well-known clients. "I tried it on T-Pain's vocal, I tried it on a Nelly vocal, and it gave them character," he says. "With a hip-hop song you want things to jump out at you but you still want to understand the lyrics, and I could get that sound with the 10DCF." The compressor's natural peak taming on sources as delicate as a vocal is attributable to its classic circuit design and all discrete wiring.

Drums with Authority, Guitars with Bite

Aside from a forward, yet intelligible vocal, Pensado says that low end is also key to hip-hop music. For him, the 10DCF's inductor-based hi-pass filter makes it the perfect tool for processing drums. "The power comes from the low end, from the 808 and the drums," he says. "With the 10DCF's filter, you can determine how much low end comes through uncompressed and when you do that you can keep all that power but you can affect the more audible part of the spectrum in that drum. It just pushes the sound right in your face."

For rock music, Pensado abides by a clear ethos to ensure the right energy in the mix. "To me, in a rock song, the guitars are where the power is at," he explains. "If you've got wimpy guitars then you've got a wimpy song." He obtains powerful results by placing the 10DCF on a single auxiliary channel to which he sends all of his guitar tracks. Utilizing the compressors intuitive attack, recovery, threshold, and ratio controls, he is able to easily dial in a sound that meets his exacting standards. "The 10DCF is like money. You almost don't need any EQ at all when you're using it."

Roughness Transformed to Silk

Another useful application Pensado discovered is using the 10DCF to imbue keyboards with an anaIog smoothness that helps them sit well in the mix thanks to the compressor featuring both Carnhill and Jensen transformers in the path. "Keyboards or synthesizers—they've got a bit of a harsh sound to them because it's a reconstructed waveform," he says. "It has to be smoothed out, and going through the 10DCF really smooths over those little artifacts that don't sound good."

The transformer-based path also helped salvage a home vocal recording by a newer client Pensado is working with. "There was definitely some clipping on the mic, maybe the capsule collapsing a bit, he says. "I ran it through the 10DCF without much compression and it smoothed it out."

Analog That Carries Its Weight

Despite its sonic smoothness, Pensado emphasizes the power of the 10DCF with slightly more aggressive language. "It feels to me like it grabs you the neck, throws you on the ground, and stomps on your neck. It's really got some powerful stuff going for it!" It has joined a short list of analog gear that Pensado, who works almost exclusively 'inside the box' with digital plugins, recommends to his followers. "Anybody can design an electric circuit but only a handful of people can make an art form out of it," he says. The ones that have a sense of musicality and are made by people who use the gear they create tend to work better for me. I really like the 10DCF and I think you guys should check it out."

For more information on BAE Audio and the 10DCF, please visit baeaudio.com.

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound.

For more information on BAE Audio, please visit our website at http://www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

North Hollywood, CA -- (ReleaseWire) -- 08/18/2017 -- BAE Audio, manufacturer of best-in-class analogue gear, has announced that its 500 series format compressor, the 500c, is now shipping. The unit is also BAE Audio's first FET compressor, faithfully capturing the mix-defining circuits of the 60s and 70s.

This compact, yet sonically rich dynamics processor, available through BAE Audio authorized dealers for $950 was unveiled at NAMM 2017 and packs authentic, vintage tone into a small and easily transportable footprint. As the first 500 series compressor offered by BAE Audio, the 500c provides the 'glue' needed to take any recording chain to the next level, or to help instruments sit properly in the mix. It is also one more step towards achieving the 'all-BAE' 500 series channel strip.

"Our users have been very excited about the possibility of bringing BAE quality to the 500 series format, and we have a ton of requests for our first lunchbox dynamics processor, which is now a reality," says BAE Audio President Mark Loughman. "Despite the inherently compact specifications of the format, the 500C deivers the 'big' compressor sound that has made FET circuits essential for both recording and mixing. When used in combination with our 1073MP and EQs such as the B15 or G10, users can now unlock that timeless vintage sound in a 500 series rack."

Hop on the Vintage Hit Parade
FET compressors of the '60s and '70s, which have been heard on countless hit records, inspired the design of 500C's circuit — which features controls for input and output gain, plus the four selectable, time-honored compression rations of 4:1, 8:1, 12:1, 20:1, and the beloved "All Buttons In" setting popularized on its progenitors. A switchable high-pass filter can be engaged to protect the low-end integrity of bass-heavy input sources or busses while still achieving peak reduction. The 500C is exceedingly versatile and is particularly appropriate for drums, vocals, and bass guitar. The dynamics section is easily bypassed via a front-facing button, allowing users to A/B the signal both with and without compression.

In addition to serving as a versatile dynamics processor, the premium components used in the signal path of the 500C deliver extremely musical analog warmth. The unit's three 2520 style opamps combine with a transformer-coupled output to bring unmatched clarity and richness to any signal. Like all BAE Audio gear, the 500C is hand-wired in California to ensure the highest possible quality control.

The 500C is priced at $950 and is available through BAE Audio's network of authorized retaillers. For more information on the 500C, please visit https://500c.baeaudio.com/

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound. For more information on BAE Audio, please visit our website at http://www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Fort Wayne, IN -- (ReleaseWire) -- 06/26/2017 -- BAE Audio, a manufacturer of premium analog gear built to exceed vintage specifications, will highlight several of its groundbreaking products at during Sweetwater Sound's 16th annual GearFest, to be held June 23rd and 24th at Sweetwater's headquarters located in Fort Wayne, Indiana. During the event, BAE will showcase its G10 equalizer, 10DCF Filter Compressor, Hot Fuzz Dual-Stomp Boost/Fuzz Pedal, its 500C FET Compressor, as well as its classic 1073 MP.

BAE Audio's Colin Leibich will conduct live demonstrations of the company's new Hot Fuzz guitar pedal. With its robust and incredibly versatile design, the Hot Fuzz captures the classic, authentic fuzz tones of the '70s. Attendees can visit BAE Audio on Friday, June 23rd and Saturday, June 24th between 9:00 a.m. and 6:00 p.m.

Now in its 16th year, GearFest is attended by thousands of gear fanatics from all across the country. The two-day festival features more than 400 product lines, including the newest musical instruments, music technology and audio equipment. The show also features several workshops, demos and artist performances, along with plenty of opportunities for attendees to experience music equipment on a first-hand basis.

10 Bands of Goodness

On display at GearFest, BAE's G10 equalizer combines a punchy signal path with the versatile 10-band graphic EQ configuration, making it ideal for tweaking drum or guitar sounds, or even processing an entire mix. It's available as a 500 series unit, further expanding BAE Audio's significant offerings in this popular and economical format.

With 10 carefully selected bands offering up to 12 dB of boost or cut on tap, the G10 offers a level of tone sculpting that can help any audio sit perfectly in the mix. The easy-to-use slider-based interface helps users intuitively visualize the EQ curves they are applying. Switchable high-pass and low-pass filters, tuned at 80 Hz and 12 kHz respectively, help make the G10 a truly complete sound shaping solution.

The Guts of a Classic

Also highlighted at the show, BAE Audio's 10DCF was recently introduced as an evolution of the company's since discontinued 10DC compressor, revered for its sonic characteristics. Adding an inductor-based filter featuring settings at 50, 80, 160 and 300 Hz to the original 10DC's design, the 10DCF is capable of nuanced handling of bass-heavy material by leaving frequencies below the filter cutoff uncompressed.

The 10DCF marries its filtering capabilities with the highly musical peak reduction and incredible analogue warmth provided by its time-honored compressor design featuring both Carnhill and Jensen transformers in the path and all discrete circuitry. These features in combination make the 10DCF an excellent choice for any audio source from low end heavy drums and bass guitars to vocals to buss compression.

Classic Fuzz Meets Vintage Top Boost

BAE's first foray into guitar-specific products, the Hot Fuzz is a dual-stomp effects pedal that combines the power of a classic top boost with a premium '70s-style fuzz. The pedal, which will be on display during GearFest, includes two independent true-bypass footswitches controlling the boost and fuzz sections of the pedal. The Hot Fuzz enables users to dial in their perfect fuzz tone, then kick in the boost at a key moment to push their saturation over the edge.

Analog Glue

Finally, BAE will showcase its 500C, which represents two firsts for the company: it's both BAE Audio's first FET compressor and its first 500 series format compressor. Based on the design of studio staple FET compressors of the '60s and '70s heard on countless hit records, the 500C features controls for input and output gain, plus the four selectable, time-honored compression rations of 4:1, 8:1, 12:1, and 20:1. In addition to taming peaks, its premium components and classic circuit design add highly desirable analog warmth to your signal, making it an all-star for everything from drums to bass to vocals. Like all BAE Audio gear, the 500C is hand-wired in California to ensure the highest possible quality control.

For more information on BAE Audio, please visit baeaudio.com.

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound.

For more information on BAE Audio, please visit our website at http://www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

New Branch of BAE Audio Will Offer High Quality Analogue Gear Targeting Musicians and Project Studios First Product is 1173 Preamplifier/Compressor, Launching at NAMM

Anaheim, CA -- (ReleaseWire) -- 01/16/2017 -- Analogue gear manufacturer BAE Audio [NAMM 2017: Hall A: Booth 6290] announced it has created a new subsidiary, UK Sound. The new branch of BAE Audio will develop and manufacture affordable, high quality analogue equipment for musicians and project studios looking to integrate the unmistakable character of vintage recording gear into their signal chains. The company's first product, which will be on demonstration at the NAMM Show, will be its new 1173 Preamplifier/Compressor.

Designed and manufactured at BAE Audio headquarters in California, the 1173 Preamplifier/Compressor is a 1U rackmount unit that combines a preamp modeled on the beloved 1073 circuit, with a classic FET compressor. The result is a flexible, musical input path appropriate for just about any vocal or instrument source. The 1173 Preamplifier/Compressor is scheduled to begin shipping end of January 2017 at an MSRP of $1,000.

"I am very excited to be able to bring the classic circuits that we know and love to an even wider audience under the UK Sound umbrella," says Mark Loughman, President of BAE Audio and UK Sound. "There's no reason why a home studio shouldn't have access to tools like those used in big-name studios, and as such we are pleased to be able to offer UK Sound gear at an incredibly friendly price with very few compromises."

UK Sound 1173: A Perfect Match

UK Sound builds off of BAE Audio's commitment to recreat some of the most beloved vintage circuits of all time — but in a way that is accessible to a much broader audience of recording and touring musicians, as well as project studios. The 1173 Preamplifier/Compressor is the first of many models to be announced during 2017.

The new 1173 Preamplifier/Compressor combines two of the most revered circuits in recording history: the 1073 preamplifier and classic FET compressor. The result is a unique preamp/compressor with plenty of analogue mojo. With controls for input and output gain and the well-known selection of 4:1, 8:1, 12:1, and 20:1 ratios, the 1173 delivers musical peak attenuation, warmth, and thickness to anything that passes through it. Its 1073 input stage, known for its high-end sparkle and low-end thickness, makes it particularly suitable on drums, bass, vocals, synths and many other instruments. "Whether this is your first high-quality preamplifier/compressor or one of many, we are confident you will find plenty of reasons to use the 1173 on your next recording," says Loughman.

"We are also striving to implement these classic circuits in interesting ways that will appeal to existing BAE Audio customers looking for new inspiration and potential sonic applications. Certainly, the 1173 goes a long way towards illustrating that," he added.

While BAE Audio gear has helped to set the industry standard among professional recording studios and industry luminaries, UK Sound is set to uphold similarly discriminating quality standards, while becoming more accessible to musicians and home studio owners. As with BAE Audio, all UK Sound gear will be manufactured in California for superior quality control.

To learn more about UK Sound please visit NAMM 2017: Hall A: Booth 6290 or visit http://www.baeaudio.com

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound.

For more information on BAE Audio, please visit our website at www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

North Hollywood, CA -- (ReleaseWire) -- 12/13/2016 -- BAE Audio's Colin Liebich was recently a guest lecturer at the esteemed Conservatory of Recording Arts and Sciences, Gilbert campus, speaking on November 30th to students and alumni about BAE Audio's history — and on what best practices to employ while selecting and using analogue outboard equipment. Events consisted of an analogue tracking workshop for CRAS students, as well as an off-site event which saw CRAS AES members gathered together in Studio A to learn more about BAE Audio's preamps and EQs while gaining valuable hands-on experience.

CRAS is a preeminent production school where students are able to learn fundamental aspects of audio engineering and recording for music, live sound, broadcast, post-production, and gaming. Tony Nunes teaches the studio recording production class, where topics range from recording in a project studio to handling large orchestral recordings. During the workshop on November 30, Nunes invited a five-piece band of professional musicians to track and record using BAE mic preamps/EQs for a live recording/broadcast session.

During his presentation segment, Colin Liebich of BAE Audio provided instruction on how to properly mic drums, bass, guitar, piano, alto saxophone, and vocals through BAE Audio's 1073, 1073 MPL, 1084, 312A's and 1073 D preamps, and students were provided with insight on how to troubleshoot, scratch test and level check — all while working against the clock during the live television broadcast. During the CRAS AES Chapter event, members recorded a male and female vocalist duo in the live room in Studio A. Liebich highlighted the sonic differences among BAE Audio preamps and EQs, while discussing equipment settings for various applications.

"It is so important to teach the next generation of students about the quality and attributes of analogue equipment," said Liebich. "We are so grateful for everyone at CRAS for affording us the opportunity, which also gave students and those attending the chance to hear what an ultra high-quality signal chain can sound like using BAE Audio's premium components."

CRAS AES President Dave Kohr stated that CRAS sets the bar for top tier audio students, and that the school's alumni is present among the best studios in the country. "By having companies like BAE Audio come in here to speak directly to our students, we are able to impart real world knowledge to our students. Attendees for these seminars are coming in after hours and on their free time because they are so passionate and dedicated to the material."

For more information and learn on how to enroll at the Conservatory of Recording Art and Science, please visit http://www.audiorecordingschool.com.

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound.

For more information on BAE Audio, please visit our website at www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

BAE Audio's Colin Liebich offers insights on audio history, equipment selection, and application

North Hollywood, CA -- (ReleaseWire) -- 11/22/2016 -- Cre-8 Music Academy's vision is to fill the gap between traditional audio engineering & production schools, and then translate this to what happens in the commercial studio realm. The school, a professional music production facility presented by Westlake Studios, opened its doors in 2015 and recently BAE Audio's Colin Liebich was invited to track a live recording session alongside student-producers there. Among topics discussed by Liebich was the history, selection, and usage of BAE Audio outboard equipment — both inside and outside the renowned studio.

Westlake, one of a handful of the remaining giant recording studio complexes left in Los Angeles, has a rich, star-infused legacy: it was where Michael Jackson recorded "Thriller," and continues to be a centrifuge of pop smashes like Beyonce's "Beyonce" and "Night Visions" by Imagine Dragons. Currently, the studio is outfitted with 24 channels of BAE 1073s and four BAE 1032s.

Commenting on the recent single-day seminar that he led at the facility, Liebich says "Westlake was a new opportunity for BAE Audio and a very special experience altogether. To record and mix where Michael Jackson worked, and to speak to students alongside the producers from Cre-8 was pure magic."

As the first manufacturer representative to conduct a session workshop at Cre-8, BAE Audio's Liebich had a clear message for producers attending the session: "Hands-on application is important because learning technique online and at the studio are two very different things. It is good for any student to be exposed to real analog gear versus taking it all in online. If they can't be hands on and use the gear, then they can't really get a good feel for it." Liebich observes.

Doug Fenske, a recording industry veteran, is Director of Education at Cre-8 Music Academy. "The curriculum at Cre-8 consists of the production tactics that my peers and I have been using all across Los Angeles and in the pop music domain for the past ten years," he says. Cre-8 offers four individual music production courses with the option of full time or part time options. Each course is meticulously designed to help artists, songwriters, and producers bring their careers to the next level.

During the workshop, Liebich was joined by Dusty Wakeman of Mojave and Kevin Parker of Royer Microphones. Together they shared a variety of recording and production techniques through a live demonstration. Tracking was done with analog gear, using Royer's ribbon and Mojave's condenser mics through BAE Audio's 1073 MPL preamps along with BAE 312 and 1073 D preamp/EQs.

Wakeman of Mojave enjoys teaming up with BAE because their products are so complimentary and of impeccable quality. "Microphones only sound as good as the preamps they are going through, and preamps only sound as good as the microphones you put into them into. I think that BAE makes the best recreations of the vintage stuff by far, and that's what I use."

The workshop started off with a little background history in the control room, and then jumped right into the tracking session. A three-piece band consisting of drums, bass, guitar and lead vocals was mic'd up simultaneously. The band included Matt Becks, alumni of Cre-8, musician and touring drummer, who brought Malik on vocals and guitar and Tom Capossela on bass. As the band played, student-producers got hands-on experience experimenting with and tweaking the EQs, moving knobs and adjusting the sounds as the band was performing. After it was recorded, they listened back on the SSL 9000 and recapped the sounds they achieved and how they were able to accomplish them with the various microphone placements and BAE preamp configurations.

"The students get to see how to use the gear and why this equipment would be used versus other equipment," recalls Liebich. "This is more than just a how-to, it's all about hands on. I encouraged them all to feel, see and hear what the gear does. This style of teaching draws students in and gives them direct interest. Also, being able to answer the student's questions firsthand and walk them through a complete recording from beginning to end is exceptionally important."

"The students at Cre-8 are getting actual production experience and are being exposed to real studio techniques, building and learning habits that they can effectively use to capture, construct and compose their musical ideas." Liebich concludes " Once you've created your digital composition you have the ability to run it through analog gear and manipulate the sound and add a bit more authenticity to it. Even when your workflow is primarily digital, there will always be a great need for analog gear."

For more information on Cre-8's music production courses, please visit http://www.cre8musicacademy.com

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound.

For more information on BAE Audio, please visit our website at www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

North Hollywood, CA -- (ReleaseWire) -- 11/11/2016 -- Guitarist Nick Maybury has spent a lot of time on the road lately. The Australian-born Los Angeles native, who has worked with artists such as Perry Farrell, Scott Weiland & the Wildabouts, Michelle Branch, and Mike Posner, recently wrapped up an ambitious tour schedule for 2016. "I've done four international tours with three different artists this year alone, so yeah, I've been busy," he says. When Maybury landed back in Los Angeles for the fall, he received a call from BAE Audio's John Daniel Christiansen. "They wanted to me to come check out their new pedal called the Hot Fuzz, and I thought 'Wow, these guys who make high end studio gear made a fuzz pedal? I definitely want to check that out'." And with that Maybury grabbed a few of his favorite guitars and a trusty vintage amp and drove over to Bedrock LA studios for a test drive.

Watch YouTube video: http://youtu.be/kzzc2tcRz9k

Two Become One

The Hot Fuzz combines a top boost and fuzz section into a single stompbox, and Maybury knew before he even plugged in his Les Paul that there would be extensive variety of possible tones. "I'm a big fan of the Dallas Rangemaster top boost, so combining that in a single pedal with a Colorsound-style fuzz will definitely give you a lot of different tones," he says. "It's a really cool idea, I'm heaps into it." The idea for the pedal was inspired by BAE Audio President Mark Loughman's quest for the perfect 70s fuzz tone like that heard on the Isley Brothers version of 'Summer Breeze.' Finally arriving at the exact circuit he desired after copious research and sourcing just the right components, Loughman and his team are making their first entre into the world of boutique guitar effects. Now putting his creation into the hands of top guitarists like Maybury, Loughman and his team get to bear witness to what this pedal can really do.

Digging In

Kicking on both footswitches, Maybury digs into some heavy riffs on his Les Paul and the Hot Fuzz roarswith a deep bottom end and an in-your-face top end crunch. Switching over to a vintage guitar Maybury describes as his "fuzz guitar," he kicks right into the opening riff of the Stone Temple Pilots song 'Unglued.' The Hot Fuzz responds to the slightly lower output of this guitar as compared to the Les Paul by tightening up, while retaining its heaviness. "I consider myself someone who's equally comfortable with lead and rhythm work, and I like that the Hot Fuzz can give you all these different tones." Shifting gears again to a lap steel, Maybury demonstrates the tonal spectrum of the Hot Fuzz, ranging from a saturated clean with just a hint of edginess at the lowest volume settings on his guitar up to a raging, singing lead with the volume maxed out. "There are some really cool sounds when you've got the volume about halfway or a little more, aggressive but still kind of controlled," he says. "The whole range of tones is really usable."

Interactive Tone

The interaction between the top boost and fuzz is key for Maybury. "It's cool because what the boost does is scoops some of the low end out of the fuzz and gives you a bit more definition and bite in the upper mids, so if you want a growlier, defined riff fuzz, kicking the boost on was perfect," he explains. "But if you want something sludgy and more bass-heavy, it does that really well with the treble boost off." As a guitarist who brings together the blues-rock vocabulary of Jeff Beck, Jimi Hendrix, and Jimmy Page and the unique sensibilities of Robert Fripp and Brian Eno, the versatile Hot Fuzz manages to inspire Maybury on many levels. "The Hot Fuzz brings out the raw dog in me for sure," he says. "It totally fits perfectly with the stuff I'm doing with my own trio, which I'm really excited about."

Studio to Stage

Walking out of the test session with a Hot Fuzz of his own, Maybury wasted no time in putting it to the real test: a live show. "I took it with me straight to a house band gig that I have at The Sayers Club in Hollywood," Maybury said. "We were playing a Jack White track and it was perfect for that, and I also used it on a Dead Sara tune." It's good for grunge, it's good for blues, and it's good for stoner rock stuff too." With more road shows coming up, Maybury is certain that the Hot Fuzz will be hitting the trails with him. "I'm definitely going to take it out on the road," he says. "I've got a show coming up with Frankie Perez that I can definitely see using it for. I've already used it for every gig since I got it and the thing's built like a tank." As to whether there's room on his crowded pedalboard for another fuzz, Maybury puts its succinctly: "If it's got the tone, it looks good, and it feels good, there's always room. And the Hot Fuzz has got it all."

About BAE Audio
BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound.

For more information on BAE Audio, please visit our website at www.baeaudio.com.

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

North Hollywood, CA -- (ReleaseWire) -- 10/21/2016 -- Analogue gear manufacturer BAE Audio announced that it has partnered with revered Los Angeles club The Viper Room to enhance the club's signal chain with classic analogue outboard gear, taking its sound to the next level. BAE Audio's Colin Liebich assembled a package of gear to provide a recording-studio-quality input section for The Viper Room's mixing board, enabling Viper Room audiences to experience the same coveted vintage sound as top recording studios around the world. BAE has an established relationship with The Viper Room and owner Darin Feinstein, which has been extended throughout the year with the popularity of its Monday Night Sunset Jams.

"BAE Audio gear is well known in the recording studio circuit, but having a quality signal path at input is equally important for live environments," Liebich said. BAE Audio outfitted the venue with six 500 series racks, fitted with three 1073 MPL and three 312A preamp modules. "The 1073 MPL is loved by many for its ability to imbue vocals with a very desirable sonic color, making them sound both present and warm," he said. "Meantime, the 312A excels at adding punch to snares and other drums, helping them cut through a busy live mix." The two 'flavors' combine to give The Viper Room a wide range of tools to achieve first class sound.

"I've used BAE Audio microphone preamps and EQs extensively in the studio and on stage, so I knew they would be the perfect partner to elevate the Viper Room's outboard rack," says guitarist Erik Himel, architect of the Sunset Jams.

Expanding the Sonic Palette

The sonic enhancements resulting from the BAE Audio gear were immediately evident to The Viper Room's production manager Tyler Kunze. "Instantly, the sound of The Viper Room was improved," he says. "The drums were punchier, the guitars were more present, and the vocals were warmer." Kunze found himself having to apply far less equalization to individual tracks because of how good they sounded right off of the input stage. "On drums I used to need to apply drastic EQ to get a usable sound. Once we started using the 312A preamps, my drum tones were almost perfect right off the bat without any processing. The difference was just night and day."

A New Dawn for the The Sunset Jams

Meantime, BAE Audio and Himel have worked together to ensure that The Sunset Jam, hosted at The Viper Room, continues well into the future. Taking place every Monday night, The Sunset Jam allows local musicians the chance to sit in with top touring and recording musicians, including Dave "Chili" Moreno (Puddle of Mudd), Basil Fung (Alanis Morisette), Chas West (Foreigner), and Stephen McGrath (Billy Idol) while playing through The Viper Room's state-of-the-art sound system, now boasting high end, hand-wired gear from BAE Audio. The result has been a live sound experience like no other.

When Himel first came up with the idea for The Sunset Jam last year, his goal was not only to give musicians a place to network and connect with each other while honing their chops, but also to provide non-musicians with a lively, entertaining show featuring premium talent. "There are so many top session and touring players living here in LA, and I liked the idea of giving up-and-comers a chance to see what it's like to play with people who are at the top of their game while giving the pros a chance to stay sharp and have fun in a relaxed environment."

He knew he would need a high-quality space with top-shelf gear to attract the kind of talent he desired, so he approached the vaunted Viper Room, long known for being one of the best-sounding small rooms in LA.

Monday Is the New Friday

"The Sunset Jam has made Mondays the highlight of my week," says vocalist and regular Sunset Jam attendee Jayme Palmer. "The jams have given me an opportunity to expand my repertoire, gain experience in genres outside of my normal wheelhouse, and network with other serious musicians, not to mention the unbelievable sound. It's invaluable!"

Electric violinist Koi Anunta agrees. "I'm so grateful to Erik, The Viper Room, and BAE Audio for making The Sunset Jam possible. To play through this sound system with these players has been incredible. I try to keep my Monday nights free every week so I can sit in!" For Kunze, the gains of this partnership filter out into all of the shows he works on at The Viper Room. "The BAE Audio gear has been an absolute game changer for our live environment," he says. "I couldn't be happier."

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm