AMI January 2017

International TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL www.audiomediainternational.com www audiomediainternational com

January 2017 December 2016

THE PERSONAL TOUCH Why more musicians and engineers are seeing the advantages of personal monitor mixers p22

APRIL 22–27, 2017

LAS VEGAS, NV USA • NABShow.com

FOR INFORMATION AND YOUR FREE EXHIBITS PASS

SEE PAGES 25-27

FINAL CUT

STUDIO PROFILE

REVIEW

We chat to ‘Doctor Who’ sound mixer Deian Humphreys p28

SNK Studios’ Seb Juviler on the facility’s recent upgrade p30

What does the new version of Pyramix have to offer? p32

ULTRA-COMPACT MODULAR LINE SOURCE Packing a 138 dB wallop, Kiva II breaks the SPL record for an ultra-compact 14 kg/31 lb line source. Kiva II features L-Acoustics’ patented DOSC technology enhanced with an L-Fins waveguide for ultimate precise and smooth horizontal directivity. WSTŽ gives Kiva II long throw and even SPL, from the front row to the back, making it the perfect choice for venues and special events that require power and clarity with minimal visual obtrusion. Add to that a 16 ohm impedance for maximized amplifier density and a new sturdy IP45 rated cabinet, and you get power, efficiency and ruggedness in the most elegant package. www.l-acoustics.com

WELCOME EDITOR Adam Savage asavage@nbmedia.com

Experts in the issue

A FRESH START

STAFF WRITER Colby Ramsey cramsey@nbmedia.com ADVERTISING MANAGER Ryan O’Donnell rodonnell@nbmedia.com ACCOUNT MANAGER Rian Zoll-Khan rzoll-khan@nbmedia.com HEAD OF DESIGN

Keith Dale was previously founder of Celco, marketing director at Electrosonic and spent time at Kisska Design.

He joined GearSource in 2008

Jat Garcha jgarcha@nbmedia.com DESIGNER Tom Carpenter tcarpenter@nbmedia.com PRODUCTION ASSISTANT Warren Kelly wkelly@nbmedia.com

Deian Humphreys is a production sound mixer known for his work on TV shows such as Doctor Who and Being Human

CONTENT DIRECTOR James McKeown jmckeown@nbmedia.com

Press releases to: ukpressreleases@nbmedia.com

Audio Media International is published

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Editorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000 Audio Media International ISSN number: ISSN 2057-5165 (Print)

Seb Juviler is studios director at SNK Studios, a London-based specialist in voice over recording, sound design, ADR and music composition

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Ben Nemes is co-founder of Resurface, a new online marketplace tailored to the needs of companies and individuals using professional audio mixing technology

p until a few years ago I had never bothered to make the effort, but thinking up – and hopefully sticking to – New Year’s Resolutions has become quite important to me. They’re never anything particularly unusual or even that ambitious but I’ve started liking the idea of starting each year off by making some small changes in order to better myself in some way.

This year’s list is as unexciting as ever so I’m not going to go into detail here – my shamefully vague and obvious goal to ‘eat healthier’ was one of them – but when I sat down to ponder my objectives for 2017 over the Christmas holidays I realised that I’d never thought to come up with a separate one for when I’m in AMI mode.

So what would be my industry New Year’s Resolutions? Was there anything that I felt we could’ve done differently in 2016 that I would like to put right over the next 12 months?

One thing that came to mind when looking back over the festive period was that I didn’t get to make as many studio

U

visits as I would’ve liked to, and we can’t have that, can we? Putting this mag together each month and keeping the site running is a time-consuming job I tell ya, but even so we’d love to hear from those of you who are dying to show off your space, as I know there’s so much going on out there that we in the press don’t always hear about, and it doesn’t take too much to tempt us away from our news desks and into a nice comfy studio.

One facility we’ve just spoken to has had a lot to talk about in recent months, culminating in a just-opened new studio built for 5.1, 7.1 and Dolby Atmos mixing.

We’re talking about London’s SNK Studios, and you can read all about it on page 30.

What else is there? Well, starting with this very issue, which includes a feature on personal monitor mixers, we’d like to dedicate more page space to products that probably don’t get as much of the limelight as the myriad consoles, microphones, monitors and software etc. out there, but deserve a bit more attention than they tend to get. So do you specialise in gear that doesn’t fall into a typical category? Or maybe there’s another area of the business that you feel needs covering?

There’s loads more that I could mention, but I guess the bottom line is that we’re always open to suggestions here, so if you think Audio Media International could be of assistance to you or your business in 2017, please do get in touch.

Adam Savage Editor Audio Media International

January 2017

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CONTENTS

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www.audiomediainternational.com

28 FEATURES

PRODUCT NEWS 6

Steinberg launches Cubase Pro 9

8

Avid announces Pro Tools 12.7

10

DPA reveals new d:screet mic base

12

Peavey VSXe audio processors in the UK

PEOPLE 16

OPINION Producer Matt North responds to complaints about ‘fake’ sound effects on ‘Planet Earth II’

18

Representatives from GearSource Europe and Resurface reveal some of the current trends in the used console space

42

INTERVIEW Adam Savage asks recording engineer and TEC Award nominee Tom Syrowski about his work on last year’s Super Bowl 50 Halftime Show

14 SHOW NEWS 14

4

NAMM 2017 PREVIEW A roundup of what to expect at this year’s global gathering of audio professionals January 2017

20

GEO FOCUS: THE NETHERLANDS Colby Ramsey takes a look at what Dutch studios and post houses are doing to maintain their market strength

22

LIVE SOUND We discuss the rise of personal monitor mixers with several of the leading manufacturers

28

FINAL CUT Production sound mixer Deian Humphreys tells us about his techniques for recording ‘Doctor Who’ dialogue

30

STUDIO PROFILE SNK Studios give us the lowdown on their brandnew Dolby Atmos-equipped Studio 7

34 REVIEWS 32 34 36 38 40

Pyramix 10.1 Lewitt LCT 640 TS Yamaha HS7I Elektron Analog Heat Apogee Symphony I/O MKII

THE LEO FAMILY TRUE SOUND IN LINE ARRAYS.

The LEO Family provides power and clarity for nearly every application, from intimate performance spaces to the world’s largest outdoor festivals. LEOPARD, the smallest in the family, is gaining a following for being the most lightweight and versatile line array in its class. From small to midsize to large-scale, this family of line arrays has you covered.

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PRODUCT NEWS

RADIAL REVEALS 4-PLAY DI Radial Engineering has announced that the 4-Play, a ‘unique’ new direct box designed for artists who employ multiple instruments on stage, is now shipping.

The 4-Play (US MAP $279.99) begins with a standard 0.25in input for acoustic guitar, mandolin, fiddle, bass and various other instruments. A mute footswitch lets the user silence the switcher when connecting or disconnecting the instrument, and the signal is then routed to a selector footswitch that sequentially activates up to four outputs, allowing each instrument to have its own dedicated channel on the PA. High visibility LED indicators provide clear visual feedback to show which output is active.

The 4-Play comes with four balanced XLR outputs, each with a ground lift switch to help eliminate hum and buzz caused by ground loops.

All of the connectors are made from glass-filled nylon for high durability and isolation, featuring

nickel-silver contacts that will not tarnish over time. Two ‘set and forget’ switches enable the user to increase the range of the selector footswitch to two, three or four outputs. There is also a dedicated tuner out that can be assigned to be always on, or function in tandem with the mute switch for quick on-the-fly adjustments.

It is made from heavy 14-gauge steel for added rigidity and greater rejection of stray magnetic fields. The 4-Play also employs a standard Boss-style 9V power supply (not included) and is equipped with a cable lock to prevent accidental disconnection. www.radialeng.com

PRESONUS RELEASES FADERPORT 8

PreSonus’ compact new FaderPort 8 control surface connects via USB 2.0 to provide precise management of a DAW’s mix and automation functions, including complete transport control.

With eight touch-sensitive, motorised, 100mm faders and 57 buttons covering 78 different functions, users can easily zoom in on audio files for editing, adjust click-track tempo, modify plug-in parameters, manage aux mixes and control track levels.

The Session Navigator provides access to eight critical functions, while dedicated buttons allow users to

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instantly arm all tracks for recording, control mutes and Solo Clear, view only their desired tracks, buses, and VCAs, and more. The controller has large, illuminated buttons along with eight high-definition digital scribble strips.

The FaderPort 8’s streamlined workflow and support for the Mackie Control and HUI protocols also make it easy to control a DAW. The control surface is plugged into a USB port, with no driver installation necessary.

When used with Studio One, the FaderPort 8 lets users bypass all the plug-ins on any track with one button-press and open the Channel Editor, enabling the faders to control each channel’s custom macro. The Control Link feature lets the pan/ param encoder follow the user’s mouse, providing hands-on control of any parameter or locking the encoder to the current parameter. www.presonus.com

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STEINBERG LAUNCHES CUBASE PRO 9 Steinberg has released its latest DAW, Cubase Pro 9, alongside the smaller siblings, Cubase Artist 9 and Cubase Elements 9.

Cubase Pro 9 has been engineered to meet the needs of professional producers, composers and mixing engineers.

The updated software introduces the new ‘Lower Zone’, allowing for a dedicated area in the project window to be used for the mixer and other tool panels. Then there is the Sampler Track, a feature requested by many customers that provides an easy way to play samples chromatically and manipulate them with included filters and controls accessed through the Lower Zone. Sampler Track also has its very own Caleidoscope library with hundreds of samples.

Cubase Pro’s Frequency is the new EQ processor with eight bands, each with the new Linear Phase mode to

preserve the band’s signal phase. There is also M/S support, Auto Listen to monitor adjustments, Spectrum Display and reference keyboard.

Cubase Pro 9 also comes with up to ten marker tracks, providing users with more freedom to specify ranges within music projects and to use these to export individual stems and group mixes.

The suggested retail price for Cubase Pro 9 is €579. Customers who have activated Cubase Pro 8.5 since 26 October 2016 are eligible for a free, downloadable grace period update to the latest version. www.steinberg.net

MOTU UNVEILS TWO NEW INTERFACES MOTU is now shipping the 624 and 8A – two mobile audio interfaces with Thunderbolt and USB 3.0 connectivity for Mac and Windows.

Both interfaces share the same analogue audio quality, ultra-low latency performance, advanced DSP-driven mixing and extensive AVB/TSN audio networking features as the company’s 1248 and 16A interfaces.

With 32 and 34 channels of audio I/O, respectively, the 624 and 8A connect to any computer with Thunderbolt or USB 3.0 with support for up to 256 audio channels (128 in and 128 out).

New optimised MOTU drivers deliver ultra-low round-trip latency (RTL) performance as low as 1.6 ms at 96kHz over Thunderbolt (and 1.9 ms over USB) with high-performance DAW hosts.

USB class-compliant firmware supports connection to any iOS device with a standard camera connection kit (adapter).

Like the 1248 and 16A before them, both of the new interfaces are equipped with ESS Sabre32 DAC technology, which delivers 123 dB dynamic range on their balanced, DCcoupled analogue outputs.

Powerful DSP delivers large console-style mixing with 48 channels, 12 stereo busses, and 32-bit floating point effects processing, including modelled analogue EQ, vintage compression and classic reverb.

Extensive routing patches ins to outs, or splits inputs to multiple destinations.

The 624 and 8A are shipping now for $795 each. www.motu.com

PRODUCT NEWS

AVID ANNOUNCES PRO TOOLS 12.7

Powered by the MediaCentral Platform, Pro Tools 12.7 – the seventh consecutive quarterly Pro Tools release since Avid introduced Avid All Access Plans and Cloud Subscriptions – brings new music creation workflows, delivers new features for music creation and collaboration and makes it easier for artists and audio professionals to connect and work together wherever they are in the world via the cloud.

The new update promises to dramatically improve searching and the creative exploration of loop and sound effect libraries with Soundbase. This tagbased search interface complements the existing Workspace Browser by

enabling users to browse content using the standard metadata tags embedded in nearly every sound library.

Users can search sound libraries by instrument, genre, tempo, key, time signature, or their own customised tags, and audition content in sync with their projects.

It also comes with a 2GB sample library from Loopmasters, which offers a newly curated selection of content created by some of the industry’s leading producers and sound designers, and is thoroughly tagged for easy browsing in Soundbase.

Revision History enables artists and audio professionals to create and manage multiple versions of projects, as well as backups, media and descriptive project metadata, all powered by the cloud. This allows users to explore new versions of a song or soundtrack, make notes, share ideas with others, and quickly jump back to any previous state from anywhere. www.avid.com

AP ADDS NEW MEASUREMENT MICS

Audio Precision has introduced a new series of calibrated measurement microphones – the AP family.

The microphones are free-field, pre-polarised systems combining mic capsules with low-noise preamplifiers, designed as an ideal complement to the APx line of audio analysers, software and accessories.

The range includes two ½in and two ¼in measurement mics, as well as an occluded ear simulator.

All units are pre-polarised, TEDScompliant and CCP powered. The microphones are calibrated, ensuring

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the best results when paired with calibrated instruments such as the APx515 Audio Analyzer and APx1701 Transducer Test Interface.

Each Audio Precision measurement microphone and microphone system is TEDS programmed to the IEEE 1451.4 standard for SMART transducers, v1.0 format. TEDS (Transducer Electronic Data Sheet) data contains microphone identification and calibration information that can be read by a connected instrument.

“The addition of measurement microphones to our product portfolio is truly exciting,” said Dave Schmoldt, Audio Precision CEO. “For AP system users, it creates an expanded solution for evaluating the analogue, digital and electroacoustic performance of their audio components, products and systems.” www.ap.com

www.audiomediainternational.com

NEW A/D CARD FOR HAPI AND HORUS Merging Technologies has announced a new series of A/D cards for its Horus and Hapi networked audio interfaces.

The boards are available in two versions,as was the same with the previous generation. The AKD8D is the standard version, providing up to 192kHz PCM. The AKD8D/P extends the range up to 384kHz and includes all variants of DSD up to 256 and DXD. As with the previous cards, direct analogue out connections allow a mic level feed to be sent to an analogue mixer or recorder. The RAVENNA/ AES67 connection on Horus and Hapi allows for full remote control of all parameters including the ability to switch individual channels to mic or line. Phantom power switching, phase reversal, and low cut filters can be enabled from the control room or locally from the front panel of the unit.

With the new cards, a dynamic range of better than 120dB is easily achieved. The input stage now features the ability to select the optimal impedance for condenser or dynamic microphones, which can also be done on a per-channel basis.

Particular care has been taken to minimise any DC offset to the inputs of the A/D converter. This improvement to the DC servo loop guarantees that the offset is under 1mV over the whole gain range up to a maximum of 66dB. www.merging.com

APART INTRODUCES CM DESIGN LINE Apart Audio has released its new CM Design Series speakers, which the Belgian brand has designed to offer ‘simple, elegant integration’ into all interior environments.

A thin edge grille and integrated neodymium grille fixing magnets makes the new series both unobtrusive and easy to install.

Apart’s Quick Fix connectors avoid the need for junction boxes, reducing installation time and costs. Clear power tap labelling on the speakers’ transformers also aids quick and easy setup.

The two-way CM Design speakers are available in both

6.5in and 8in sizes, delivering power outputs of 60W and 100W respectively (power tappable to 20/15/5W – and down to 2.5W in 70v installations – with the 16 ohm models as below).

Specs for the new models are as follows: CM608D: 6.5” driver, 60W @ 8 ohms, 60Hz-20kHz frequency response CM20DT: 6.5” driver, 60W @ 16 ohms, 60Hz-20kHz frequency response CM1008D: 8” driver, 100W @ 8 ohms, 50Hz-20kHz frequency response CMX20DT: 8” driver, 100W @ 16 ohms, 50Hz-20kHZ frequency response www.apart-audio.com

PRODUCT NEWS

DPA DEBUTS NEW D:SCREET MIC BASE DPA Microphones is targeting the installation market with the launch of a new Microphone Base for its d:screet SC4098 Podium Microphone.

The Base, designed to be placed on a table or podium, or attached to the ceiling or wall, is available in two colours – black and white – and comes with either a MicroDot connector, an XLR connector, or unterminated leads for connections to Phoenix blocks.

The d:screet capsule is mounted on a sleek boom that, for the tabletop version, has a gooseneck at the top and the bottom, allowing users to position the mic exactly where they want it. The ceiling version consists of one gooseneck. In both versions, the cable can exit to the side of, or beneath the unit.

To make it easier for installers to choose the right microphone and base for their needs, DPA has assembled a

range of kits, each containing a different connector solution.

For tabletop applications there are three kits consisting of a black base and a d:screet SC4098 with a 45cm (18in) gooseneck, while for ceiling applications there are three kits consisting of a white base and a d:screet SC4098 with a 15cm (6in) gooseneck. The Microphone Base and microphone can also be bought separately so that users can mix and match connectors, base colours and gooseneck lengths. www.dpamicrophones.com

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STUDIO TECHNOLOGIES EXPANDS INTERFACE RANGE Studio Technologies’ new Model 5414 is a mic/line input and line output interface designed to provide a ‘simple yet high-performance’ means of interfacing analogue signals with applications that utilise Audinate’s Dante audio-over-Ethernet media networking technology.

The Model 5414 allows four microphone or line-level sources to be connected to the unit for conversion to digital and then output via Dante. Gain, high-pass filtering and P48 phantom power can be selected as required to optimise audio performance, while four signals arriving by way of Dante can be converted to analogue and then output as balanced line-level signals. A monitor section allows the input and output

signals to be selectively observed using meters and a headphone output.

The unit is designed for use in demanding on-air broadcast and live-event applications, appropriate for installation in fixed locations, while its lightweight enclosure also makes it suitable for mobile and field use.

It can serve as an “edge” device for a Dante network implementation, providing input, output and monitor resources for applications that need a limited number of channels. It can also serve as a general-purpose tool to help expand Dante capabilities to facilities and applications that were initially implemented to support signals in the analogue domain. www.studio-tech.com

MADI INTERFACE FOR KLANG:FABRIK

KLANG:technologies has announced a new MADI BNC interface for KLANG:fabrik, designed to make the company’s in-ear mixing tool for studio, musical and live productions available to a wider range of users.

The switchable second MADI BNC input/output port, together with KLANG:fabrik’s flexible I/O routing matrix, offers various format conversions between ADAT, Dante and MADI in addition to the in-ear mixing functionality.

Firmware KOS 2.2 and control application KLANG:app 2.2 are being released to fully support the expansion. In addition to MADI support, the update brings new

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features including extensive OSC integration and full 96kHz support. KOS 2.2 introduces enhancements in usability and flexibility, not only for the application as a mixing tool for monitor engineers, but also for use as a personal monitoring system.

The recognised problem with stereo IEM is positioning all of the signals of a mix in the narrow space between the left and right ears.

This is solved by placing the signals virtually around the entire head, including above and below.

In addition to significantly improving natural sound and transparency, listening fatigue is dramatically reduced.

The KLANG:app for iOS, Android, Mac and Windows is now available to download for free. www.klang.com

VOID REVEALS AIR 8 SPEAKER Void Acoustics has released Air 8, a compact full range loudspeaker designed for permanent installation in small bars, lounges and restaurants.

The Air 8 is equally at home as an area fill when used within a larger main system or as a stand-alone option for smaller venues.

The loudspeaker features an 8in low frequency driver with a 1in coaxially mounted neodymium high frequency compression driver for increased efficiency, producing a max output of 119 dB continuous and 121 dB peak.

“The inspiration for the Air 8 came from a requirement for an ultra compact full range loudspeaker that could be used in larger spaces with an innovative and inspired aesthetic. This called for the invention of a totally new 8in transducer that operates at very low temperatures, even at the power levels required to produce its extremely high output levels,” said Rog Mogale, Void Acoustics’ creative

director. “A front-facing aluminium heat sink with embedded HF horn was developed to dissipate all of the heat though the front of the assembly.

“The Air 8’s appearance was also high on my agenda. I finally decided to go for a sophisticated aesthetic with abstract minimalist undertones.” www.voidacoustics.com

FABRIC’s NEW SOUND

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PRODUCT NEWS

PEAVEY VSXE AUDIO PROCESSORS IN THE UK Peavey has confirmed the immediate availability of its VSXe audio processors in the UK. The DSP-based loudspeaker management systems, which the company launched alongside a new series of refocused commercial installation loudspeakers for spoken word applications at Prolight + Sound 2016 in Frankfurt, are available in two models.

The VSX 26e (pictured) features two XLR balanced inputs and six XLR balanced outputs, whilst the VSX 48e contains four XLR balanced inputs and eight XLR balanced outputs.

Both models support a 96kHz sample rate and feature a host of features including a floating point DSP processor for quiet, accurate filter response, fully adjustable crossover points and

multiple input-to-any-output routing flexibility. Each input includes gain, mute, HP and LP filters, eight bands of PEQ, polarity and delay (680 mS).

Output features come in the form of nine bands of PEQ, gain, compressor/ limiter, polarity, delay (680 mS), mute, and crossover/band-pass filters.

Set up and control functionality options include five-segment LED meters with limit indication on each output and USB and Ethernet ports for connection of the PC-based GUI, which provides system control and memory storage.

Peavey VSXe 26 and 48 audio processors retail for £470 and £594 respectively and are available to order now through exclusive UK distributor Barnes & Mullins. www.peavey.com

www.audiomediainternational.com

Q-SYS UPDATE TO INCLUDE AES67 SUPPORT QSC has revealed that its Q-SYS platform will support the AES67 interoperability standard for AoIP between various networking solutions.

The new feature will be added to the Q-SYS platform as part of the upcoming Q-SYS Designer v5.3 software release.

AES67 allows high performance audio streaming between Q-SYS and third-party products supporting different native networked audio technology such as Dante, RAVENNA and Livewire without requiring any additional hardware or license costs.

Martin Barbour, QSC product manager for installed systems, commented: “The support of AES67 is yet another example of the malleable and evolutionary

nature of the Q-SYS platform. We are committed to making this platform the I/O agnostic, interoperable standard in the industry, which is why support of AES67 is so vital to the industry.”

AES67 is a standard for audioover-IP interoperability published by the AES in 2013. AES67 is a Layer-3 protocol suite designed to allow audio interoperability between any networked audio solution based on Layer-3 technology. www.qsc.com

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M-5000 & M-5000C LIVE MIXING CONSOLES

A NEW ERA IN LIVE MIXING CONSOLES MAD I In a rapidly changing world, the ability to adapt is needed to excel.

OHRCA brings the power of adaptability to the world of live audio mixing. It conforms to the needs of both the application and the operator by delivering 128 freely definable audio paths, flexible user interface and workflow, expandable protocols, and multi-format I/O choices -all delivered at a pristine 24-bit / 96kHz sound quality.

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SHOW NEWS: NAMM 2017

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BEST PRACTICE MAKES PERFECT As well as another mammoth exhibition, this year’s NAMM Show will feature an enhanced education schedule, the return of TEC Tracks and Dante training sessions.

Information

What? NAMM Show 2017 Where? Anaheim Convention Center When? 19-22 January

//////////////////////////////////////////////////////////// s we enter a potentially exciting new year for the trade, final preparations are being made for the 2017 NAMM Show, which promises to inspire members from various disciplines within the music products industry – from music product retailers and manufacturers to professionals in recording, live sound and lighting.

Starting on the morning of Thursday 19 January, the show will officially open with NAMM U Breakfast Sessions. Located on the NAMM campus in the Hilton’s Pacific Ballroom, the sessions will feature prominent keynote speakers sharing today’s best business practices, innovative ideas and inspirational strategies designed to transform businesses. Following each morning’s Session, The NAMM Idea Center comes alive with more than 45 presentations and panels that will help NAMM members discover new creative ideas.

Meanwhile, those looking to enhance their business systems can learn from a variety of NAMM Member service providers appearing on The NAMM Retail Tech stage – new for The 2017 Show and located inside the NAMM Member Center

A

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– also in the lobby. Visitors to this stage can expect a series of sessions on retail software, technology platforms and strategies for business modernisation.

For sound, studio and stage professionals, TEC Tracks returns with more than 70 robust sessions curated to enhance skills that are crucial now and leading into the next decade. For the first time, TEC Tracks will offer themed days to cater to the different audio and technology communities at the show.

Also on Thursday, a special “Introduction to Dante” session – hosted by Audinate and part of TEC Tracks Live Sound Day – will offer attendees an opportunity to learn more about the networking technology. In addition to this, Audinate will host two days of the company’s hands-on Dante Training and Certification programme for the first time.

On the showfloor The event will mark the US debut of Nugen Audio’s MasterCheck Pro, a new loudness, dynamics, and codec toolset for music professionals.

MasterCheck Pro enables producers to hear and visualise the playout encoding and loudness matching

techniques now in use by music streaming service providers such as Spotify, Apple Music, YouTube, and digital radio.

Ideal for both mix and mastering engineers, MasterCheck Pro enables producers to audition different codecs in real time to help avoid codec distortion or overcompression, resulting in masters that are perfectly tuned for each digital music streaming service.

PMC is announcing two additions to its Main Monitor range of active Advanced Transmission Line (ATL) loudspeakers for music creation and production.

The new MB3 and BB6 are ultrahigh-resolution active monitors with digital and analogue inputs, designed for freestanding or soffit-mounted use in recording, mixing, mastering and outside broadcast applications, and available as single or twin-cabinet (XBD) versions. The MB3 and BB6 use the latest generation of PMC’s drivers and intelligently applied DSP, in cabinet designs re-engineered to further improve imaging and dispersion.

LD Systems is introducing various new products to the American market for the first time, including the MAUI 11 G2 and the MAUI 28 G2 – the next

generation of its compact, active twocolumn systems. The performance of both PA systems has been significantly improved with reduced weight and additional features such as a separate column for the MAUI 11 G2 and optimised sound for both of the new systems.

The company will present vocal and instrument sets from its new U500 Wireless Series – which are now available in three radio frequency bands – and launch the new Stinger G3 Series with a planned release for February 2017.

Allen & Heath will reveal dLive C Class, a new compact range of surfaces and MixRacks that opens up its dLive platform to a wider spectrum of AV, installation and live event applications.

There are three new MixRacks in the series: CDM32, CDM48 and CDM64, plus three new control surfaces: the 19in rackmountable C1500, C2500 and twin-screen C3500. The MixRacks house the 96kHz/96bit XCVI Core, providing capacity for 128 inputs with full processing and 16 dedicated stereo FX returns, plus a fully configurable 64 mix bus architecture, with full processing on all mix channels.

Keep an eye on the Audio Media International website in the lead-up to and during the show for all the latest NAMM 2017 show info and product launch stories. www.namm.org

Inspiring Every Moment Audio-Technica’s In-Ear Monitor Headphones Bringing the worldwide critically acclaimed sonic signature of the M-Series to an in-ear design, the Audio-Technica in-ear monitor headphones have been designed to fully answer the needs of demanding sound professionals and musicians from the studio to the stage and the DJ Booth.

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ATH-E70

ATH-E50

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OPINION

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‘UNNATURAL’ NATURE – THE SOUND OF ‘PLANET EARTH II’ Producer Matt North responds to complaints by some viewers about the use of ‘fake’ sound effects throughout the recent BBC documentary series, which saw the sound design team take some unfair criticism.

MATT NORTH

uring the final months of 2016, the BBC’s documentary series Planet Earth returned for its eagerly awaited second run, astounding viewers and receiving widespread critical acclaim. However, despite the beautiful cinematography, climactic score and didactic drama, some viewers took to social media to criticise the soundtrack, complaining that the sound effects were too ‘fake’ and ‘unnatural’.

I should start by saying that I personally really enjoyed the series, particularly the impeccably composed ‘Iguana and Snakes’ sequence. However, I did come across several media outlets that had picked up on similar complaints about the soundtrack.

Many of these reports were collating viewers’ comments and lightly touching on the complexities of the production process, but there was one in particular that prompted me to think more deeply about this response to the programme.

The Huffington Post ran with the headline: ‘Planet Earth 2’: BBC Admits to Recreating Sound Effects in The Studio After Being Caught Out by Viewers’.

Upon my initial reading of the article, I immediately identified the tone as being extremely patronising to the shows’ viewers and incredibly naïve about the logistics and technicalities of such a monumental production. Part of me was shocked that any reader could be persuaded to believe that all of the diegetic sounds they hear on such programming are obtained during the time of shooting.

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Photo: BBC/David Willis

Though dwelling on my annoyance at this article for a few moments caused me to have a complete U-turn of thought: of course the majority of viewers are unaware of the ‘invisible’ audio post-production process – that’s part of the magic and what allows sound designers and mixers the opportunity to showcase their art.

Admittedly, hindsight shows that this is more than likely a piece of ‘shock journalism’, but even still, there is one resounding question raised from these reports: if these viewers so desperately disliked the sound design, what were they expecting to hear instead?

The answer to that question is obviously extremely subjective. But it’s clear from the outset that Planet Earth II pursues a highly dramatic treatment of the traditional nature documentary and the accompanying soundtrack that has come under criticism has only aided in the creation of this aesthetic.

sound and vision While maybe a subtler, more naturalistic approach to the sound design could quite well have been achievable, said dramatic treatment of Planet Earth II is so engrained in the visuals that a soundtrack possessing such qualities would simply not have been cohesive and consistent with the visuals.

The stunning slow-motion shots, the script and climactic editing are all constructed with copious doses of dramatic intent, thus

informing the soundtrack of its need to convey these emotions also.

Sound and image need to both promote the same message in order to create an immersive experience. If the visual is suggestive of a certain impact or contact and is cut in such a way as to convey powerful drama, the sound will need to meet this subconscious expectation of the viewer to ‘sell’ the scene and achieve its dramatic goal, however unrealistic it may sound in isolation.

It’s also important to note that there was no sound recordist credited across the series, thus leading to the assumption that any production audio was captured either by the camera or production team and not a dedicated professional. This is in no way an outright criticism of the producers for not taking this into consideration; rather an observation that the very environments and logistics wouldn’t have provided the necessary opportunities to capture the ‘real’ sound on set.

Whilst I’m no wildlife expert, it’s fairly straightforward to conclude that such an unpredictable and uncontrollable subject as wildlife would have prompted the need to often shoot on long lenses, thus making it almost physically impossible for a sound recordist to obtain ‘realistic’ recordings that would match the treatment and emotive style of the programme. Combine this with the shooting climate, as well as the need for frequent communication

between crew just to capture the necessary shots that will cut well in the edit suite and you have a recipe for failure in regards to obtaining useable sound.

Therefore, it’s not only impractical but virtually impossible to capture the ‘real’ sound that some of these disgruntled viewers may be protesting for.

So whilst the comments over the ‘unnatural’ soundtrack are possibly valid arguments, this should be considered a criticism of the programme’s overall approach and treatment of telling the stories and not a single point of blame towards the sound design team themselves. Overall, Planet Earth II succeeds in its aim to engross and captivate its audience in incredible displays of the natural world that its intrepid team has worked so hard to capture. If anything, these concerns only highlight the critical need for sound to be carefully considered in the treatment for every story, from preproduction through to delivery.

Matt North is a freelance audio producer, specialising in high-end corporate and branded content. Based in Norwich, UK, he primarily offers post-production sound mixing, design and restoration services to clients internationally, but also has professional experience in location sound recording for film and TV. www.mattnorthaudio.co.uk Twitter: @mattnorthaudio

OPINION

www.audiomediainternational.com

TIME TO LOOK FOR A USED CONSOLE?

Keith Dale of e-seller GearSource Europe and Ben Nemes from the new online marketplace Resurface reveal some of the recent trends they’ve spotted in this sector as we head into the New Year.

KEITH DALE, GEARSOURCE EUROPE

he used console market continues to be buoyant as we say goodbye to 2016 and hello to 2017.

From our perspective we have seen some notable shifts in the market – sales of the hugely popular Yamaha PM5D and M7CL have slowed down to a trickle and the market is almost over subscribed, which has driven prices down – but if they’ve been working and generating revenue since the first sellers started letting go of their consoles at a premium price, it will have no doubt evened itself out. We have some 40-plus M7CLs and 25-plus PM5Ds on our books so for those looking for a bargain digital console, the choice is huge – only the best specced and maintained will sell.

As for analogue, sales are almost static.

We still get the occasional enquiry but, like it or not, it seems most have switched to digital. If this was the Premier League, based on the number of ‘listings’ then Soundcraft went into the Christmas period with 75 points, with Yamaha close behind on 50 and Midas on 26. The rest will be fighting it out in mid-table and there are 17 teams – er, brands – in the relegation zone with only one point each.

So what is the most sought-after digital console? From our specialised – and rather unique – viewpoint it would be difficult to pick between Digico, Digidesign, Soundcraft and Allen & Heath consoles.

As can be seen from this selection, our market base is diverse and varied – all of these have sold well in 2016 and there’s

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nothing to suggest 2017 will be any different. Picking out a clear front-runner though is difficult as the choice in audio consoles is vast compared to their lighting counterparts where you can see very clear global and even regional trends.

On a more general regional basis, our sales are mainly made within Europe – and we include the UK in that – with increasing activity from Africa (not just South Africa) and Japan (GearSource Inc. in Florida handle sales in the Americas). Technically we don’t detect any change across our markets. To a large degree this is more likely due to the large and varied mix of products we sell, which makes it hard to detect anything other than dramatic patterns, of which there have been none.

The biggest factor that will most likely change this scenario is Brexit – not any new technical development. For us, being able to move equipment around quickly is key to our business. Anything that hampers this will have a negative effect, unless companies are gifted more time to organise a production in advance.

Buying a used console can save a considerable amount of money compared to buying new and shouldn’t have a negative impact on rental prices. So if you’re able to purchase one at a sensible price there’s nothing onerous, providing you ensure the model you are buying is packaged as required – don’t assume anything is included if not mentioned explicitly; buy from a reputable source which is able to offer protection should what you receive vary from what you

thought you purchased, and ensure that you obtain a fully priced quotation including delivery as freight prices can be considerable on anything out of gauge.

If it’s a low priced console to start with, freight can be more than the desk itself.

BEN NEMES, RESURFACE

The secondary market for vintage analogue desks is, by definition, well established and well served, but these aren’t the desks you’ll see in the vast majority of single or multi-room studios and post facilities today. The last 20 years has seen the standardisation of mixing in-the-box and between them, the major manufacturers have sold many thousands of the control surfaces which characterise that approach into air conditioned, smokefree and technically-maintained rooms.

It’s precisely that trend that kept my Resurface co-founder Tim Hurrell and me busy for a couple of decades, and inspired us to create our online portal.

If you own a surface or console, at some point you’re going to sell it, or you’ll consider trading it in. Either way it needs to contribute to its own replacement so you’re going to want to know what it’s worth, and you’ll want to make it available to a worldwide audience of genuine buyers, get it sold, decommissioned and shipped to its new owner quickly and without undue hassle, for the best price it can attract. Right now, Avid’s S6 is a popular replacement surface, with well over 1,000 sold. Trade-In offers are available, but with myriad permutations and combinations of spec offered by today’s modular, scalable products, it’s difficult for the customer to assess whether a manufacturer’s part-exchange is the right deal. Harder still is when the customer is ‘trading down’ to a smarter product with a smaller number of faders, as is the trend with today’s more capable and infinitely assignable desks.

Timing is everything, too. Even the most advanced, most beautifully ergonomic and aesthetically exquisite console is ultimately a technology asset like any other. As a significant investment – and there are very few studio kit investments more significant than the console – it has an optimum life cycle, whether the owner is cognisant of it or not.

In our experience down the years, many creative businesses (be they multinational media enterprises or one-man-bands) invest in technology with a three, five or ten-year ‘refresh’ plan in mind from day one. But then again an awful lot don’t. Resurface advocates that owners consider where they are on the curve and understand the variables.

Be aware also of factors such as ‘End of Support’ dates; when critical spares such as faders and power supplies are no longer available for their desk. If the plan was to run the console for years after the lease is paid off, then that may or may not be possible – it’s in the lap of the gods. The trick is to have a plan and stay ahead of the game. www.gearsourceeurope.com www.resurface.audio

C R E ATI V E M A STE R I N G. R E I N V E NTE D. WaveLab is today’s leading mastering and audio editing platform, favored by mastering facilities, music studios, sound designers, journalists and broadcasters. Its comprehensive set of features, customizability and outstanding audio quality are the reasons WaveLab became the world’s most popular professional platform for audio reďŹ nement.

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GEO FOCUS: THE NETHERLANDS

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DUTCH COURAGE As the once choppy waters of the music industry in the Netherlands begin to subside, a number of trends have emerged. Here, Colby Ramsey discovers why those in the domestic post-production market are now attempting to globalise their offerings more than ever.

Population: 17 million

ike in many countries, the music industry in the Netherlands took a hit following the financial crisis and resulting economic stagnation of 2007-2009, with a lack of healthy budgets struggling to keep the market in good shape.

Since then, the landscape has changed somewhat dramatically thanks to the increased availability of good quality, reasonably priced prosumer recording equipment and high speed internet in the

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January 2017

Netherlands, as well as the emergence of new educational institutes for popular music and music recording, leading many new artists to decide that it would be wiser to record, produce and distribute their music themselves.

While the consumer side has also changed with the growing popularity of music streaming services – causing saturation of the market – Legacy Studios’ recording and mix engineer Joram Pinxteren believes that the waters have become calmer in the

last two years, with artists, managers and record companies recognising the importance of remaining competitive in terms of their recording and production offerings.

“Electronic Dance Music (EDM) has been a fast growing and very successful branch of the Dutch music industry in the last decade, with many artists capitalising on this success,” Pinxteren explains. “I myself was asked to mix different international EDM and EDM-related productions because the client

expected that a Dutch engineer ought to work on a proper EDM mix, and indeed, I think they were right since Dutch musicians are quite exposed to this kind of music.”

Others, like audio post and dubbing studio Creative Sounds’ managing director Patrick Ulenberg, believe the biggest change in the pro-audio and recording industries in the Netherlands has been the increased demand for more innovative and cost effective processes. “Today it’s not just about delivering your mix on

GEO FOCUS: THE NETHERLANDS a tape - studios are being asked to deliver according to all kinds of new standards,” he says. “Content needs to be delivered for traditional broadcast, VOD, OTT, home video etc. and in order to be able to do so, studios need to be innovative.”

Meanwhile, those in the postproduction realm are continuing to enhance their workflows with linked servers, meaning audio can be imported and mixed often without any client being present: “All this makes production much more efficient, especially on bigger and more costly productions – and with constant costsavings being asked for, this is a must,” notes United Post-Production’s head of audio Rob van Schoonderwalt.

Van Schoonderwalt goes on to explain that the implementation of the R128 norm for broadcast audio-mixing “really shook up the establishment,” with the legislation being welcomed by some mixing engineers and protested against by others, partly because some did not understand the motivations behind it.

Moving forward Hilversum-based United has been investing heavily in new formats like 4K, 8K and HDR together with integrated workflows to demonstrate to potential clients what can be achieved and how it can be done costefficiently. This change in approach has lead to a boom in business for United, both with conventional and high-end post-production work from clients at home and abroad.

Pinxteren is also witnessing an increased interest in craft and quality as the music industry looks to explore advanced business models, along with an overall increased appreciation towards Dutch musicians. “People are understanding that skill and workmanship of all people involved in a project are important for success, so this could be an advantage for the Dutch music industry,” he remarks. “In the Netherlands the level of music education is quite high and there is some support in the form of subsidies.

On the other hand, Dutch artists should be careful not to think about business and trade too quickly and focus more on inventiveness and originality.”

When it comes to Ulenberg’s specific line of work, he has noticed a shift away from subtitling and a step towards dubbing, and also continues to observe healthy growth. “If clients need more localised versions of the same show in different languages, chances are that the Dutch actually speak those languages. That gives an extra security of the quality that is being delivered,” he says. Despite this positivity, the Dutch market as a whole faces constant challenges, the most significant of which for Ulenberg are turnaround times and pricing. He asserts that being flexible is the only way to overcome and embrace this challenge.

Van Schoonderwalt adds that while it is important to join forces and collaborate with others as part of a post-production ‘family’, surviving alone in the market has become very challenging. For Pinxteren, the main

challenge seems to be an overabundance of the recording industry’s willingness to think big in terms of its scope. It is very attractive for Dutch artists to carry out their projects in big recording centres in the UK and USA, “therefore the biggest challenge seems to be able to keep the artists closer to home,” he observes.

With the majority heading for the music capitals however there is a risk of developing too much uniformity in the industry. To become noticed in a globalising world, and to avoid interesting clients disappearing, Pinxteren believes producers should “develop more skill, inventiveness, personality and involvement with their customers.”

This should not be a problem then for the Netherlands, with its lively and healthy music scene and its growing copyright business. “An ambitious artist has many possibilities to develop and many places and events to go to be inspired,” Pinxteren adds.

“To become a little political, the artistic climate is a bit under pressure since populism has set its marks in Dutch society. I think the biggest threat for any industry is when there is no room for inventors to do their experiments.”

Despite being a rather small country compared with some of the European powerhouses, the Netherlands acts as the gateway to the rest of the continent, and continues to lead the way in pro-audio innovation.

Still work to do Players from across the industry

should still be mindful going forward, though. Post-production companies particularly may look to increase their chances of survival by investing in the latest technical developments, as well as collaborating and combining their expertise with those of different disciplines to meet client demand.

While post work is as prevalent as ever in the Netherlands according to van Schoonderwalt, he believes that the overall quality of the work and the engineers/mixers has to be better if the industry is to maintain and expand on its strengths.

On the dubbing side, Ulenberg predicts that in due time all international shows will be available in spoken Dutch, reflecting healthy growth in the domestic market.

“Whether it’s adult or children-based, the viewer wants the choice after all,” he affirms.

On the contrary, there is hope that there will be enough experimentation and originality in the Dutch music industry to uphold it as an interesting area to work in, with widely available high speed internet in The Netherlands having a significant impact on how music is consumed, and many telecom providers offering free music streaming bandwidth for their customers.

Pinxteren concludes: “Internationally I expect a more avant-garde music scene to develop in the coming years. At the same time, I see a future for festivals providing a broader experience for more specific subcultures and smaller audiences.”

January 2017

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FEATURE: LIVE SOUND

www.audiomediainternational.com

GETTING PERSONAL

Allen & Heath ME-1 at Hollywood Bowl on the Above & Beyond tour

With more musicians taking their monitor mix into their own hands than ever before, we’re shining our spotlight on the products that enable this newfound freedom.

lthough they might not be a feature of every medium to large-size live gig just yet, personal monitor mixers are becoming an increasingly common sight on stages all over the world, and it’s quite easy to see why.

At first glance they can seem pretty basic in some cases, but that sort of is the point – or at least one of them – as they effectively hand much of the control over to the musician, leading to (hopefully) better performances while allowing the engineer to focus on other tasks and free up valuable space on the console too. We’ve all either observed or actively participated in shows where communication difficulties between the engineer and the musicians was there for all to see – or not see, as the case may be – and the presence of one or more of these handy devices

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would’ve helped reduce not just the overall stage volume, but stress levels as well.

The technology is no longer quite so new, and with it becoming more affordable and a wider range of choice on offer across a number of different brands, it’s time we looked a bit closer at the personal monitor mixer (PMM) market, and who better to discuss recent developments with than some of the leading manufacturers in this sector, beginning with one of the companies that started it all.

Aviom is known for pioneering personal mixing with the Pro16 Series, and remains one of the frontrunners in this field with current models like the A320 with its simple user interface and the A360, which delivers more channel-level options, including EQ and reverb, along with customisable channel selection. Product research

and development manager Ray Legnini agrees that demand for this kind of kit from musicians and audio professionals is on the up, adding that users’ appetite for digital consoles and audio networking equipment has been good for business.

“We have been building personal mixing solutions for 15 years now, and every year we see more and more performers becoming aware of the solutions that we and others offer. Often times it’s a drummer who starts the ball rolling by trying to get more control of his/her monitor content,” he says.

“As more and more customers make the switch to a digital console, they are more likely to want to have a monitor solution that can interface directly to the console. Aviom licenses our A-Net technology to most of the major console manufacturers so that they

can offer digital console cards with direct Aviom compatibility. Also, Dante networking has helped this trend.”

Mathias von Haydekampf, president of network-based PMM provider myMix also believes that putting the performers in charge of their own mix was always going to be a smart move, especially for bands centred around one main artist, but he also stresses the importance of keeping the technology as simple as possible so as not to confuse the user.

“For larger set-ups with a main artist, the PMM system allows the individual musicians to get what they want, while the monitor engineer has even more time to devote to the star,” he explains. “Rather then trying to create ten or 20 individual mixes, the monitor engineer provides a number of good submixes, so that the musicians can easily create their personal mix

FEATURE: LIVE SOUND blending their instrument with premixed stems.

“The device needs to be intuitively easy for a musician to have any benefit from it. They are being paid to play music, not fiddle with a PMM and some of them are not made with that information in mind.

It is very important to understand that just providing the technical ability to have all channels available is overkill – there needs to be the right combination of submixes and individual channels available, on a level that musicians can relate to.”

Stick to the basics Tom Knesel, co-founder of Pivitec, which manufactures another networkable alternative in the form of the compact e32 mixer, has noticed that many users get hung up on targeting features that should really be considered secondary, such as high channel counts and DSP functions – all of which add complexity to a system.

“The idea in a monitor mix is to provide for pitch and timing references at the most basic level. So, I believe, that audio quality, the headphone amp, and ease of use are far more important,” states Knesel. “A user should not have to plow through several levels of menus to adjust basic parameters. User interface and audio

fidelity should be number one and two.

Another important consideration is how is the mix being delivered to the musician? A system should provide the flexibility to support both wired and wireless systems.”

When asked to offer advice on selecting the right kind of mixer, Nicola Beretta, product manager at Allen & Heath – a relative newcomer to the market with the ME-1 back in 2014 – says that getting the channel count right tops the list of priorities, followed by other factors such as Power over Ethernet (PoE) capabilities.

“Most personal mixers are limited to 16 mono or stereo sources and this typically means using up a number of busses to create submixes. ME-1 can mix over 40 sources and group them locally, with independent, custom layouts and grouping for each musician, freeing up those precious busses at the console,” Beretta notes.

“Other factors include connectivity and robustness. Look for devices with EtherCon ports, as cables and connectors are otherwise prone to damage. Compliance with Ethernet and PoE means you can run mixers off a low-cost switch rather than a dedicated hub from the manufacturer.

Finally it’s always a good idea to have your personal monitoring system future proof and able to accept

changing standards rather than limited to one transport protocol.”

It’s clear then why so many have opted to invest in PMM technology, but in which areas of the industry are these companies seeing most interest? Out of everyone we spoke to, there was a clear trend, with the huge US House of Worship (HoW) market way ahead in terms of overall uptake.

“We are seeing live venues, studios and tours switch over to personal monitors, but churches are the biggest growth market,” reveals Andy Swanson, marketing director at Digital Audio Labs, which claims to offer ‘the most feature-rich system on the market’ with its Livemix range. “With any relatively new technology, it takes a while to educate the market on the benefits. As the technology gets less expensive and easier to integrate, the barriers to entry are reduced and the demand has grown. Smaller and expanding churches (a significant number in the United States) are able to afford and implement personal monitoring, building market demand.”

HoW sits at number one for Allen & Heath too, but perhaps unsurprisingly when you look at its console business, sales are picking up in other areas of the live sector and even further afield, and the same can be said for other manufacturers.

Digital Audio Labs’ Andy Swanson “The biggest market is still House of Worship, however we are seeing a clear uptake in theatre, musicals and broadcast, particularly for orchestra or band monitoring in live shows,” reports Beretta. “A couple of examples are Ballet Rambert, which installed a number of ME-1 mixers at its home venue on London’s Southbank, and Blue Man Group, who travel with nine ME-1 and three ME-U hubs. Touring bands and productions are also adopting personal monitoring systems, as was the case on recent Gaz Coombes, Musiq Soulchild, and Ane Brun tours.” myMix has an even more varied user base, according to von Haydekampf: “Having your own control while making music is a big advantage and therefore I see them in more and more applications. myMix, for example, is being specced for emergency operation buildings because of its network capability and limitless channel network; we have one installation where they use it over 11 miles with 21 units as an intercom system. We have a system used for simultaneous translation and we even have it in a remote wind turbine.

“Rehearsals are getting more and more popular because with myMix you don’t need anything but your instruments to get going (local inputs).

The myMix system is a solid structure comprised of just a few components.

It is scalable to whatever environment – there is no channel limitation and it connects to any console.”

Role change But there are some who feel that personal mixing could be seen as January 2017

23

FEATURE: LIVE SOUND

www.audiomediainternational.com

myMix played a key role during the recent Pete Tong and the Heritage Orchestra gig at the O2 in London a threat to the role of the monitor engineer in the long term. Doesn’t handing a lot of their responsibilities over to the musicians take away some of the importance of their position, or maybe instead it will just lead to an alteration rather than a devaluation of their duties?

“Based on my experience I just don’t see this side of the argument,” states Knesel. “PMM systems tend to get utilised in many situations where a full-on monitor console and engineer are not warranted or practical. In situations where there is a dedicated monitor console PMM can still provide advantages in delivering a mix to the musicians and taking some of the load off the engineer.”

Swanson is one who foresees engineers’ jobs becoming more tutorial as the technology becomes more heavily adopted, especially with less audio savvy musicians, although he does seem to be referring more to cases where there is one engineer looking after both FOH and monitors.

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January 2017

“Most performers, whether on stage or behind studio glass are experts at their instrument. They are not, however, experts in mixing. Personal monitor mixing doesn’t relieve the engineer of responsibility for the mix. It does change their role to that of a trainer,” he explains. “When the engineer works with the musician, training them to make a good monitor mix, then the engineer can focus on the house mix. But many techs will say, ‘Here you go – 24 channels with EQ and compression, now you can make your own mix, [mic drop].’ That leads to frustration. Anytime people are frustrated, they will perform at less than the top of their game. If anything, personal monitoring makes cooperation even more important.”

The age of the personal monitor mixer is only really just beginning, but you could argue that it’s already under threat from smartphone/tabletbased alternatives that continue to be released on a constant basis ever since the arrival of remote control for digital consoles a few years ago. Some

of our manufacturers, including Pivitec, which uses mobile devices as the main interface for its systems and Allen & Heath, which offers apps like Qu-You that allow performers to control their own monitor mixes using a handheld device are already well placed to take advantage of this new trend, but the others are confident that there are still plenty out there who would prefer a physical product.

“We always remind customers that a phone/tablet monitor mixing solution can be a viable answer – if you have unlimited time to fuss with it,” Legnini says. “But you have to remember that mixing monitors is not your [the musician’s] job – playing an instrument, singing, reading music, and performing are. A physical interface with knobs and buttons is much easier to navigate than something that is menu-based when you need to make quick adjustments with minimal distractions and without losing focus on performing.”

In conclusion then, what advancements in personal montor

mixers can we expect to witness over the next, say, five years?

“I see tighter integration with digital consoles as inevitable,” Knesel predicts.

“Wireless technology and network speed will allow more flexibility and options in how audio is distributed and routed in live performance. This will bring alternatives to the current RF systems used for IEM systems.”

Swanson is also looking ahead to what he hopes will be another busy period of progress: “We see the market continuing to grow as more and more folks see the benefit in personal monitor systems,” he says. “I expect that we will see some more innovation in the space as well. Predictive mixing, tighter wireless and network integration, and ease of use will be things to watch in the next few years.” www.allen-heath.com www.aviom.com www.digitalaudio.com www.mymixaudio.com www.pivitec.com

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FEATURE: FINAL CUT

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JUST WHAT THE DOCTOR ORDERED

////////////////////////////////////////////////////////////////////////////////////////// Production sound mixer Deian Humphreys tells Adam Savage how close collaboration and kit that can cope with noisy sets helps obtain good dialogue for one of the world’s best-loved sci-fi shows. t’s become something of a tradition for countless families not just in the UK but all over the world to tune in for the Doctor Who Christmas special every year to see what kind of trouble our Time Lord has got himself into this time, and 2016 was no different.

Last month’s festive episode, which saw The Doctor join forces with a journalist and a superhero to save New York from a deadly alien threat wasn’t just the ideal piece of telly to enjoy during the post-dinner stupor; it also gave fans their much-needed fix while they wait for the next full series of the sci-fi show, which has been produced by the BBC since 1963 with Deian Humphreys handling the challenging role of production sound mixer for the past three seasons. We managed to catch up with him during filming of his fourth series – a job that had taken him away from a frosty British December to the more pleasant climes of Tenerife, Spain.

For a programme that is centred around visits to different time periods and other worlds entirely, location work is

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a necessity, but not as much as you might think – around 70% of the work is done in the studio or in the Cardiff area. And even though the amount of time spent filming may at first sound generous when other crews are often given a matter of weeks, Humphreys does not have it easy.

“Normally jobs are ten weeks or maybe three months – six months even – but this is nine months and there’s no margin for error. You can’t have your equipment fail on you so I’m not afraid of spending money and I will buy the very best of everything,” he explains. “I have not had my equipment let me down – you get the odd broken lapel mic where an artist has ripped the head off but I’m talking about recorders that can record sync audio without drifting for 11-hour days. Our normal day would start at 7:30am, we work through to 7pm with only half an hour for lunch so the machine is on almost all day and is required to operate in all sorts of conditions.

“At the front end of the whole kit is my Sound Devices 788T, which is a bulletproof piece of equipment that I

just adore and has very, very rarely let me down. In a science fiction programme like Doctor Who one minute you could have whispering dialogue that would all of a sudden erupt into levels that could blow your ears off almost, but the 788T copes admirably with all of that.”

These sudden bursts of sound may be necessary to help give viewers the sensory thrills that they’re used to experiencing

with Doctor Who, but it does create a few problems for Humphreys when trying to achieve his main goal: capturing dialogue that is as clean as possible.

“That’s the number one objective. There are all sorts of things that prevent us from doing that of course: smoke machines; wind machines; snow machines; sets made of wood so when people walk on them they sound awful so we’re forever laying

Deian Humphreys

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FEATURE: FINAL CUT

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Humphreys relies heavily on Schoeps microphones

The CEDAR Audio DNS 2 (above) and Sound Devices 788T (below)

carpets, hanging curtains or blankets up to try and deaden places; there’s a generator that I’m always trying to get parked as far away as possible from the set. We’re also constantly having to battle against atmospheric conditions as well like traffic noise or aeroplanes.”

Keeping the noise down As we all know, sometimes these obstacles cannot be overcome on set and will lead to a separate ADR session or become a clean-up task for postproduction later on, but Humphreys won’t allow this to happen unless there is absolutely no alternative, which is why much of his kit was selected with noise reduction capabilities in mind. But that’s not all he was looking for when he made his picks, particularly with microphones.

“I decided that Schoeps mics are the ones for me because of their warmth and the natural way they sound. In my arsenal I have two digital SuperCMIT mics and those are the ones that we’d normally use for external locations,” he notes. “They record two ‘legs’ – one is a treated signal, the other normal – so you can set the gains and listen to the normal signal and the treated signal side by side and the difference is incredible sometimes in the way that it can get rid of background noise.

I’ve been told by the dialogue editor that it can be the difference between having to record ADR and not so in that respect it’s an invaluable tool.

“One thing I did invest in for this series is a CEDAR DNS 2. I was told that we were going to have to do a lot of ADR because of the traffic noise so I thought ‘I’ll be the judge of that’ and was blown away by what it was capable of.”

In fact, the purchase was made in the run-up to the filming of the Christmas special, presumably to prepare for the inevitable onslaught of deafening snow machines? Well, although that usually is the case, if you did watch the last festive episode then you may have noticed a surprising lack of wintry conditions, which was good news for Humphreys on the noise front. That didn’t mean there weren’t things for him to worry about, however.

“One of the characters was a superhero with a suit that had this amazing squeak to it. Every time he moved it made this awful noise and in the end we were able to limit it a little by using a bit of talc or tape here or there. We also like to have a close relationship with the costume department because putting mics in clothes presents all sorts of problems. 2nd Assistant Sound Chris Goding will be forever tinkering with radio mics to get them as clean as possible.”

It works both ways As well as collaborating with other units like the costume people, it becomes clear when talking to Humphreys that making life easier for the post team also ranks highly on his list of objectives. Others in his position will say the same, but he really does seem to go the extra mile, and one other crewmember he is always looking to impress is dialogue editor Darran Clement, who it turns out recommended him for the Doctor Who role.

“He [Clement] loves the way that the compressors are set and how the mics sound. The workflow that we have is great and it’s one of the things that’s really important when you’re working – I would always do a job and speak to whoever’s

doing the post-production sound before I start shooting so you already have conversations about how they want things and how you achieve that.”

And his relationship with the guys in the studio goes a lot further than the occasional quick conversation when a problem arises.

“I always think it’s good not just for them to come to us and see what we’re up against but it’s also good to go in and see what they’re capable of. Sometimes we’ll go and see post-production sound and we’ll talk to the guys there and see what they can do. The software they have to hand is incredible – sometimes you think ‘oh god they’re never going to be able to use this’ but now they have iZotope [RX] and things like that to clean up all the dialogue and it’s a real eye opener for us.”

Unfortunately, there are times when unwanted interferences become too much to overcome. The show might take its characters to all sorts of places, but one location that has remained constant since the very beginning is the iconic craft that The Doctor uses to travel through time and space: The TARDIS. As is often the case, the set looks fantastic – and just like what you might expect the inside of a time machine to look like – but it wasn’t designed with the sound guys in mind, and hasn’t got any better over time.

“It’s a horrendous set to work on! It creaks, it has smoke machines that are on constantly, the whole floor has become unsettled and it’s now terribly squeaky,” Humphreys says. “Post are forever having to clean up the dialogue that we do there.

I carry an enormous amount of rubber matting that we put down whenever we don’t see the floor.”

With Doctor Who being a two-camera shoot, it is not uncommon to come across certain issues when faced with wide and tight angles at the same time, which is where Humphreys’ arsenal of Audio Limited 2040 series comes into play, and not forgetting to make sure all his tracks are nicely organised for the editors before they’re sent off.

“We will always put any speaking character on a radio mic, but we’ll always try and capture a sound on a boom – expertly handled by 1st Assistant Sound Tam Shoring. All those radios are recorded separately and I make sure that I label them with the character name or what that mic is, where it’s planted etc.”

Humphreys also believes that a production sound mixer should do exactly what the role suggests, which might sound obvious, but this isn’t always the case.

“I always follow the script really closely.

I used to be a sound supervisor for the London Studios and worked on This Morning so having done live TV I know that if you have ten people having a discussion about something you can’t just leave ten mics open; you need to follow that conversation and that’s something that’s been instilled in me since those days.

“I’m a production sound mixer so I should be mixing, and I do – very hard.

Sometimes you hear about sound recordists where if they have two booms and four radio mics then they just leave them open. Well I think that’s atrocious and it’s awful to listen to when you’ve got a scene where there’s six mics open and only one person talking.”

“What I strive for is as good a mix as possible for people to listen to – that’s something that’s important to me.”

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STUDIO PROFILE

www.audiomediainternational.com

A NEW YEAR’S RESOLUTION

After spending around half a million pounds upgrading its facilities over the last year alone, SNK Studios is now ready to put its brand new audio suite to the test. Colby Ramsey reveals how the Dolby Atmos-equipped space is giving the London-based studios a head start in 2017.

///////////////////////////////////////////////////////////////////////////////////////// s a new year dawns on the pro-audio industry, finishing touches are being made to a new 500 sqft reception space, new production offices, and cutting edge Dolby Atmos room at SNK Studios’ London HQ. Over the last year, the team have worked tirelessly with the designers and acousticians at Miloco Builds to create a refurbished space capable of handling the latest developments in cinema and VR, with a full 5.1 and 7.1 commercials and trailers certification.

With a massive 360° speaker array from ADAM Audio, Studio 7 is the first Dolby Atmos room in London relying

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on a full complement of sound systems from the Berlin-based manufacturer.

The open layout also makes the suite ideal for ADR recording and dubbing of long-form work.

The company emerged from humble beginnings after being formed by studio director Seb Juviler and his business partner in 2003. The pair, who already had a sound engineering and music production background, initially made use of a small one-room setup close to Ealing Studios, undertaking audio post and sound design as well as mixing voiceovers and music for commercials.

Since then, the company has grown rather significantly, yet its core has remained the same.

Now housed in a solely Miloco-built six-floor facility on Tottenham Court Road on the outskirts of Soho, the SNK building contains four dedicated audio book suites that form part of sister company Red Apple Creative’s in-house studios, as well as another four audio post suites, including nine voice booths and a tracklay facility.

“Audio post has been our bread and butter for the last five years, along with some bespoke music composition for commercials,” explains Juviler.

“It’s always been stereo and 5.1, so the logical next step was to be able to provide Dolby cinema mixes in the form of 7.1 and Atmos – that’s where studio 7 comes in.”

With over 40 people now at the company, a new office in New York, and this recent refurbishment, SNK Studios has positioned itself as a full service audio post house capable of serving a number of markets. “We’re doing a lot work with big international brands and clients now which is super exciting,” Juviler remarks.

The full package From the start, the SNK team were heavily motivated by their desire to provide end-to-end mixing for all their projects. While a lot of adverts worked on there over the years have ended up in cinemas, they had historically been unable to provide that final Dolby

STUDIO PROFILE Seb Juviler

/////////////////////////////////////////// certification, and instead had to rely on other facilities to put the final piece in the puzzle.

Studio 7 now allows SNK to provide the whole mixing service however – which is at its core – and also reflects some exciting technological possibilities with the ongoing emergence of VR recording, as Juviler suggests: “We’ve done a lot of binaural and 3D over the years for ads and installations, but a suite like this gives us an incredible pallet to produce VR audio.

“It is obviously something that the industry is paying a lot of attention to at the moment and so we’re making sure, to use a bit of a cliché, that we’re futureproofing ourselves,” he says. It was

important to do so hastily too, as the SNK team already had sessions penned in for the first week of the year, with a plan to bring it all together in time for this. “I’d like to thank Miloco Builds for their skill and handling of the schedule over the last six months,” Juviler adds.

Once the design was approved, the construction of the new suite went swimmingly, yet the design process proved somewhat difficult due to the nature of the building itself. The SNK team worked with Miloco once again to translate their ideal layout into the room’s physical form, also acting as the middle-man between Dolby and ADAM Audio to balance all of the elements together, ultimately delivering

something that is comfortable for working with clients, yet still conforms technically.

Despite being a good shaped room with a high ceiling, the team had to install a new air con system, carry out extensive structural work to the floor, and tinker with sightlines to maximise space. Then there was the intricacies of meeting all the Dolby specs, choosing where to house the units, meeting the right object rendering specifications, and placing the speakers correctly to hit the optimum listening angles.

“The room really is three dimensional from the ground up,” says Juviler. “It reflects our smooth collaboration with the other companies that were involved: Miloco, Dolby, ADAM and Jigsaw24, who provided all of the new gear.”

Pulling together While Miloco was responsible for the building and wiring, Juviler praises reseller Jigsaw24 as ‘fantastic’ in carrying out all the equipment installation – especially the BSS and Dante networking – to deliver exactly what SNK needed for a truly multipurpose room. “There was 10 to 20 people involved from start to finish, all communicating perfectly at the right stages and getting everything done on time, which was quite phenomenal,” Juviler notes.

At the core of the room is a Pro Tools HDX2 rig with Focusrite RedNet hardware interfaces on the front.

Handling all the monitoring and routing for the Dolby Atmos element through

Dante is a BSS Soundweb London signal processor, which pipes everything out through ADAM S3X and S2X speakers.

The room contains 19 speakers in total, including two Sub15s – also from ADAM Audio. “We had to modify some of the speakers as part of the build, to get them into the walls and ceilings for the overheads, which was really interesting,” explains Juviler. “It’s a combination of actives and passives.

In order to get the space we needed, we’ve got a whole rack of passive amps feeding half the speakers in there.”

Besides serving as a Dolby Atmos, cinema and stereo mixing room, Studio 7 also doubles up as an ADR space, with all its equipment housed in a separate machine room to ensure the complete silence needed for this type of work. With four headphone ports around the room, individual mixes can be communicated to individual actors.

A two-metre-wide projector – which is bulbless to further reduce noise – also beams onto the front wall to facilitate ADR recording, and with a whole host of different lav mics at their disposal, including Sanken Cos 11s, Neumann U87s, and Sennheiser 416s and MKH60s, the SNK team are unlikely to exhaust their recording options anytime soon.

“We have an incredibly talented team here all with great technical backgrounds,” notes Juviler. “We’re just on the edge of Soho but are still perfectly placed with three nearby tube stations and numerous creative agencies just around the corner, so this lets us be a bit more nimble and a bit more competitive in serving our very loyal client base with whom we’ve maintained good relationships for many years.”

Juviler, who rightly remains optimistic for the future, concludes: “There’s some great jobs in the pipeline, so 2017 is really about enjoying this amazing space and cracking on with some work.

Our group of companies as a whole is growing all the time and the creative department are doing really exciting things, so its our job as production to really make sure its all coming together and working well.” www.snkstudios.co.uk

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TECHNOLOGY REVIEW

www.audiomediainternational.com

PYRAMIX 10.1

SOFTWARE

moved over to Pyramix version 9 in late 2014, as development had stopped on the DAW I used for years. As with all DAW software, it took some getting used to Mergingnamed terms and procedures – almost like learning a dialect. Pyramix is loaded with features, and often there is more than one way to go about accomplishing a given task. A Canadian colleague put it to me succinctly: “Pyramix is very much what I call the stretch pants of DAWs.” After working with version 9, I anticipated version 10 eagerly, as it would introduce integrated 3D mixing tools without having to resort to DSP-intensive (and often buggy) third-party plugins.

For this review, I shall concentrate on Merging’s new audio features. Pyramix

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David Bowles gets his head around the latest update for Merging Technologies’ highly versatile DAW, which now offers 3D panning and much more besides.

10.1 is exclusively 64-bit, running on 64-bit versions of Windows 7 and 8.1. Only 64-bit VST plugins are supported (unless the third-party jBridge ‘translator’ is used for legacy 32-bit VSTs). However, Waves 32bit plugins will not work even when using jBridge; the user will need to upgrade to 64-bit versions. This also means that Merging’s legacy 32-bit Mykerinos processing cards will not work with Pyramix 10.1 (at this point there are many audio interfaces with ASIO drivers, in addition to Merging’s two Ravenna-based interfaces). Also new are improvements in archiving metadata, mixdown, album publishing and choices of sample rate conversion (SRC) algorithms. The latest version is 10.1.4 build 31117.

The biggest change between version 9 and 10.1 is the integration of 3D

mix busses and 3D panning. Merging continues its tradition of integrating features that use DSP efficiently, as well as offering flexible functionality. The new type of mix bus is now named General, which supports a variety of speaker arrays, including those with height and depth layers. The range of speaker arrays is impressive, ranging from stereo and surround through Dolby Atmos, Auro-3D, DTS Neo:X, up to NHK 22.2. Unique to Pyramix is the ability to create one’s own custom speaker outputs – a distinct advantage for sound installations with non-standard numbers of speakers. As with previous versions of their mixer, all controls can be collapsed and expanded.

The user can then add Panning Control Busses, which are separate elements from the General mix busses.

Key Features

3D workflows – Offers the ability to mix and master to any speaker output

Create busses of any size

Monitor Section enables down-mixing to every other format

Now exclusively 64-bit, running on Windows 7 and 8.1

3D Room Editor for experimenting with custom room sizes and layouts RRP: From £699 (for Pyramix Essentials) www.merging.com

This is a slightly confusing paradigm at first, but one which makes more sense later on. At first glance, graphics in the new mixer strips look rudimentary,

TECHNOLOGY REVIEW until the user expands the view by control-clicking on the pan bus graphic.

A large window pops up, with a 3D virtual room viewed from the “top” (centre of ceiling) and “back” (centre of rear wall). Graphics for the speaker array in question are colour-coded.

These graphics grow larger as level to a particular speaker is increased. The Panning Control Bus introduces two new features to stereo bussing: width divergence for mono sources, and the ability to add LFE level from individual strips (i.e., for 2.1 monitoring).

For surround control, 2D panning, divergence and LFE level are retained from previous versions, but with the new graphics. Where the Panning Control Bus excels is the 3D panning for height mixes. Values can be controlled by a slider, or by typing in a percentage value in numbers. In both collapsed and expanded views in the mixer strip, a small slider controls these values roughly; I suggest using the “big” window for precision.

Mix busses were also redesigned in order to accommodate more object types (i.e., track types and speaker layouts). The user can configure up to 32 track types for each mixer strip (not including the option “None”!); this can be done when setting up mixer strips or after the fact. Assigning a strip type ensures that audio is routed correctly in

a given mix bus; this has saved me many a headache. The user can also convert older mix busses, now called “Legacy”, to the newer General type. One caution: the graphic representation of these busses looks the same. I would suggest saving projects in the 10.1 format with a consistent moniker to avoid confusion later on.

Monitor Section As I mentioned at the top of the article, there can be multiple methods to accomplish a given task. One way to create stereo, surround and 3D mixes is to create separate mix busses. An external monitor controller can then be used to switch outputs between mixes, then the user can create files via the Mix Down feature. However, there is another method to create separate downmixes for various speaker configurations without needing all those outputs: Merging’s completely re-designed Monitor Section. As with the Panning Bus, one can direct high-channel speaker output to a speaker set with lower channel count. This is very useful for checking downmix compatibility quickly. Speaker icons “grow” as output level increases, and turn red to indicate overload – an excellent feature!

Under the Configure tab, there are non-editable presets for downmixing from high channel count speaker arrays,

plus editable output delays in 0.10ms intervals. However, these presets can be copied, edited and saved under different names for custom configurations. There is also an input patch tab for recording a multitrack mix to Pyramix in real time.

Clicking on an output bus in the I/O & VCA section of the mixer brings up the new 3D Room Editor window (pictured, below). Again one sees the top and back views of the output speaker layout, with two windows below that. Speaker layouts default to a “virtual room”, which corresponds to a channel-based 3D system such as Auro-3D and NHK 22.2. A “sized room” can be created by pressing a radio button on the lower right hand window, and then entering dimensions in metres. The lower left window now shows speaker coordinates: X/Y/Z placement, gain and routing. Speaker locations within the sized room can also be tweaked as well. Custom room sizes and speaker layouts (such as cinemas and sound installations) can be created, saved and recalled. This is more applicable to object-based formats such as Dolby Atmos and DTS Neo:X. Mono sources can be panned leftright, front-rear, bottom-top and have 1D, 2D and 3D divergence applied. In sized rooms, pan attenuation can be applied to exaggerate or reduce apparent distance (imagine how well that would work with VR effects!). With stereo sources, rotation is introduced: horizontal left-right, vertical left-right and vertical front-back. For even more variety, a “dual-pan” mode can be invoked whereby the two source channels are dealt with as separate elements.

What is missing Pyramix 10.1 is not certified for use with Windows 10, though Microsoft’s Anniversary Update has been available for a few months. Quad-core Kaby Lake processors will start appearing in laptops and desktops during 2017; however, these systems will not support Windows 8.1 or 7. Therefore, Windows 10-compatibility will be a requirement.

On my current laptop, some plugins seem to use much more DSP in Pyramix than in ProTools 12, and there are also random “spikes” in DSP use which don’t correspond to processing or recording activities. Perhaps this will be solved by Windows 10 and Kaby Lake – these are

rumoured to run cooler and quieter than current Skylake models.

I would like to see an automated process to convert mix busses from Legacy to General (offering as well to save the project under a different name, as the version 10.1 format is not compatible with older projects).

Defaults are saved in several different locations, but some options are saved with each project instead. Some choices in the Mixdown window are not saved, but corresponding choices are saved in the CD/SACD generation window. There is no way to search for peak level in non-real time (with overloads beyond a given level listed).

At the moment, the handy Final Check Metering tool works only with stereo and surround busses: it would certainly need to operate in non-real time with 3D audio mixes. Finally, my preferred audio restoration tool is iZotope RX5; if this were integrated into Pyramix as well as the expensive reNOVAtor I would be a very happy engineer.

Conclusion Since I switched over to Pyramix, the user interface has remained consistent and the software has worked extremely well for recording sessions and postproduction alike. The Fade Editor is quick and efficient, and it’s easy to deliver digital release files in multiple resolutions and channel counts. I’ve always been impressed by the audio transparency of Pyramix’s mix engine, and this tradition continues with version 10.1’s new bussing and 3D panning. I was able to use version 10.1 in the same manner as version 9 almost immediately, learning the new features in my spare time. However, the 3D Room Editor is well worth studying thoroughly before using it in a time-sensitive project.

The Reviewer David Bowles is a freelance audio engineer specialising in recordings of acoustic music in surround-sound and 3D audio. He guest lectures at New York University’s Steinhardt School Tonmeister seminar, resides near San Francisco, and likes good wine and bad puns.

January 2017

33

TECHNOLOGY REVIEW

LEWITT LCT 640 TS MICROPHONE

This new studio mic “will revolutionise the way we think about the recording process,” according to its maker. Ross Simpson finds out whether the Austrian brand is right to make such a bold claim.

Key Features

Dual Output Mode – provides the signal of the front and back capsule separately

Polarizer plugin allows the user to change the polar pattern in their DAW

Can also be used as a large-diaphragm multi-pattern condenser mic

Magnetic pop filter to reduce plosives and hisses

Any two LCT 640 TS mics will always form a matched pair RRP: £879 www.lewitt-audio.com

Fix it in the mix” – it’s a saying many have used at some point in their engineering career, and with so many tools available to us, it’s all too easy to do. However, as we know, this does not always yield the best results and we should aim to “get it right at source” – that creative fusion between the musicality of the artist and technical decisions made by the engineer. This leads me onto the questions of whether there is the need for a mic that has so much flexibility at the mixing stage and do we need these options or would it be just another gimmick?

It is Roman Perschon, founder and CEO of Lewitt, with its LCT 640 TS,

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that is able to present us with a new microphone to consider here. Keeping hands-on with the production side of the company in China for six months and then at the helm for the rest of the year at HQ in Vienna, he is a man that seems to have been present throughout the process. Still in its relatively early stages, Lewitt launched in 2010 – very soon after Roman had left his job with another leading microphone brand. Together with

his Chinese business partner, Ken Yang, they seem to be seeking to push the boundaries of new product development, innovation, flexibility and perhaps most important for some, affordability.

The mic comes with the manufacturer’s own shock-mount, which holds it firmly in position using a neat, quick-acting screw thread and supports a clever magnetic pop filter – a handy addition but perhaps not as effective as a separate one that can be placed a good three-plus inches from the diaphragm. Other goodies included are a typical foam windshield and a cushioned leatherette storage bag, all packed in a rather impressive military-grade, nearly indestructible case.

On offer are five selectable polar patterns in Multi-Patten Mode: omni, wide cardioid, cardioid, supercardioid and figure-8, whereas in Dual Output Mode you can create any polar pattern

you like, even in post-production. Also, in this twin output mode, various forms of stereo recording are available from just the one mic, including mid-side.

Sensitivity is quoted as 30.1 mV / Pa (-31.4 dBV) cardioid, 30.3 mV / Pa (-30.3 dBV) omni, and 29.4 mV / Pa (-34.1 dBV) for figure-8. Maximum SPL (for 0.5% THD) is 133.8dB. Self-noise is low at 10.5dB (A) cardioid, giving a dynamic range of 123.3dB (A) and a signal-to-noise ratio of some 83.5dB. Standard 48V phantom power is needed for operation on both channels and preamp gain levels need to be matched when tracking in Dual Output Mode.

The LCT 640 TS has four low-cut filter settings: linear, 40Hz, 80Hz and 160Hz; four attenuation settings: 0db, -6db, -12db and -18db plus a clipping history, in the unlikely event of overloading the mic. All these, plus the polar setting are operated by three silently operated, flush buttons on the face of the mic with corresponding white LED lights to clearly outline your setup choice.

Holding down the centre button for two seconds sees the white Lewitt logo turn green to activate Dual Output Mode.

This enables you to record the front and back diaphragm of the capsule separately to fine-tune the polar pattern in post-production, using the simple, free downloadable Polarizer plugin, compatible with both Mac and PC. A red illuminated logo indicates evidence of clipping (for the user) with the ability to check clipping history.

Perfect Match technology ensures that every LCT 640 TS capsule is adjusted to the same sensitivity at manufacture.

In Use I consider microphones to be the most valuable tool when recording; they are the first step in a chain of creative techniques where the setup aims to record exactly what is needed and avoids

TECHNOLOGY REVIEW what really isn’t. I have spent many years building up my studio’s portfolio of microphones (with many more on the wish list) but does the arrival of the Lewitt LCT 640 TS mean I can shorten my list, or even throw it in the bin? Well let’s find out.

I first tried the 640 TS on some vocals and was immediately struck with its clarity, presence and uncoloured sound. It seemed fairly well balanced across the whole spectrum, apart from an apparent presence boost around 8-12KHz. I compared the LCT 640 TS with my old AKG 414 (the B-ULS model), which sounded a little dull in comparison, yet seemed to have a little more character.

I then chose to put the LCT 640 TS to the test against my Neumann U87 Ai. It was surprisingly similar in clarity, output level and signal to noise ratio, but lacked the smoothness of the U87 – maybe an unfair test as the U87 costs more than twice as much, from a brand established for nearly 90 years, but for the price bracket the Lewitt LCT 640 TS stands up well in this crowded market.

Next up was acoustic guitar, in which I gave the MS Stereo recording a go in Dual Output Mode. The process was made very simple with the Polarizer plugin and the simplicity of only having to set up one mic. I found the results to be detailed, upfront and assertive. The low signal to noise/high output of the LCT 640 TS gave really useful, detailed recordings, however I was left wanting a little more warmth from the sound.

When using the Dual Output Mode you need to use the second output, which is via the supplied mini three-pin XLR cable.

This exits the side of the microphone and through the shock-mount, which I feel would have been better exiting the bottom along with the main XLR output.

The decision for the side exit may have been down to the lack of internal space on the mic. When you’re not using the second XLR output, there are three rubber grommet dust caps supplied (two of which are spare). However, a rubber tag may have been a neat addition to stop you from losing them!

Conclusion The Lewitt LCT 640 TS is the swiss army knife of microphones and is always ready for action. It is a pleasure to use, well designed and built to last. It holds

some weight but not so much that it would give you boom arm issues, and it is attractively priced for a multi-pattern mic (or two mics really) especially with plenty of accessories. I like the novel LED lights and multiple choices of pads and filters. The online manual explains things well enough and I think it’s safe to say that, given its price and performance, the LCT 640 TS will be a big hit.

And so for the “fix it in the mix” aspect – do we want or need these options in post-production? For us who have spent years developing an ear for the right microphone selection, in the right position, located in the right space, with the best settings for the sound source, will using this new mic cause us to be accused of over ‘vocal-shopping’ the end product? The answer I believe is down to the individual and how they like to work. I for one like this mic for it’s quality, pad, filter and pattern options, plus the stereo recording, but would probably not actually use it’s post-production features, although, having said that, who knows when I might actually need it to ‘fix’ an imperfect take!

Sennheiser’s MKH800 TWIN was released in 2008, which does appear to be a model along similar lines, although with a far heftier price tag. Perhaps then it is ambitious to call the LCT 640 TS “unique,” however, the distinct Lewitt user interface and Polarizer plugin are notable differences.

If you are looking to invest in a clean, all-rounder microphone with stereo recording options, then you will most certainly get more sound for your pound with this neat microphone.

With four new microphones due from Lewitt in 2017, it will be exciting to see what they have up their sleeve. Let’s keep listening.

The Reviewer

5 – 8. 4. 2017 Frankfurt am Main

Tickets and information: musikmesse.com

It’s my tune.

Become a key player!

Business, inspiration and excitement for the music industry: Musikmesse 2017 showcases just what the industry has to offer.

Test out at Musikmesse 2017 the latest keyboards, synthesizers, microphones and AV and DJ equipment.

Meet colleagues and industry experts, expand your network and share experiences in the Keys & Recording Lounge, or immerse yourself in the world of sound at DJCon. Be here when Frankfurt is again the capital city of music – with new ideas, know-how, international exhibitors and the Musikmesse Festival.

Ross Simpson began his career as a professional dancer/singer, working with the likes of Kylie Minogue and Geri Halliwell.

He runs Woodbury Studios, where he works on a variety of projects from independent artists’ albums to music videos, photography and fully orchestrated live productions. www.woodburystudios.co.uk

info@uk.messefrankfurt.com Tel. +44 (0) 14 83 48 39 83

January 2017

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TECHNOLOGY REVIEW

www.audiomediainternational.com

YAMAHA HS7I STUDIO MONITOR

Stephen Bennett lines these new install-friendly nearfields up alongside two similar alternatives to see how they fare. any moons ago, in the mists of distant audio past, a pretty average speaker destined for home use became the de facto nearfield studio monitor – even though it had a limited low frequency response and reproduced highs so brittle that tissue paper was often used to calm the tweeting. It was relatively cheap to buy, featured a midrange that many found useful when balancing vocals and, in a world of few competitors, became ubiquitous in recording studios all over the world. The Yamaha NS10s featured a distinctive white-coned mid-range/bass unit – as, indeed, do the monitors under review here – the HS7I. So how do the latest range of Yamaha nearfields, which now offer three new optional bracket types (Wall, Ceiling and Baton) measure up to their Marmite-like ancestor?

At 210 x 332 x 284 mm, the HS7I are around the same size as the NS10s – but that’s pretty much where the similarity between the two speakers ends. These are bi-amped powered ported monitors, with a cabinet constructed of braced MDF complete with a black plastic finish that looks like it could easily cope with the trials and tribulations of studio life. The aforementioned white 6.5in woofer is driven by a 60W amplifier while the 1in dome tweeter is served by 35W of audio goodness. At just over 8Kg each, they feel sturdily constructed and exhibited no unwanted panel rattles or resonances even at the ear-deafening volume that these speakers are capable

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of. As a bonus, the front-panel Yamaha logo is not overwhelmingly bright when the monitors are powered up – unlike some, whose LEDs are more like laser weapons than status indicators. The rear panel is pretty straightforward and features the cooling for the amplifiers, a standard I.E.C. mains socket and balanced XLR and TRS inputs. A level control adjusts the output of each speaker, with the zero setting being set at a nominal +4dB. The Room Control is a three-way switch that attenuates the output below 500Hz by 2 or 4dB, while the High trim switches between three settings, allowing the user to boost or cut the signal over 2kHz by 2dB. These switches are not as flexible as the continuously variable controls found on some other monitors, but they do mean that settings are easily reproducible and, by judicious placement and the use of these controls, an acceptable tonal balance was quickly created. Frequency response is specified at 43Hz-30kHz (-10dB) and 55Hz–24kHz (-3dB) – the manual helpfully provides a frequency plot, while nothing during the audition period made me doubt these claims.

Keeping it simple The HS7I isn’t a fancy physical design at all, with just some gently curved edges distinguishing these monitors from the simple boxes of the NS10. But in another nod to the past, the HS7Is also have a metal grill protecting the softdomed tweeter, which is a very useful feature to have if the speakers are to be used in an educational environment where pushed-in drivers abound.

As the HS7I is rear-ported and has heat exchange fins at the back – you don’t want to be pushing these up against a wall, which was a trick often used with the NS10 to increase the speaker’s bass response via the boundary effect. For this review, the HS7Is were set up on stands away from

Key Features

6.5” cone woofer and 1” dome tweeter

43Hz – 30kHz (-10dB), 55Hz – 24kHz (-3dB) frequency response

60W LF plus 25W HF bi-amp system

Room Control and High Trim response controls

New mounting options: Wall, Ceiling and Baton SRP: £278 www.yamaha.com

walls and corners alongside pairs of ADAM S1X and ATC SCM 16A powered monitors, both of which feature 6in midrange drivers. As predicted, the sound from all three monitors was very different, given that the ADAMs have a ribbon tweeter and the ATCs are a sealed-box design. However, the Yamahas come across as reasonably balanced and a tweak of the rear HF and LF controls brought the sound into a similar sonic ball park as the ADAMs – though inevitably with less of a sense of the mid/high frequency detail afforded by the latter’s ribbon tweeter.

For nearfields, the HS7Is give you quite enough sense of what the bass is doing without too much of the ‘one note’ quality you get from some ported designs. I would have liked to have tried these with the matching HS8S subwoofer as the Yamahas could form the basis of a nice 5.1 surround system for small rooms, but they played well with my usual Genelec sub after suitable tweaking of the low frequency controls. Once acclimatised to their particular ‘sound’ after playing back some familiar tracks, mixes using the Yamahas came together pretty quickly and these transferred well to other

playback systems – so if there are problems with your work, it’s unlikely to be an issue with the HS7I. Unlike when the NS10s first hit the stores, the current market is awash with compact high-quality nearfield monitors. The HS7I does not really stand out from its competitors in this price range in any appreciable way, but it does have an individual ‘sound’– which you may like and which is why auditioning monitors, preferably in the location they are going to be used, is a must. The striking white cones that dominate the visual design of the HS series could be seen by some as a cynical marketing exercise by Yamaha, playing heavily on the company’s past successes. But the HS7I is a wellconstructed monitor that is subject to few sonic vices – within the limitations of small powered twin-driver ported design, that is. You might just find that Yamaha’s latest white-coned monitor is perfect for your application – and they are definitely a step-up in both usability and sonic quality from their (sort of) illustrious ancestor.

The Reviewer Stephen Bennett has been involved in music production for over 30 years.

Based in Norwich he splits his time between writing books and articles on music technology, recording and touring, and lecturing at the University of East Anglia.

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TECHNOLOGY REVIEW

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ELEKTRON ANALOG HEAT STEREO ANALOGUE SOUND PROCESSOR

n the months leading up to the release of this product, I found myself scouring the audio community trying to find a stereo distortion unit that was adaptable enough to handle multiple level inputs so as to maximise its versatility as a tool in the studio.

I use fuzz when tracking guitars, grit on synths for sound designs and I love adding saturation and drive when mixing.

Distortion is in my sonic DNA and in a renaissance of guitar pedals it surprised me that the market was so segregated between tools for the studio and tools for the musician. Until now.

Analog Heat is the latest release from the Swedish company Elektron, which is renowned for its progressive thinking in the synth market. This is the company’s first deviation from actual instruments, citing the unit as a “stereo analogue sound processor,” which is justifiably vague given how comprehensive the unit is. It’s easy to think of the Analog Heat as being just a stereo distortion, of which there are eight flavours, but it also houses a stereo analogue multimode filter with seven filter types, as well as two bands of adaptable analogue EQ, an assignable envelope generator and follower, and an LFO. It’s blatantly obvious that Elektron aimed high and wanted to rethink what a signal processor could do.

I can’t overstate how unexpectedly inspiring and musical the Analog Heat is.

The eight flavours of distortion are well chosen, varying from driving preamps, to tape saturation, to tube harmonics, to many variants of fuzz and crunch. Once you get over the novelty of mangling everything that you run through it, you realise that there’s a lot of benefit in its subtlety – particularly the lighter flavours, like Clean Boost, Saturation and Enhancement, which can offer just a tinge of compression and harmonics to help glue drums, loops or even overall busses. But that’s just the first link in the chain – I wasn’t prepared for its creative

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Ryan McCambridge is impressed by this Swedish firm’s first attempt at a non-instrument product.

potential, which is really only unleashed once you get the various processing tools interacting with each other.

No cutting corners The seven filter types give a diverse range of possibilities for sonic manipulation, but even more notable is that the filter actually sounds great. It would have been easy for Elektron to economise here, but thankfully they didn’t. Modifying the wet/dry signals while using high-pass or low-pass filters allows you to affect only some of the frequencies, which is helpful for tailoring the sound. Tremolo and vibrato effects are also easily achievable using the LFO, which has multiple wave shapes for different pulsations. These can be free running, tempo-set, or tempo-locked to the incoming MIDI clock. If the LFO is used in conjunction with the filter, you can build phaser and filter sweep effects, which can of course be tempo-synced. If triggering from velocity using the envelope follower, the transient of a signal can really be altered and even pushed into wah effects.

Finally, there are two bands of adaptable analogue equalisation. Though not user-definable, the frequencies and their curves change depending on where the EQ is set and Elektron’s choices never struck me as sounding bloated or harsh.

All parameters are MIDI controllable and yet there’s an even better way of automating the Analog Heat. Most of Elektron’s newer products can share a software connection through a free program they call Overbridge, which is accessible via a USB connection to a Mac or PC. For the Analog Heat, this means a software interface of all of the unit’s parameters, but what makes this truly unique is that it can be utilised directly as an insert within your DAW. This functions as though it were a software insert, providing a software interface while actually transferring the audio through the analogue circuits of the

Analog Heat. If you adjust a parameter in the software, the physical Analog Heat unit follows, and vice-versa, and all of those parameters are then automatable and recallable. This integration makes the Analog Heat feel ahead of its time, pioneering a new era in studio workflow.

My only real qualm would be that the plugin insert is only available for DAWs running VST or AU plugins. This is not surprising given Elektron’s synth lineage, which is usually associated with Ableton Live, Cubase or Logic. But now that they are headed into territories for the audio professional I hope to see an AAX version of the plugin in the future, given that Pro Tools is still the standard in most recording studios. All that said, I did get it to work in Pro Tools using DDMF’s Metaplugin, but it is a workaround and doesn’t provide the elegant experience that Elektron is trying to achieve.

There are other aspects of the Analog Heat that are worth noting, like its two controller inputs, which accept expression, CV and foot switches, as well as the MIDI In/Out/Thru with DIN sync out. And if all that wasn’t enough, the Analog Heat can also function as a 2-In/2-Out, 24-bit/48 kHz audio interface for recording and playback that runs independent of the software insert effect. All of this considered, it’s difficult to find faults in the Analog Heat, which more than justifies a price tag that

Key Features

Eight stereo analogue distortion circuits

Stereo analogue multi-mode filter with seven filter types

Two-band adaptable stereo analogue EQ

Assignable envelope and LFO

Can be used as a 2-In/2-Out, 24-bit/48 kHz audio interface RRP: $749 www.elektron.se some would consider steep for a “stereo analogue sound processor.”

The Analog Heat is built for tactility, inviting creative interaction. I couldn’t get enough of the demo unit, so I’ve already informed Elektron that they shouldn’t expect to get it back.

The Reviewer Ryan McCambridge is a freelance audio engineer, writer, producer and programmer from Toronto, Canada. He has taught audio production in workshops and universities, is the creator of the production blog Bit Crushing and is the frontman of A Calmer Collision. www.bitcrushing.com www.acalmercollision.com

Daniel Lamarre, CEO and president of Cirque du Soleil, live on-stage The Closing Keynote at ISE 2017

Attendees on the final day of ISE 2017 will have the opportunity to experience first-hand one of the world’s leading international business development executives. Daniel Lamarre, the President and CEO of Cirque du Soleil, will present the show’s Closing Keynote speech on Friday 10 February 2017 at 9:00am.

Daniel Lamarre will share his vision on how new technologies will have a huge impact on artistic content.

For more information and registration, please visit www.iseurope.org

Organised by

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TECHNOLOGY REVIEW

www.audiomediainternational.com

APOGEE SYMPHONY I/O MKII AUDIO INTERFACE

Russ Long sees how this next generation interface compares to the original model he tested ten years ago. reviewed the original Apogee Symphony in 2007 and loved it. Since then, I have used the converters for numerous projects and have always been pleased with their performance, reliability and sound quality. Technology has radically changed over the last decade, so I couldn’t wait to see how the product has evolved over time. To say the least, I was thoroughly impressed.

The Symphony I/O Mk II is a 2U multichannel audio interface that features Apogee’s latest AD/ DA conversion technology coupled with modular I/O technology (up to 32 channels of I/O) and the ability to include eight pristine mic preamps. The beautifully designed, American-made interface includes a clean, sleek front panel with a large control knob and high-resolution touch screen. The idea of a “future-proof” modular design is nothing new, but there have always been flaws to such implementations. This is not the case with the Symphony; in it, Apogee brilliantly implements modular technology.

Symphony currently has three interface options available: Thunderbolt, Pro Tools HD and SoundGrid. The Pro Tools HD interface with DigiLink connector occupies the Option Card slot, while the Thunderbolt ports reside below the fan. This allows up to two Module cards to be installed, regardless of the interface type (DigiLink or Thunderbolt).

Thankfully, the Thunderbolt version provides two ports. Thunderbolt’s protocol allows up to six devices to be daisy-chained per port but many computers and most Thunderbolt hard drives only have a single port, making it impossible to utilise more than one Thunderbolt device.

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In the instance of my review unit, I had both Thunderbolt and Pro Tools HD cards installed. The choice to change interface options is available in the touchscreen menu, requiring a system re-boot but no cards must be physically changed. I was able to utilise Symphony in my studio, connecting its Pro Tools HD card directly to my studio computer’s HDX card via Digilink Mini cable. I was then able to take it home to use with my MacBook Pro via Thunderbolt without having to add or remove a card. The SoundGrid card allows the interface to be connected to a SoundGrid network, delivering real-time DSP processing from Waves and thirdparty Sound Grid-compatible plug-ins. I anticipate we’ll see more options (Dante, MADI, etc.) in the near future.

The Symphony I/O Mk II has four base I/O configuration options: 2x6 (2x6 analogue I/O, 8x8 optical I/O and AES I/O), 8x8 (8 x 8 analogue I/O and 8 x 8 AES/Optical I/O), 16x16 (16 x 16 analogue I/O) and 8x8+8MP (8 x 8 analogue I/O, 8x8 AES/optical I/O and eight mic pres).

The configurations are expandable, making it possible to have up to 32x32 analogue I/O in a single chassis. My unit had the 8x8+8MP configuration.

Since Big Ben’s release in 2003, Apogee has been considered by many to be the leader in uncompromised clocking; for decades, its converters have been the standard by which others are generally measured. The Symphony I/O Mk II continues that tradition with the incorporation of the ESS Sabre32 32-bit Hyperstream DAC with Time Domain Jitter Eliminator. This chip provides premium audio clarity with a broad dynamic range and ultra low distortion.

In Use I used the Symphony I/O Mk II for several weeks and it sounded stunning. Most importantly, it flawlessly integrated into my studio via my HDX card. It performed equally well coupled with my MacBook

Pro utilising the Thunderbolt connectivity.

I’ve had success utilising a wide variety of DAWs and other applications via Symphony I/O, including Logic Pro X, Harrison Mixbus 32C, Pro Tools, Studio One 3, Garage Band, iTunes, Audacity and Hoffa DDP Player. When running Logic Pro X at 96 kHz with a 32-sample buffer and connecting via Thunderbolt, latency is 1.35 ms – virtually undetectable.

Symphony I/O’s built-in monitoring functionality makes it easy to configure monitoring through a DAW. This will be more than enough monitor control for many studio configurations, eliminating the need for an independent monitor control device. The converters are also superb. In this evaluation, I recorded acoustic guitar and vocals at 44.1 kHz, 96 kHz and 192 kHz; in each instance I received tremendous sonic clarity and transparency. I’ve used a lot of converters over the past three decades, and I would easily put Symphony I/O up against any of those I’ve heard.

Symphony I/O’s mic preamps are quite impressive too. I was skeptical about the performance potential of eight mic pres with an impressive 85 dB of gain on a modular card, but Apogee has worked wonders by designing a preamp that is extremely clean and natural yet in no way sterile or cold. The first four channels can be used as either instrument or microphone inputs and the second four channels are dedicated mic preamps.

Additionally, all eight of the mic pres include inserts, making it possible to insert analogue gear between the mic pre and the A/D. However, the best feature is that Symphony I/O’s inserts are software-configurable via the front panel or the Maestro software.

I used Symphony I/O’s mic pres coupled with a wide variety of mics and sound sources and heard remarkable results in every instance. These include a rhythm section consisting of a drum kit and bass guitar; finger-picked acoustic

Key Features

Up to 32 channels of modular analogue I/O with optional eight mic preamps

Choice of Thunderbolt, Pro Tools HD (Mac/PC) or Waves SoundGrid connectivity

Ultra-low latency performance

Intuitive touchscreen display and front panel control

Original Symphony I/O modules compatible with new chassis RRP: From £1,894.80 www.apogeedigital.com guitar with a Royer SF-12, which sounded fantastic; both male and female vocals with the ADK Z-67; and other examples – all with great results. When controlling preamps directly from Apple Logic, Symphony I/O’s settings will be stored with the track; for example, if you have to replace one line in a vocal performance a whole month after recording the original track, the exact pre-amp settings will be recalled when the session is opened.

I’ve never felt that there could be one “perfect converter” because interface needs significantly vary from one user to the next, but after reviewing Symphony I/O Mk II, my feelings have changed. Its modular design allows it to be “perfect” in both project studios and the most I/O-complex multi-room facilities. It is well built, beautifully designed and sounds marvellous.

Anyone desiring a truly significant interface upgrade should give Symphony I/O Mk II top consideration.

The Reviewer Russ Long is a senior contributor for NewBay Media’s Pro Audio Review. www.prosoundnetwork.com

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INTERVIEW

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EYES ON THE BOWL

Adam Savage asks recording engineer Tom Syrowski, one of this year’s TEC Award nominees, to tell us about his work on last year’s Super Bowl 50 Halftime Show – the job that led to him being shortlisted for the prestigious accolade. in the studio and it has never failed me so there was no question as to what to use.

What was it like working alongside Brendan O’ Brien and Guy Charbonneau?

We understand you and Brendan have been a duo for some time now and Guy has had such an amazing career so you must’ve been pretty happy with the team you had around you?

I have been working with Brendan O’Brien for the last ten or so years in some capacity or another but I’ve been his recording engineer for the last seven years. It’s because of the things I’ve learned over those years that I am the engineer I am today. I can remember when I was a kid and the Red Hot Chili Peppers album Blood Sugar Sex Magik came out, and back then I would read every last bit of the liner notes over and over again and Brendan’s name was on the back of that. So I feel like since the very moment I started truly loving music I knew his name and his work. Guy Charbonneau is a classic audio guy. His whole life is that truck and what it can do and I truly appreciated his help and experience.

Tell us a bit about your role on the Super Bowl 50 Halftime Show broadcast. What were your responsibilities?

My primary responsibility was making sure everything worked and sounded good once it got to the truck. As you can probably imagine there are a lot of people involved and most have never worked together before. Making sure everyone was on the same page was important.

We had sound checks everyday the week leading up to Sunday to make sure we were all good.

What were the main challenges that you faced? Did you have to overcome any unexpected problems/obstacles?

Luckily I had done Bruno [Mars]’s Super Bowl previously so I knew what to expect, and it was great that Chris Martin and Coldplay were so easy to work with. And 42

January 2017

Bruno and Beyoncé having done their own Halftime Shows were pros as expected.

Equipment and backup equipment was checked and double checked every day so we didn’t run into any problems.

How did this year’s show compare to your first Super Bowl? Were there similarities in the way you approached both jobs or did you have to come up with a completely different game plan?

The main difference with this Super Bowl was the weather. In 2014 the Super Bowl was held at MetLife Stadium in New Jersey. It was freezing everyday of rehearsals that year and extreme temperatures and electronics don’t go well together. So this year was great because we were in San Jose and had beautiful weather. We also had the amazing Le Mobile truck, which is one of

the coolest and most reliable location audio trucks in the business.

Could you run us through some of the main equipment/facilities that you used? If you had to pick just a small selection of gear that you found yourself relying on most what would they be, and was there anything that you tried out for the first time or had to use in a different way to how you would normally?

The Le Mobile truck has a Neve 8058 48-channel console installed in the back.

As an audio engineer, seeing this was incredible. Seeing a console like this in a world-class studio is not uncommon, but in the parking lot of Levi’s Stadium it is. As for gear, I relied the most on the equipment used for the vocal chains. I used a channel on the Neve, an LA-2A and a dbx 160. This is the same thing I would do

How does it feel to be a TEC Award nominee?

I was very flattered and I am glad that the NFL, Coldplay, Bruno, and Beyoncé gave us the opportunity. It’s great to have our hard work appreciated.

What are you working on at the moment, and have you had any other big projects come up recently?

I have been working with some virtual reality companies lately helping them navigate the audio part of that experience, which is very exciting because it’s so new. I worked with Chris Cornell on his latest solo album Higher Truth, which was a dream because he is a hero of mine (I am a 13-year-old grunge kid at heart). I’ve also been producing some tracks for Joe Sumner who is a great friend and a very talented artist. www.tomsyrowski.com