MIX 510 - JUNE 2019

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Acoustic Materials 2019 ★ Producer Jennifer Decilveo ★ Composer Justin Melland ★ The Music of Our Planet June 2019 \\ mixonline.com \\ $6.99

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The

Class of

2019

Featuring 19 of the Hottest Rooms From the World’s Best Studio Designers

6.19 Contents

Photo: Oliver Scholey, Silverback/Netflix

Volume 43, Number 6

36 FEATURES

MUSIC

TECH

14 Composer

40 Technology Spotlight:

Justin Melland and Music to Match Ted Bundy

BY LILY MOAYERI

16 Studio News 24 On the Cover: The Class of 2019: Studio Designers Showcase Their Hottest Rooms of the Year

BY THE MIX EDITORS

32 Producer Jennifer Decilveo and the Voice of Ben Platt

& Notes: Al Schmitt’s Birthday Bash, Red Arrow Studio

20 Classic Tracks: “High Lonesome Sound,” by Vince Gill

BY ROBYN FLANS

LIVE

SAVONA

BY JENNIFER WALDEN

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44 Review: MOTU Digital Performer 10

BY MICHAEL COOPER

46 Review: Audient iD44 Desktop Interface

BY MIKE LEVINE

48 Review: Shure TwinPlex Subminiature Microphone

BY STEVE LA CERRA

50 Back Page Blog: Studio and Live

BY MIKE LEVINE AND STEVE LA CERRA

DEPARTMENTS 10 From the Editor 49 Classifieds

On the Cover: Old Mill Road Recording in East Arlington, Vt., was designed by Francis Manzella of FM Design Ltd. for owner Joshua Sherman and Joshua Sherman Productions.

Photo: David Barnum

BY ANTHONY

36 The Natural Music for Netflix’s Our Planet

Acoustic Materials

22 Maren Morris Headlines in Seattle

BY TODD BERKOWITZ

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Vol. 43 No. 6

June 2019

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Current From the Editor

The Music in the Room Just a few weeks ago, I was in the midst of pulling together all the beautiful

Once again, it’s that left-brain/right-brain combination that fascinates

photographs and background information for the 19 facilities in our

me, and I find that the interaction between art and technology is especially

annual salute to new studios, The Class of 2019. The process begins with

prevalent among studio designers. Chris Pelonis, one of the finest designers

a solicitation of the world’s leading studio designers, to see what they

on the West Coast, is a monster guitar player, songwriter, producer and

worked on the previous 12 months. Sometimes we get amazing photos of

engineer, not to mention photographer and martial arts expert. Martin

new rooms completely out of the blue, from all over the world. I’ve always

Pilchner from Toronto has invited me many times to his annual New

loved this issue. A fine studio space represents the best of technical and

Year’s Eve party-cum-jam session on The Beaches, which typically runs

creative excellence.

through sunrise; and Martin still plays out. John Storyk, the godfather of

So there I am gathering materials. Some designers respond immediately, with everything lined up and ready to publish. Others ask for extensions;

all modern studio designers, may not pick up his guitar much today, but he did kickstart his brilliant career alongside that guy named Jimi.

same as anything else. I find that it takes a lot of time to wrangle, condense

After 30 years at Mix, it’s finally hit home why studio designers refer to

and select all these photos and write up the blurbs. For years I’ve relied

their rooms, their creations, as an instrument. They are an instrument,

on the supreme talents of longtime colleague and writer/editor Barbara

every bit a part of the resulting sound as the guitar or drums. One even

Schultz in putting together the “Class Of” feature. She’ll be back soon,

told me how the selection of woods is similar to the process a luthier goes

thankfully.

through in building the perfect body for the perfect tone in the perfect

Anyway, I noticed that I haven’t received a package yet from Fran

instrument. It’s not that different from floating floors, and hanging clouds

Manzella, one of the world’s finest designers and builders of “musical”

and bass traps—the space that the guitar and drums and keyboards interact

studios. He’s been a trusted contact and longtime friend, from back in

in. Abbey Road, in that sense, might one day be considered the sixth Beatle.

the 1990s AES New York days and occasional rides in limousines through

The landscape has changed dramatically for studio designers over the

San Francisco. Just as I was about to reach out to Fran and a few others,

past two decades. The days of building multi-room commercial facilities

Steve La Cerra, Mix’s technology editor for live sound, sent in his bi-

where budget is no object are over. Many are designing more personal

weekly blog, along with a few photos. And there was Fran Manzella, in

spaces today, for composers and musicians and producers in their home or

two of the shots!

a private facility. Many are putting in high-end home theaters and listening

Apparently, Steve had been asked by the director of the music program at Mercy College if his students would be interested in setting up and

rooms. Others are working with schools and tech companies. Many design for live event spaces, branching into the architectural.

running a quad sound system for an electronic music performance. They

But they all seem to start with music. So in this, our annual salute to

did, and it’s a wonderful story of how students can learn on the job. But

the best new studios of the year and the people who create them, we toast

for me, the larger issue was Fran. I knew he played, but I didn’t know to

the musician inside every studio designer. Keep rockin’.

what extent.

It turns out that Fran creates and performs under the moniker sym. bi.otism, an electronic music project he started in 2016, and he was there at Mercy with other special guests Tundra Ghosts and Steve H. Now, just a few weeks later, one of the studios he designed and built over the past year,

Tom Kenny

Old Mill Recording in East Arlington, Vt., is featured on the cover of Mix.

Editor, Mix

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Music Photo: Meredith Adelaide

Composer Justin Melland Chilling, Analog-Based Score to Accompany Ted Bundy’s Voice

By Lily Moayeri

S

erial killers are trendy again—that is, our fascination with them has rekindled— and none more so than the deranged yet charismatic Ted Bundy, the subject of the hugely popular four-part Netflix documentary Conversations With a Killer: The Ted Bundy Tapes.

The chilling score, which adds so much to the already disturbing docuseries, was written

by Justin Melland. Even without the visual

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accompaniment, Melland’s “95 percent analog” score and main titles are terrifying.

The four-and-a-half hours of music on Conversations With a Killer marked the first time Melland, an experienced film and television composer, was allowed to do exactly what he wanted with a score. “It’s what I’d always hoped people would ask me to do,” he says sitting at the center of his elaborate L.A.-based home

studio, The Eleventh Laboratory, where analog and modular synths create a command center with him in the captain’s chair. His stringed instruments line his longest wall, giving the feeling of being in a music museum.

“Before the Bundy Tapes, I was always trying to press people to give more creative freedom to the composer,” Melland says. “With digital editing and being able to throw in any piece of

Photo: Justin Melland

The open layout of composer Justin Melland’s home studio, The Eleventh Laboratory, with an array of synths on the floor and strings on the walls.

music to picture, people have been designing their scores before they get the composer in the room, which is a really weird approach. You’re not picking the most interesting person that works with your vibe, you’re picking the best copycat.”

Melland wasn’t given musical direction or temp music to re-create for Conversations With a Killer. The only direction given by awardwinning executive producer Joe Berlinger (also the producer of the Netflix Ted Bundy biopic Extremely Wicked, Shockingly Evil and Vile) was to preserve the 1970s nature of the timeframe.

“For me, ’70s means Pink Floyd and experimental electronic music,” says Melland, who previously worked with Berlinger on Starz’s Wrong Man. “I didn’t really think about movies.

I thought more about pop music. I like taking sounds from there and making them work for movies. I was able to dream up my own ideas, which is a much more liberating way to write, and you end up with better music.”

Melland’s affinity for analog instruments and the expressiveness that comes from physically playing them has a lot to do with the inspiration behind the sounds he creates. Not dissimilarly, his racks of modular synths and the choices he makes on a micro level with each piece activates his imagination.

“I have developed a way of working where my cues can be an evolution of one or two or

three ideas,” he says. “I can spend a half-hour getting one sound together, then another halfhour figuring out how to evolve it over time.

In a way, that is the cue. When I get it up on the modular, the sound I create is unique to the process that I’m using. After I’m done with a piece, I disconnect the cables. I don’t worry about keeping up a sound or going back to it. If I want to make, say, a bell tone, each time I do it, it’s different. I might use the same modules, but tuned a little bit differently so it comes out like a variation. It’s like forcing myself to do variations.

The consistency is in the tools I use, and the variations come from using the tools differently each time.”

Melland’s master’s degree in music composition from UCLA, his accomplished piano playing and his background playing guitar as a teenager greatly inform his approach to composition. He creates a hybrid orchestra of played instruments and electronic sounds. This method works well with film, as it gives enough space for the music to be featured without getting in the way of the dialog. In the case of Conversations With a Killer, Melland took part of the dialog, specifically Bundy’s voice, to create portions of the score.

“If you had to pick an oscillator that operates like a split personality, it’s a complex oscillator,” Melland says. “I got the Buchla Music Easel specifically for this project. The frequency

modulation sounds very ’70s but also really alien. It works on so many levels for someone like Bundy, who thought he was inhabited by another force and entity.

“There is a lot of ‘other’ happening in the Music Easel,” he continues. “It operates on the principle of modulating the primary oscillator with an unheard oscillator. It can have very violent effects on what you’re hearing, but you never actually hear the oscillator that’s doing the modulating. That gets into the psychology of Bundy’s split personality, having somebody inside of you controlling what you’re doing in violent ways. I would get this weird modulated sound up on the Easel and put it in some scenes with him, and it fit perfectly.”

The Music Easel and the Folktek Resonant Garden were two of the key pieces used on Conversations With a Killer. The latter was the source for ambiences and cavernous rhythms, and its long delay proved handy for making accents and rhythms, as well. Soft pads were made on the Prophet 6 and basslines on MacBeth Elements.

Other synthesizers used were an ARP 2600, Roland Juno 6 and Oberheim Two Voice Pro. Folktek’s library of samples of its unusual instruments was one of the only sources of non-analog sounds that Melland drew from for the score.

“I make my backgrounds from all kinds of sources,” the composer says. “I like to do anything from taking a guitarviol and bow or tremolo really softly. Bowing it with crystallizer and some reverbs makes this interesting soundscape that behaves the way you would imagine an ambience behaving. Because I’m actually creating the sound, I can tailor the way it moves to the scene.

It’s not just me finding a sound in the synth and holding a button while I let it phase for a minute.

I’m actually playing the drone that evolves.”

All of this was done in two-and-a-half months, with the episodes coming to Melland in bits and pieces and not in sequence. He would write for 20 minutes of a rough cut or a string out, be stopped as the rest of the episode was being recut, do a completely different episode, and then go back to the one he was working on first. Says Melland, “They were plugging me into spots that were done because we were on a time crunch. It was like sprinting, and they’re just pointing you to where you should go.

“You have to let the project inform you,” he adds, “Who would think putting synth-wave monster rock underneath a serial killer’s voice would work so well?”

Bundy would probably love it. n

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Music // news & notes Happy Birthday, Al Schmitt!

Text and Photos by Matt Hurwitz

M

astering engineer Peter Doell looked out at the crowd that usually assembles for his weekly “Audio Lunch Bunch” gatherings at a restaurant in Burbank, Calif., which, this week, was markedly larger than usual. “There are probably no records being made anywhere in L.A. right now.

Everybody’s here!” Doell said as a means of introduction.

Indeed, on April 17, about 120 recording professionals from around town gathered to celebrate the birthday of one of the most beloved figures in music recording—multiple-multiple Grammy-winning engineer Al Schmitt.

“Al is the godfather of the pack,” states mastering engineer Gavin Lurssen.

“We all want to be Al Schmitt,” adds producer Ross Hogarth. “We all want to be the consummate gentleman, the most talented engineer and producer. But it’s who he is as a human that’s the most important. We all look up to Al, and love him dearly.”

The three were among a who’s who of L.A. recording professionals who set work aside to come celebrate the veteran engineer, who, though his cake mentioned something about 65, insisted, along with his wife, Lisa, that he was turning but 39 that day.

Other congregants included the likes of Jack Douglas, CJ Vanston, Niko Bolas, Robert Margouleff, Moogie Canazio, Leslie Ann Jones, Ron McMaster, Steve Sykes, Maureen Droney, Bill Smith, Bruce Sugar, Steve Genewick, Lenise Bent, former Capitol Studios VP Michael Frondelli, Joe Sidore and dozens of others.

“Our success at Capitol Studios is interwoven with Al’s legacy, Al’s life,” notes studio manager Paula Salvatore, who first met Schmitt 28 years ago when he tracked Natalie Cole’s Unforgettable at the studio. “He calls me his ‘studio wife,’” With Lisa’s permission, of course.

“I owe my career to him,” says Genewick, who has sat by Schmitt’s side at Capitol for the last 20 years. “Everything I’ve learned about making records I learned from him.”

His technical skill is revered across the

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Al Schmitt addresses the crowd, with Pete Doell at his side

Al Schmitt with his wife, Lisa

industry, as noted by those who have worked with him. “The best Aerosmith Al with producer Jack Douglas mix I ever got was from Al,” states Douglas. “It just had an incredible depth. And it. Reaching for the EQ to make it sound ‘correct’ it was the first time a mix was done in less than was not his way.”

Schmitt made an impression regarding two days!”

“He mixes for vinyl,” notes McMaster, who microphones even upon his arrival in L.A., Doell has been cutting lacquers for Schmitt for the last notes. “In Al’s recently-released book [On the 15 years. “Everything is so well placed, the image Record, co-written with Droney], he tells of is correct. Al might say, ‘Put a little top end on why he made a big impression with his sound it,’ and that’ll be it. His work is unlike any others when he moved west from New York City.

While ribbon mics were in vogue in L.A., he that we do.”

“He’s one of the most prepared engineers I’ve brought with him his preference for condenser ever seen work,” says Frondelli. “By the time microphones—adding pop and clarity to his he gets in the room, everything’s set up to his recordings that made his sound distinctive.”

His people skills with clients are equally specifications. He’s inspected every microphone, every position. He knows where everything is, revered. “He has the ultimate bedside manner,” he knows his players, he knows his equipment. states Hogarth. “He’ll say what he means, but he won’t ever say it mean.” Notes Vanston, “He has Nobody does it better.”

Adds Sykes, “His unbelievable attention to a diplomatic way of taking no shit, and keeping detail with mic placement is incredible. Mic everybody focused on the important thing. He’ll sit back and let some stuff go on, and then placement for Al is the key.”

Notes Doell, about his time spent working there’s a certain point when he speaks up. And with Schmitt, “We used to say, ‘I’m gonna work you know, when Al speaks up, it’s for a reason. with Al Schmitt today—gonna steal some of his There’s no ego involved, it’s for the project.”

After chowing down on Mexican food, shit!” he laughs. “But in truth, there really wasn’t any ‘thing’ to steal. Al would listen to what the Schmitt blew out his birthday candles and music sounded like in the room, go back in addressed his friends. “God, it’s great to be 39. If the control room, and…if it didn’t sound THE it’s good enough for Jack Benny, it’s good enough SAME, he would either move the mic or change for me.”

Southern Hospitality Westminster, SC’s Red Arrow Studio Gives Back to Regional Bands with World-Class Facilities

By Anthony Savona

R

ed Arrow Studios has been in operation for over three years, but the studio has undergone a transformation during that time, and can now offer what owner Cliff Witherspoon says is “national quality and affordable prices.” In addition to fully equipped rooms, the 7,000-squarefoot facility also provides regional bands a place to perform for a live local and online global audience, as well as a fair rate to record their music.

“People are trying to make records in their bedrooms using closets as iso rooms,” says Witherspoon. “They don’t think they can make a quality record in a real recording studio. That’s not true. We do stuff by the project, not the hour. We even have payment plans available.”

The main room of the studio is built around a Soundcraft SI Expression 32-channel console, Mackie control surfaces and three Universal Audio Apollo 8P Quad processors. Other gear includes two UA LA-610 MKII preamps, an Apogee Big Ben Word Clock master digital clock and three ART S8 splitters with isolation transformers. Users can choose from a collection

Red Arrow Studio has an assortment of instruments that musicians can use, including a full array of guitars, basses and amps, plus a six-piece Pearl Masters maple shell drum kit.

of microphones, including a Neumann U87 and Rhode K2, as well as models from Lauten Audio, Shure, Audix, beyerdynamics and Sennheiser. Mixing is done through Logic Pro 10.

Red Arrow has a 750-square-foot live tracking room (with a 14-foot-high ceiling) and a 200-square-foot vocal chamber, both of which have two-way audio/video communication.

There is also an iso room for the amplifiers, so the full band can track live without the worry of bleed.

Witherspoon is a musician himself, having played bass for the hard rock band Jackyl, and it is clear he built a studio with deep attention to the musicians’ needs, including mood lighting, personal headphone mix controls for every member of the band and a full assortment of guitars, basses and amps to create whatever sound they are looking for. He even supplies a six-piece Pearl Masters maple shell drum kit if the band wants it.

Witherspoon built the facility up himself from an empty large warehouse space. “I did pretty much everything,” he says. “Even the acoustic treatments, which I learned from watching video tutorials.”

In addition to the recording studio, Red Arrow also has a 20- x 24-foot stage area that can be used as a rehearsal space, but he also invites regional bands in every Thursday so they can perform in front of a live audience (the room holds around 100 people) that they also broadcast live on the studio’s Facebook page.

The performance is captured by four Sony NXCAM HD cameras, is professionally edited, and includes

M I X | J U N E 2 0 1 9 | mixonl ine .c om

The Red Arrow Studio has a 200-square-foot vocal chamber.

concert-level lighting and effects. The band even gets a DVD of 1080p HD video to take with them — all for no charge.

“I’ve been very fortunate in my musical career,” says Witherspoon, “and I wanted to give back to the community. Most bars want cover bands, so I created a place for original bands to be heard.”

Of course, Witherspoon would love if national acts made the trip to Westminster. In fact, now that he is fully open for business, he hopes to attract talent from the surrounding areas such as Greenville and Columbia, SC; Asheville and Charlotte, NC; and Atlanta and Athens, GA. “We have plenty of room if they need to stay over,” he adds, further making the point that Red Arrow

The rack that holds Res Arrow Studio’s three Universal Audio Apollo 8P Quad processors.

Studios is a full service facility.

For more information on Red Arrow Studio, visit redarrowstudio.com. And to see a live show on Thursday, as well as a collection of past performances, search for “Red Arrow Studio” on Facebook. n

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Classic Tracks “High Lonesome Sound” Vince Gill’s Ode to Traditional Bluegrass

By Robyn Flans

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Photo by Ron Galella, Ltd./WireImage

W

ith his sweet tenor voice and a tear in his vocal, Vince Gill defines the term “high lonesome sound” in his aptly titled classic composition “High Lonesome Sound.”

In an unusual move, Gill bookended two versions of the song on the album by the same title—one a traditional bluegrass treatment sans drums and electric instruments, and the other a punchier, more contemporary production.

“It was to remind everybody how much I really love traditional bluegrass music,” Gill says, adding that he also loves the recording with the electric band. “It really does a neat thing of being funky, but yet with all the bluegrass instruments—mandolin, banjo, fiddle and stuff.”

Make no mistake, the whole album is a bluegrass album, but purists don’t consider anything with drums and electric instruments to be bluegrass.

The musical expression “high lonesome sound” is associated mainly with bluegrass, old-time and country music, characterized by unmetered music. Meanwhile, one of the distinguishing characteristic of bluegrass is the vocal harmonies—usually featuring two to four parts, often with a dissonant or modal sound in the highest voice—one reason it’s described as the “high, lonesome sound.” (Many attribute the expression as referencing the high voice of Bill Monroe.)

For this project, Gill enlisted the vocal harmonies (and fiddle playing) of musical cohort Alison Krauss, another artist who has been said to define the style. While she and her band Union Station contributed to both versions, NARAS nominated the traditional recording, which won Best Country Collaboration with Vocals at the 39th Grammy Awards. (“You’re a wise man to pick Alison Krauss to sing with if you want to do well,” Gill says.)

Engineer Chuck Ainlay recalls that the electric track was recorded during the making of the entire Tony Brown-produced album, which was done at Masterfonics/ The Tracking Room in 1996. The huge (6,500 square feet) Tom Hidley-designed studio with five iso booths was very new at the time and had a brand new SSL 9000 console with “all the bells and whistles.”

“The whole MCA Nashville thing was about using the Mitsubishi digital tape machines,” Ainlay explains. “It was a 32-track. By that time, a lot of people had gone to the Sony 3348, but [Jimmy] Bowen had this whole Mitsubishi thing, so all the studios his business was going to were going to have the Mitsubishi in it; and Tony Brown was A&R under Jimmy Bowen at MCA. We moved around to about five or six different studios, and all of them had the

Vince Gill celebrates his Grammy win for “High Lonesome Sound” in 1996.

Mitsubishi machines.”

The electric version was tracked live with Gill singing a scratch vocal. The players included Carlos Vega on drums and Leland Sklar on bass. Steuart Smith and Billy Joe Walker, Jr. provided electric guitar, Jeff White handled the acoustic guitar and Pete Wasner and Steve Nathan covered the keyboards.

“We ran a synth through the Leslie on that song, so it has a sort of

different grind-y Leslie sound, like an organ, but it’s more percussive than the synth was capable of doing,” Ainlay explains. “I’m hearing a Wurlitzer when I listen to the track, too, so I’m thinking that Steve did the Leslie and Pete played the Wurlitzer.” Nathan also later overdubbed the Hammond B3.

The drums were placed in the middle of the room, Ainlay recalls, because “the room was pretty dead, so that was the best place for them.

I probably used a 57 on the snare drum, 421s on the toms, 414s on the overheads and it was probably a 421 on the bass drum, as well. On the hihat there was probably a 452, and I’m sure I had a pair of 87s in the room.

My drum miking wasn’t all that sophisticated back then, but it always worked.”

To the best of Ainlay’s recollection, Ron Block (banjo) and Adam Steffey (mandolin) of Union Station also tracked live. Ainlay listened through Dynaudio PPM3 nearfield monitors at the time.

Although John Hughey recorded his steel overdub at Masterfonics, the rest of the overdubs were recorded at Emerald Studios, including Gill’s vocals. Ainlay says Gill initially sang all three parts, but Krauss later replaced one. Gill’s guitar solo was overdubbed, Ainlay says, with a Shure SM57.

Gill sang his vocal in the adjacent booth into an AKG C12.

“He has a high register,” Ainlay says of Gill, “but he has a warm voice, which is what makes him special, I think. The C12 was the ideal mic because it would pull the air from his voice. I’m not sure what he uses now, but it was great then. I’m pretty sure I was using a GML mic preamp and a TubeTech CL-1A as a compressor for his vocal while tracking. It’s still something I do today. My recording path is using that Tube-Tech compressor and then a GML compressor in mixing, and I’m sure back then I used some EQ just to put some pop on there, too. I recorded Vince before he had much of a solo career going on. He was one of the top background singers in town.”

Ainlay says he always marveled at Gill’s patience when he worked with him as a sideman for someone else, but it wasn’t always the same on his own project.

“I do remember times working on the High Lonesome Sound album when he was working on guitar overdubs and he wasn’t getting what he thought he should be getting, and I remember him slamming his guitar down and throwing a fit, which I had never seen him do, but he’s such a perfectionist when it’s his own thing,” Ainlay explains. “Everyone goes on about what a great singer he is, but he’s also an amazing guitar player.”

Perfectionist or not, Gill is known throughout the industry for his sense

“[Gill] has a high register, but he has a warm voice, which is what makes him special, I think.

The C12 was the ideal mic because it would pull the air from his voice.

I’m not sure what he uses now, but it was great then."

—Chuck Ainlay, engineer, "High Lonesome Sound" The Grammy-winning version, a stripped down acoustic treatment of the same song featuring Union Station—Barry Bales on upright bass, Ron Block on banjo, Dan Tyminski on acoustic guitar, Adam Steffey on mandolin, Krauss on fiddle (and vocals)—along with Gill on acoustic guitar and lead vocals and Jerry Douglas on dobro, was also recorded at Emerald Studios.

Ainlay describes Emerald as the first “posh” studio in Nashville, originally equipped with a Neve 8068, but by the time of High Lonesome Sound, there was an SSL 4000 E with Ultimation in the control room.

The mains were Hidley/Kinoshitas. Ainlay recalls using Sony 3348 digital machines at the time, though Emerald likely had Mistsubishis on hand, as well. Emerald was one of Ainlay’s favorite studios because it had great sight lines between all the booths.

The traditional version was cut in the round, creating a wheel-like appearance with the baffles in between as the spokes.

“Everybody had a little compartment, so I could get some isolation, but it was all performed live,” Ainlay explains. “They had glass so they could see each other. The mics were closer to the center of the hub, facing out.

So you’d use the polar pattern from each microphone to reject the rest of them. Obviously when you have a bunch of people playing live like that you’re going to have leakage from one into another, but it works.

Leakage can be your friend, you know! You use leakage to kind of make things bigger. We went through a period of time where everything was all so close-miked, sterile, and clean and dry. People are getting back to recording records that have more life to them. And a lot of that is just about bleed.”

of humor. Ainlay recalls this one time…

“I remember one time doing vocals with him and I pushed the wrong button or something on the console and caused feedback, and I was going, ‘Vince, are you okay, are you okay?’ We went on with the vocal and when we went on to play the overdubs, he came into the control room and walked back into the tape machine room. [When he came] out of the tape machine room he had a Q-tip in his ear, working it around. When he pulled it out, it was all red. And I said, ‘Oh my God, Vince, I think I busted your eardrum.’ He had taken a red Sharpie and colored it red. I’ll never forget that.”

Ainlay says Gill was very involved in the mixing process at Masterfonics on the SSL 9000, which the engineer describes as more open and transparent than the SSL 4000 console they had been used to.

“I just remember that album as having a lot of nice air about it and being very open-sounding,” he says. “At the time it was my favorite thing I had recorded. It still is one of my favorites. Always will be. It was just one of those where I got to take it from the beginning to the end and it was a very close relationship with Vince. Unfortunately, when I started working with Mark Knopfler I couldn’t work on some of Vince’s later albums, but we’re still friends.”

Gill says he was surprised when they won at the Grammys.

“Always,” he says. “Always. Anytime those kinds of things happen. Alison and I both have had unbelievable good fortune at the Grammys. She’s won 27 Grammys and I’ve won 21.”

Then he goes in for the joke: “We’re the Sonny & Cher of Grammy winners.” n

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news & notes

Photos: Todd Berkowitz

Live

Country star Maren Morris in Seattle, late April 2019.

The Many Styles of Maren Morris Headlining Tour Showcases Artist’s Diverse Songs

By Todd Berkowitz

M

aren Morris isn’t your average country artist. Her critical and commercial success showcases a varied musical range, but it also brings a fresh brand of country music to the masses. In 2019, Morris is out on her first headlining world tour in support of her second major label studio album, Girl. Mix caught up with her in Seattle in April.

“In addition to Maren being unbelievably talented, this band is a group of some of the best in Nashville, so they make our lives easy,” says FOH engineer and production manager Brian Morris. “Songs can quickly move from a country ballad to loud rock or pop song, and the band does a great job playing for each genre. These changes make for a fun show each night, but that is something we had to be aware of when

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planning and putting show files together.”

“Knowing the direction from past tours with her, planning was simple enough,” adds monitor mixer Chris Daniels. “I’m using snapshots for mutes and FX changes only, and macros for a few simple mix changes as the band moves around the stage. I’m mixing Maren post-fader on control groups.”

To the average music fan, she may seem like an overnight star, but years of writing songs for and touring with country music heavyweights tells a different story. Securing a Top 5 Billboard hit (“The Middle,” a collaboration with Zedd and Grey) has also raised the pop star’s profile.

“The crowd reaction to this tour has been amazing, which makes for a fun atmosphere as well as creates challenges for the show,” adds Brian Morris. “Fans sing every word to every song

throughout Monitor engineer Chris Daniels. the night, and when multiplied times a few thousand, it can be hard to compete with their volume and hear all the intricate parts the band is playing. Though sometimes difficult, I wouldn’t want to change anything about the energy in the room.”

“For this tour, we’re carrying a DiGiCo SD10 with 72 inputs,” adds Daniels. “I’m using four engines of TC Electronic M6000 MKII for reverbs and delays, six channels of Neve Portico 5045 for vocals and cello and SM58 mics on all vocals. We’re playing a large variety of rooms in varying size with very different-sounding stages each day. Fortunately, everyone is on IEMs and Brian, our FOH mixer, is very receptive and helpful with the P.A. in keeping things tightened up on deck.” n

THE CLASS OF 2019 DESIGNERS SHOWCASE THEIR HOTTEST STUDIOS OF THE YEAR B Y T HE MI X E D I T OR S

Every June, Mix surveys leading studio designers and acousticians and asks for a look at their latest and greatest projects. This year’s “Class” includes personal studios and commercial rooms in major and smaller U.S. markets. Some have spaces for tracking or maybe a booth; some are for mixing. There’s even a stellar facility out of Belgium. Here, then, are some of the world’s best new studios for 2019. For more, visit mixonline.com.

Photos: David Barnum

On the Cover: Old Mill Road Recording, East Arlington, Vt. Studio Designer: Francis Manzella, FM Design Ltd. Opened in November 2018, Old Mill Road Recording offers a unique combination of state-of-the-art equipment, world-class acoustics, and inspirational views. The stellar recording studio was designed by Fran Manzella and features in-house Grammy Award-winning engineer, Benjamin J. Arrindell on staff. Maintaining as much of the original 18thcentury Vermont Mill’s post-and-beam charm was paramount, as was providing the required sound isolation and acoustic interior finishes.

Organized by Founder/Producer Joshua Sherman for comfort, flow and versatility, Old Mill Road Recording provides the luxury of recording pristine sound while overlooking a breathtaking river view in the heart of the Green Mountains. The destination studio offers a full range of concierge services and amenities, such as lodging, video services, indoor

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and outdoor event spaces, educational workshops, and catering.

Equipment includes a 48-channel SSL Duality console, Yamaha C7 Grand Piano, Griffin G15B main monitors and Pro Tools HD. Sherman is committed to both re-invigorating the historic town of East Arlington, Vt.—and creating a new model for the arts, in which music, theater, dance, the visual arts, film and education all exist on a shared creative campus. “Ben and I have been collaborating on music projects for almost 20 years,” Sherman says.

“We dreamed of creating an inviting space that would allow artists to relax, rejuvenate and record without the pressures associated with recording in the city. That dream is now a reality—right here in Southwestern Vermont, just three hours from NYC and Boston.”

DAFT Recording Studios, Belgium Studio Designer: Joris Luyten, Audioworkx in partnership with Stijn Verdonckt

Photos: Alexander Campos Jr.

Photos: Geert De Taeye

In June 2018, working with Joris Luyten of Audioworkx on the design and acoustics, Stijn Verdonckt opened DAFT Recording Studios in Belgium, and it is stunning.

It is also part of a hotel and residential experience that caters to the artist who likes to live the good life, complete with pool and sauna and lodging. Boasting a 200-square-meter live room with 8-meter ceiling (reverb time 0.8–1.2 seconds), DAFT Recording Studios is a high-end, Neve 5088 Shelford-equipped facility that includes one of the largest recording rooms in Europe, a large control room and four iso booths. Daylight is everywhere. The recording room is big enough to record a symphony orchestra, but also tight and compact enough to handle rock, pop or jazz music. Mics include Neumann U47 FETs, Neumann U67, RCA 44A, Neumann CMV563 and AKG C12A; outboard gear includes Pulteq EQs, UREI 1176s, Tube-Tech compressors and others; recording is to Pro Tools HDX and Studer A820 24-track.

Noise Match Studios, Miami, Fla. Studio Designer: Horacio Malvicino, Malvicino Design Group Noise Match Studios, home for producer and engineer Alexander Campos, Jr., opened April 1, 2019, in the heart of the Wynwood area

of Miami, home of art galleries and trendy restaurants. Featuring a large control room and studio with variable acoustic characteristics, the

space can double as a complete video production facility—it’s actually available on-site through Home of Music Mastermind Academy. Key gear includes an SSL Duality 48-channel console; Ocean Way Audio HR-2 main studio monitors; ATC and Yamaha NS10M nearfield monitors; Bryston 4B power amplifiers; Lynx Aurora audio interfaces; Universal Audio, Empirical Labs, API and Bricasti outboard gear; Steinway Grand Piano; Fender Rhodes and Yamaha drums.

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Photos: Jock McDonnald

CLASS OF 2019

One Union Recording, San Francisco, Calif.

Studio Designer: Carl Yanchar, Yanchar Design & Consulting Group mix suites, including Studio 4, pictured here.

Interior design was by Jon de la Cruz of DLC-ID, Oakland, with acoustics and studio design by Carl Yanchar, as it was back in 1995.

Each room is identically equipped (the Atmos rooms adding some more speakers and the RMUs) with, among other gear, Avid System 5 Version 6.0.3 consoles, Genelec SAM System 1237B mains (left, center, right), Genelec SAM System 7380AP subwoofer, Genelec SAM

8341 surrounds and overheads, Focusrite Rednet AM2 Dante Cue system, Brainstorm DCD-8 word clock synchronizer, AVID HD Sync, AVID MTRX with Dante and 128 channels MADI and 8 mic pre channels, AVID Pro Tools Ultimate, Focusrite ISA 430 MK2 mic pre, Tube Tech mic pre, Tube Tech compressor, Manley Vox Box, Blackmagic Ultra Studio 4K 110-inch projection screen and Sony Ultra 4k laser projector.

Photos: Taiyo Watanabe

One Union Recording, a leading audio post house in the Bay Area since the mid-1990s, suffered a huge loss in 2017 when fire went through the building and smoke and water damage forced owner John McGleenan to make a huge decision—he decided to rebuild, bigger, faster and stronger. The new One Union Recording, which opened in OctoberNovember 2018, features three 5.1 post rooms and two full-blown Dolby Atmos 9.1.4 design/

Mick Schultz Studio, Tarzana, Calif.

Studio Designer: Peter Grueneisen, nonzero\architecture This ground-up personal recording and production facility for music producer and songwriter Mick Schultz was completed in 2018.

A tall, airy and light-filled live room located north of Los Angeles, it is complemented by an equally generous adjacent control and production room.

The dedicated studio building also includes a private client lounge and a sky-lit awards gallery.

The live tracking space features angular ceilings

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with integrated color-changing light strips and a faceted and triangulated wall, both designed to optimize the acoustics in the space. Tall windows offer daylight and views to the greenery outside, but can be closed with automated shades for privacy and a more intimate feel.

The control room has many of the same features and is equipped with a custom-built walnut workstation desk. Acoustic diffusers in

the rear wall are made from the same wood and are framed by more windows leading to the daylit gallery and entrance hallway.

The mostly white color scheme throughout the building is accented with dark gray fabric panels and a polished concrete floor in all spaces. Discrete flat screens in wood frames are displaying digital art when not used as TV and video monitors, contributing to a serene and residential feeling in the building.

CLASS OF 2019

Photos: Andy Sapp

Battery Lane Music, Nashville, Tenn.

Studio Designer: Steven Durr, Steven Durr Designs, LLC

Zhejiang Conservatory of Music, Hangzhou, East China Studio Designer: WSDG – Walters-Storyk Design Group In 2015, the Zhejiang Conservatory of Music (ZJCM) opened a 100-acre campus, offering nine concert halls, 102 rehearsal halls, 842 practice rooms, six studios and a 60.1 multitrack laboratory. In 2017, ZJCM recognized the need for a world-class music production studio.

China-based pro audio distributor DMT recommended WSDG to design and install the new studio.

Key elements of the complex are a 650-square-foot control room featuring an SSL Duality console and PCM monitoring and a 3200-square-foot live room capable of hosting a 100-member orchestra.

WSDG director of design Renato Cipriano points to the huge oval ceiling cloud/lighting element as the studios’ crowning achievement. Floating over the live room from a height of 26 feet, it provides a strikingly effective visual, with its mood lighting and acoustic treatments.

“The cloud is fitted with a telescoping option that establishes multiple diffusion layers and diverse acoustics,” Cipriano says. “It contributes to the diffusive sound field and enhances the room’s reverberation characteristics. Beyond its acoustic properties, it functions as an LED fixture to expand the aesthetic lighting options. We also hung 26-foot-long absorbent curtains from silent, motorized tracks on each of the live room’s walls. Deploying these curtains can provide as much as a 50 percent modification of the room’s diffusion and reflection properties. We really pushed the envelope for ZJCM; this complex represents an interesting example of acoustic design potential.”

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Photo: Josef Muller

Located Just a few miles from Music Row is a hidden gem, Battery Lane Music, with all the power of a commercial studio while retaining the charm of an artist retreat. Rather than having a studio that dictated production a style, owner/producer/writer Scott Gerow wanted a flexible, hybrid space that would adapt to any production and any artist. Featuring a tracking room to fit a band or a 20-plus piece string session, Battery Lane Music overlooks acres of land secluded in urban Nashville. The control room design centers around custom Steven Durr soffit-mounted mains. This combination clearly provides each person in the room an accurate, exciting image and confidence in what they’re listening to. Other gear includes a Solid State Logic AWS 900 SE+ console, 32 channels Avid HD I/O with Pro Tools 12, 1979 Kawai KG-7D grand piano, 1984 Vintage Yamaha kit, API 512v mic pres and 550B EQs, Neve 1073 pres and EQs; Focusrite 430 MKII mic pre, EQ and compressor, Universal Audio Dual 610 Tube pres, and Dual Empirical Labs Distressors. Main monitors are vintage Altec 515Gs with TAD 2001 tweeters.

CLASS OF 2019 Hapy Hipi Studios, King City, Ontario, Canada Studio Designer: Martin Pilchner, Pilchner Schoustal International Inc.

Photo: Martin Pilchner

Hapy Hipi Studios, with its opening the last week of April 2019, features a modern control room with an adjacent vocal both and live room. The control room incorporates controlled reflection geometry that yields excellent response from the Genelec main monitors. The studio is situated in a large building that also houses a world-class car collection. The main garage is wired to double as a massive space for tracking instruments. This beautiful country setting also provides accommodations for studio clients on site. A perfectly restored SSL 4000G console, Genelec/ATC monitors, vast outboard gear collection, extensive high-end microphone collection and extensive backline instruments and amplifiers round out the package.

Justin Martin Private Studio, Oakland, Calif.

Studio Designer: Gavin Haverstick, Haverstick Designs DJ/producer Justin Martin constructed his dream studio in his Oakland, Calif., home with the help of Simon Littlewood at Littlewood Works.

After construction was complete, Haverstick Designs was hired to conduct testing and to develop an acoustical treatment plan, which included a stretch fabric system from Simplified Acoustics incorporating absorption, bass trapping and diffusion elements. A custom quadratic residue diffuser from Rebel Sky Acoustics was installed on the rear wall.

Concealed in the ceiling cloud is a screen that can turn this space into a home theater with Dolby Atmos surround sound when it isn’t being used as an electronic musician’s playground. The studio opened in late October 2018.

A Switchcraft 96-pt DB25-TT patchbay and Antelope Goliath control Photo: Justin Martin the synth/keyboard-heavy production power. Just a few of the units pictured: Knifonium, Gleeman Pentaphonic, Dave Smith Prophet 12, Dave Smith Tom Oberheim OB-6, Moog One 16 Voice, Moog MiniMoog Model D (1972 version), Minimoog Voyager, Moog SUB 37, E-MU SP-1200, Roland SH-101, TB-303, TR-808, TR-909, Korg MS-20 mini, Korg R3, Waldorf Blofeld desktop synth, Teenage Engineering OP-1, Dub Siren NJD DLX, Sequentix Cirklon, Ableton Push 2 and Native Instruments Komplete Kontrol S49 MK2.

Audio Machine, Malibu, Calif.

Studio Designer: Hanson Hsu, Delta H Design

Photo: DHDI

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Paul Dinletir of Audio Machine, who composes music for film trailers as well as commercial work (recent work includes Avengers: Endgame, Aquaman, Dumbo and more), called on Hanson Hsu of Delta H Design to help work up his private Malibu design and mix studio. The studio opened in June 2018 with a ZR Acoustics custom design layout with 100 percent surface area coverage. A blend of ZR Hybrids and ZR Sample Rate quantum devices in the control room delivers an audible wall-to-wall sweet spot while maintaining the original size and shape of Joe Zawinul’s original control room. The studio has a 180-degree view of the Pacific Ocean with a 220-degree view from the patio outside. With control room and live room in one space (control room pictured), this unique ZR Studio has a rolling rear wall made up of four ZR Ultra-Light Hybrid Screens to keep the acoustic imaging lifelike and immersive. In tracking mode, the ZR Wall can be repositioned as a gobo around artists to control reflections for ultimate acoustic performance.

CLASS OF 2019

King Tide Studio, Sausalito, Calif.

Photo: Zack Fagan

Studio Designer: Jeff Hedback, HD Acoustics

The DiMenna Center for Classical Music, New York City Studio Designer: Francis Manzella, FM Design Ltd. When the previous studio was damaged by a flood in 2018, The DiMenna Center for Classical Music seized the opportunity to implement a “Transformative Control Room� design to serve multiple production needs: music recording and mixing, film and TV mixing, and screenings. The Center hired FM Design with the idea of creating a completely new interior inside the existing shell, following water damage remediation. The Control Room offers inter-connectivity to all of the live rooms at the music center. The results are stunning visually as well as sonically. Major equipment includes a Lawo 200-plus channel mc2-56 console; Immersive JBL Monitor speaker system, including M2 mains for L-C-R; and dual 128-channel Pro Tools HDX rigs.

Photo: Mike DiFiore

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This private use 1,000-square-foot studio facility features a shape-optimized control room with custom tuned Helmholtz devices. In addition to the control room and 450-square-foot live room, there is a medium-sized booth and a small booth, all with great sightlines. King Tide Studio caters to full ensemble tracking where the room acoustics, sightlines and technology all work together to capture and encourage creativity.

Key gear includes an API 1608 console, Mytek private Q, AD/DA Burl MS 24x24, Avid HD I/O, Mara Machines MCI JH-24 16 track and JH-110 2 track. Retro 2A3, (2) Retro 176, Retro Sta Level, Genelec 8351 and Avantone monitors, and a Yamaha C6 piano. The bountiful high-end mic locker includes Neumann U67, 87, KM 84s, Coles, AEA and Flea, among many others.

Photo: Wes Lachot

CLASS OF 2019 Inhesion Studios, Lilburn, Ga. Studio Designer: Wes Lachot, Wes Lachot Design Group Inhesion Studios, which owner Jeremy Grelle opened in February 2019, was designed from the ground up by Wes Lachot Design Group, with the Control Room employing a reflection-free design with a hardwood front end, giving the room a nice ambience for singing and composing.

The Tracking Room features adjustable acoustics and clouds that are absorptive at low frequencies and diffusive at mid and high frequencies.

Acoustical installation was by Brett Acoustics. Key gear includes a 32-channel SSL Matrix 2/Sigma/X-Rack; ATC SCM150 ASL active triamped main monitors with ATC discrete power amps and crossovers; Pro Tools with Apogee Symphony converters; and outboard from API, Rupert Neve, Universal Audio, Focusrite, Cranesong, Lexicon and Empirical Labs.

Photo: Ari Michelson

Tori Kelly Private Studio, Southern California Studio Designer: Gavin Haverstick, Haverstick Designs Two-time Grammy winner Tori Kelly partnered with Haverstick Designs to design this recording studio in her home in Southern California. The space, which opened in November 2018, is optimized for both tracking and mixing using a combination of products from Acoustical Fulfillment (HEX Panels, PERF Panels, Barrel Diffusers and the patented Flex-48 Adaptive Treatment System), which allows Kelly to tune the room differently for when she is tracking acoustic guitar or vocals. Jacob “Biz” Morris coordinated and integrated the equipment that was purchased through IsRael Foster at Sweetwater Sound. Kelly’s mic chain is a Sony C-800G into a BAE 1073 mic/line preamp into a Tube-Tech CL1B. She has a Universal Audio Apollo x8p interface, and she listens through Focal SM9 monitors with a Focal Sub and Grace Design m905 monitor controller.

Studio Designer: Carl Tatz, Carl Tatz Design Richard Eade, who develops geographic information system software for a leading GIS company in Huntsville and has been both playing and recording music since elementary school, opened BARH Records in December 2018 and enlisted Carl Tatz for his signature PhantomFocus approach to system design and the custom installation of the PhantomFocus PFM UHD-1000 monitor system with PFM ICE Cube subs, PhantomFocus Edition Sterling Modular Plan D console, and PhantomFocus eChair.

Acoustics were treated with a custom installation of the Carl Tatz Signature Series MixRoom Kit by Auralex. Eade records to Pro Tools 12 and makes regular use of plug-ins from UAD, Waves, Slate, McDSP, FabFilter, Avid and Izotope.

Purdue Fort Wayne Sweetwater Music Center, Fort Wayne, Ind. Studio Designer: Richard Schraug, Russ Berger Design Group The Sweetwater Music Center at Purdue University Fort Wayne was created to support the university’s Popular Music and Music Industry programs. With studio and architectural design

by RBDG, and constructed on the Sweetwater campus with financial support from Sweetwater CEO Chuck Surack, this facility includes a recording studio suite, audio laboratory, edit suites, classroom, field equipment check-out and student collaboration areas. Equipment highlights include an API 1608 console; Focal and Dynaudio speakers; Millennia and BAE preamps; and a robust roster of outboard gear, microphones, guitars and amps. The center opened in September 2018.

Photo: © 2019 Chad Jenkins

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Photo: Lou Johnson

BARH Records, Huntsville, Ala.

CLASS OF 2019 Rensselaer Polytechnic Institute, Troy, N.Y. Studio Designer: WSDG – Walters-Storyk Design Group

Photo: Courtesy of Grand Bay Recording Studios

Rensselaer Polytechnic Institute in Troy, N.Y., is the world’s oldest technological research university. The Institute’s new WSDG-designed, fully immersive audio/video/3D production, mixing/editing complex was conceived to support RPI’s mandate of providing degree programs in engineering, computing, business management and information technology for next-generation technologists.

WSDG Partner/COO/project manager Joshua Morris reports that the assignment was focused on the renovation of the existing 1,700-squarefoot space—specifically, the design, construction supervision and systems integration of a 1,000-square-foot audio recording/production studio, a cutting edge 300-square-foot audio control room, a 100-square-foot iso lab, 160-square-foot video control room and a 90-square-foot AV lab, with a Photo: Rensselaer/Ray Felix 16-foot ceiling.

A WSDG priority focused on the facility’s variable acoustic properties, to compensate for the “deader” tracking environment required by immersive production techniques. Studio gear includes Avid Pro Tools S6, an S6 M40 modular control surface, and Genelec 7050B studio sub, 8000-422B wall mounts and 8030C 5-inch powered studio monitors.

Grand Bay Recording Studios, Tampa, Fla. Studio Designer: Alex Romero Designer/CEO/lead audio engineer Alex Romero (MixedByLex) and assistant engineer Skyler Gibbons have been enjoying their time in Grand Bay since opening in June 2018. Studio I measures 24x16 (control room) and 10x10 (booth) and is equipped with Rupert Neve’s new 5060 console. The room has wall-mounted 15-inch drivers with a pair of 18-inch woofers powered by Augspurger’s new SXE-3D DSP-tuned amplifiers. The walls have Tampa Bay’s acoustic solution company “Acoustiblok” installed from floor to ceiling with their mass-loaded vinyl, which assist in a major way to control both mid and high frequencies. Fabricmate products cover the walls with their designer acoustic fabric tacked by Fabricmate framing product line. From the custom skyline diffuser built by the staff and their families, to the programmed mood lights, the vibe at Grand Bay is unmatched.

Photo: Michael Salvo

Studio to Stage Academy, Marlboro, N.J. Studio Designer: Horacio Malvicino, Malvicino Design Group The brainchild of IT engineer Michael Salvo, a music lover who considers this his life project, Studio to Stage Academy is a complete music school with five isolated practice/teaching spaces and one analog recording studio, with an SSL XL console, Ocean Way Audio Pro 2A studio monitors, Apogee DAW interfaces, Universal Audio, Empirical Labs and API outboard, and assorted electronic keyboards, DW Drums and Fender/Gibson guitars. The Academy focuses on serious music training for guitar, bass, drums, piano, string and horn instruments, as well as vocal coaching and music theory. n

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Personal Style Jennifer Decilveo Brings Out the Best in Ben Platt’s Intimate Debut Album, Sing To Me Instead

By Anthony Savona

Jennifer Decilveo and some of the synths at her Pineapple Box studio.

W

hen Tony-, Grammy- and Emmy-award winning actor and singer Ben Platt decided to release his first album, he knew he wanted to make it personal. “I’ve made my way inhabiting characters and figuring out how to make them sing,” he says. “When I decided to write music, I learned to look inward. I decided to open up about all of the relationships I’ve had. It’s something I’ve never obviously needed to do for my work. I’ve always presented other characters in the context of a greater piece. My own loves haven’t been relevant. Now that I’m going to authentically present who I am, those experiences are at the forefront. What makes me feel deeply enough to sing are the people I’ve been in love with.”

No surprise then that Platt’s debut album, Sing To Me Instead, is a personal, intimate journey that combines Platt’s extraordinary vocals with thoughtful arrangements that bring out the emotion in the lyrics and instantly pull the listener in.

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For this to work, Platt needed a producer he could trust; one that could help him write the songs he wanted to sing and present them in a way that not only highlighted his powerful voice, but also the emotion of the lyrics.

He found all that in Jennifer Decilveo.

Listening to the album, it would appear that Platt and Decilveo were working from a long-time collaborative relationship, but that was not the case. Decilveo, who is no stranger to power vocalists, having worked with artists such as Andra Day, Beth Ditto of The Gossip and Anne Marie, got involved in the project through Jeff Levin, an A&R specialist at Atlantic Records (Platt’s label). “Ben and I met, and I thought he was cool,” says Decilveo. “Then we wrote one song together; then another song…. I felt like he needed to have a more authentic, soulful, classic-sounding record, as opposed to pop. That is what we did on the song ‘Honest Man,’ and that unlocked Pandora’s box, because once we cracked the code with that, he

Photo: Jennifer Decilveo

of the songwriting and pre-production took place for Sing To Me Instead, before moving on to EastWest Studios for more recording, strings and overdubs.

“I’ve been to so many studios in L.A. that I think are a little sterile,” she says. “I wanted to build something that I could put the gear that I liked in, but also keep the warmth—not only from the gear, but from the vibe. One of the biggest components of the studio is the location—it’s in Highland Park, and it’s in the woods. You don’t see anyone around you.

“It’s about 800 square feet, so it’s not huge, but I have a 1950s Ludwig drum kit, an early 1960s Schwander piano and a bunch of analog synths, including a Korg DS 8 from Tokyo, which has such incredible warm and weird sounds.”

The studio is built around two Universal Audio Apollo 8p’s and an Apollo Twin, for 18 channels. She describes the space as a “box,” saying she used to have an iso room, but she removed it because, “I like to be in the room to hear what the artist is singing so I can hear how they’re reacting.”

Working with power vocalists as she does, her preferred Pineapple Box vocal chain is a Neve 1073 into an LA2A supported by the Manley Reference Cardioid microphone.

“I love the process of helping an artist find their sound. I think it’s really fun when they don’t know exactly what it is yet either, because that gives me the freedom to be more experimental."

—Jennifer Decilveo

Ben Platt listens to a track at EastWest Studios during production of Sing to Me Instead.

asked me to produce another song, and another and then that turned into the whole album.

“I love the process of helping an artist find their sound,” she adds. “I think it’s really fun when they don’t know exactly what it is yet either, because that gives me the freedom to be more experimental. And then we talked about references, and he talked about vision, and then I knew where he wanted to go. So it became a process of making sure that we kept that truth in tact.”

INSIDE THE PINEAPPLE BOX In addition to being a producer, Decilveo is also a pianist, singer, songwriter, and studio owner. Her studio, Pineapple Box, is where much

If all that sounds “old school” to you, you aren’t wrong. “I’m obsessed with analog and vintage gear because I am always looking for a sound that has what I like to call a ‘tangibility factor,’ where you feel like you can actually touch the drums, which, in Ben’s case, were all recorded to tape using a Studer 827,” says Decilveo.

“There are definitive choices I make—like to not use programmed drums (or, if I did, I’d lower them in the mix), to only record through an amp and not do DI guitar, to keep the pedal noise on the piano, to keep the distortion that comes from the Neve—because I think, right now in pop music, things are extremely clean,” she adds. “The coolest part about making music is the mistakes that happen and letting them lead you to other places.”

CREATIVE COLLABORATION When the duo moved to EastWest, the piano may have gotten bigger, but the working techniques developed at the Pineapple Box continued. They moved into Studio 1 at the facility, which features an 80-channel Neve 8078 console and a host of analog gear that Decilveo was excited to put into use. “We had an Eventide H3000,” she says, “which we used as opposed to the plug-in. I hired an amazing engineer, Tyler Shields, who knew the room really well, and was basically my right hand throughout, making sure everything was on point and ready for Ben.” Chad Gordon was assistant engineer on the project.

One of the songs, “Run Away,” was completely done at EastWest. On an album filled with personal songs, this tune doubles down, with Platt using his parents as examples of a love that won’t retreat even during the rough

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Jennifer Decilveo built her own studio because she wanted a place that provides warmth—not just from her assortment of analog gear, but also from the vibe.

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Photo: Julian Broad

times. “Ben wrote that song himself, and he had a very strong vision for he wanted it to sound like—piano,” says Decilveo. “Just piano.”

And, indeed, that is how it starts, but soon the vocals and piano are joined by strings and acoustic guitar, perfectly complementing and enhancing the strong sentiment of the song. “I told him that we could add more to it, and Ben Platt teamed with producer/songwriter Jennifer Decilveo if he didn’t like it, we could just mute it. for his very personal debut album, Sing to Me Instead.

Then we added the strings and acoustic There are times when the backing vocals are used guitar. like instruments, and there are times when they actually “But the really cool thing about that are instruments. Take, for instance, the “horns” on the song—which is different than every beginning and end of “Ease My Mind.” “I wrote that part single song on the album—is that he and I asked Ben to sing it, and he kept my vocals in as well,” played the piano and sang it at the she says. “It’s a great opening and closing to the song, and exact same time, which showcases how The track “Run Away” was done all in one take, with I think it’s a really strong line melodically. But it isn’t a very talented he is. And he did it in one Platt singing as he played the piano. horn—it’s my voice being distorted.” take.”

The strings were not sampled, but arranged by Jim McMillan and recorded at EastWest. “I had never recorded an orchestra before this FAN CLUB record,” confesses Decilveo. “What I liked about Jim was that, if during Sing To Me Instead was a very positive experience for Decilveo. Who not the take I wanted to change the score, he allowed me to do it. At the time, only sings Platt’s praises, but also the production team. “I think mixers and I didn’t realize it was a weird ask, but Jim took care of it and I was able to engineers are some of the most underrated pros—they don’t get enough glory,” she says. “I’ve learned to respect them even more when I became edit on the fly.”

Another sonic aspect of Sing to Me Instead that leaps out is how the a producer who, honestly, had no idea what I was doing. And now that backing vocals are used. Sometimes they are used to emphasize the lyrics, I’ve become friends with some of these guys who worked on records with such as on “Grow As We Go,” sometimes they are used as an instrument, me, I genuinely find them fascinating people. It’s such a weird thing to be as on “Ease My Mind,” and sometimes they aren’t used at all, as on “In obsessed about, and I feel like they’re a part of a cool club that I’m trying Case You Don’t Live Forever” (which does, however, feature a subtle use to be in!”

Sing to Me Instead was mixed by Christian “Leggy” Langdon, except of Mellotron).

“I love the backing vocals on ‘Better,’” says Decilveo. “I love them on “Bad Habit,” which was mixed by Mark “Spike” Stent, and “Grow As We ‘Bad Habit’ and on ‘Ease My Mind.’ They’re as influential and as important Go,” which was mixed by Alex Hope. The album mastered by Stephen as an instrument. They make you feel things. It’s a background vocal, yet Marcussen at Marcussen Mastering, except for “Bad Habit,” which was mastered by Chris Gehringer at Sterling Sound. n you’re paying attention.”

The Music of “Our Planet” Thematic Episodes and Eight Hours of Diverse, Picture-Driven Score

By Jennifer Walden Photo: Oliver Scholey, Silverback/Netflix

S

had played it, and you got a sense that they were playing but also watching. The musicians would never react to something, but there were gasps and tears. It became obvious that this was a sequence that had a lot of power to it.”

For the glacial ice sequence in the “One Planet” episode, Price didn’t choose the typical route of big moment/big music. It may be one of the biggest scenes in the show but it’s also one of the quietest. “The challenge was to create a track that felt more personal. It’s just a piano and a solo violin. It’s almost a lament for what

you’re seeing,” says Price. “I am most proud of the moments where we’ve taken something on an epic scale and brought it down to a more personal one. The hope is that the show has an impact on individuals and it starts that conversation about what can be done to solve the problems that we are facing.”

Price is best known for his multi-award winning original score on director Alfonso Cuarón’s Gravity, which earned over 10 awards including an Oscar, BAFTA and ASCAP. He’s also won a BAFTA TV Craft Award for his score on Photo: Courtesy of Steven Price

ilverback Films chose a bold direction for its eight-part nature series Our Planet on Netflix. Instead of a veiled message of conservation, the filmmakers made a frank statement: Here is our planet and this is the impact humans are having on it. The beauty of exotic biomes and amusingly eccentric bird courtship displays are juxtaposed with sobering sequences, like 75 million tons of glacial ice falling into the sea or a community of walruses falling to their deaths from rocky cliffs they were forced to climb due to a lack of sea ice on which to rest.

The walrus death scene in the “Frozen Worlds” episode is a particularly harrowing moment that Oscar-winning composer Steven Price captures poignantly with his score. It even moved the well-disciplined musicians of the London Philharmonic Orchestra to tears. Behind the conductor in the studio at Abbey Road, there was a large screen playing each episode while the musicians were performing.

Seeing the footage “seemed to bring out a bit of character in their performance,” Price says.

“On that sequence, the music builds and builds until the first walrus falls over the edge; then it stops. It was the very first time the orchestra

Composer Steven Price in his London home studio.

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Photo: Gisle Sverdup, Silverback/Netflix

Music for the jellyfish sequence in “Coastal Seas” was inspired by a Vigier Guitars fretless guitar that has a metal fingerboard.

Photo: Alastair Macewen, Silverback/Netflix

The Hunt—another nature docu-series produced

by Silverback Films. Price also recently scored the upcoming Dolphin Reef documentary produced

by Disneynature and directed by Silverback Films co-founder Keith Scholey.

Price’s goal on Our Planet was to bring out the emotion of the sequences; having the orchestra perform to picture helped to set the right mood.

“Because the colors of each episode are so different, it always felt like the music needed to sound different. With the ‘Frozen Worlds’ episode, people were playing with less vibrato, and it was a much colder sound,” he says.

The picture provided inspiration every step of the way, from the first written notes to the final recorded performance. And since Price was working with (mostly) locked picture and a guide track of narration and effects, he knew when he could go big and when to make room for important dialog and effects-driven moments. “I could be brave with the writing,” he says. “I could really commit and hit a scene hard or build up a moment and be accurate with what I was doing.”

Price found that certain instruments seemed to fit naturally with certain biomes, like woodwinds for the “Forests” episode, guitars for “Coastal Seas,” and synth elements reminiscent of the glacial sounds in “Frozen Worlds.” Overall, the score is orchestral-based, but each episode “led me to use a different section of it and to supplement it in different ways,” he explains.

“It was always interesting to start an episode, to

had just arrived as I was starting on the jellyfish sequence. When I saw the images of them swirling around, those two just locked together.

The guitar created this weird, swelling sound that just fit.”

For “Coastal Seas” and “High Seas,” Price used choral voices. It’s a fitting choice, like making a connection between the oceans and the Sirens of Greek mythology. “High Seas” features a small choir that works well with that vast biome, but “Coastal Seas” is more intimate, so Price chose a single voice—that of singer Lisa Hannigan. “She has the most glorious voice,” Price says. “I’ve worked with her often enough that I know what she can do. The vocal line for the coral sequence in ‘Coastal Seas’ was very much written with her in mind.”

The series isn’t always serious. For instance, Price did a bit of whistling for the leaf cutter ants’ music in “Jungles.” He says, “Whistling is a funny thing, it turns out. My whistling isn’t

For the butterfly sequence in “From Deserts and Grasslands,” Price recorded “fluttery flutes” separate from orchestra and ran them through an Echoplex delay.

experiment with different elements to find what felt right.”

For the butterfly sequence in the “From Deserts and Grasslands” episode, Price created fluttery flutes by recording them separate from the orchestra, running them through an Echoplex delay pedal and recording that back into Pro Tools. He also added some reversed acoustic guitar parts. “As things fluttered and came out of their chrysalis, I was able to play with the sound a bit to make it feel like something was emerging,” he says.

In the “Coastal Seas” episode, Price’s inspiration for the jellyfish was a fretless guitar

by Vigier Guitars that has a metal fingerboard.

“You can glide all around on it and it makes this echo-y sound,” he explains. “The guitar

quite in tune, but when we tried to put it in tune, it suddenly sounded awful! So there’s a load of out-of-tune whistling that somehow comes together in the final track. We did a lot of EQ to remove the sound of me blowing and missing notes. But, hopefully, it has a sort of rough-edged charm.”

Also in the “Jungles” episode, Price had to compose lively dance music for the western parotia’s courtship display. The music had to match the timing of the bird’s dance moves precisely, as well as have character and charm.

“It’s really specific and frame-accurate. It required me to build a tempo map, which is a bit tricky,” shares Price. “It’s more of a band piece, so there are quite a lot of guitars. Luckily our bass player in the orchestra was handy with a plucked

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Photo: Courtesy of Silverback/Netflix

The western parotia in the middle of its mating dance, from the “Jungles” episode of Our Planet.

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double bass, so we got him to do a pass on that. Our trumpet player really launched himself at it and it made the whole thing work. There’s also a bit of Hammond organ and some extra percussion that I recorded at my studio. Those bits helped it to come alive a little. It was a fun challenge.”

With only nine months to get through eight 60-minute episodes, Price often found himself working double duty.

He’d start by writing an episode’s score in his London-based studio using virtual instruments in a Pro Tools session. “My template is set up for 5.1 because I like to do textural work that goes into the surrounds,” Price notes. “As I’m writing, it’s nice to work out where that would be spatially. On Our Planet, you have these immersive environments on-screen, like the ocean scenes, and I’m working out how to help those feel more immersive with the music. That was a real intrinsic part of writing this score.”

Next, he’d play the episode’s score for the filmmakers and address all their notes and tweaks. Then, he’d tap orchestrator David Butterworth, who would translate the MIDI files in the Pro Tools session into parts for the orchestra. Before heading to Abbey Road Studios to record, “we’d very carefully go through the orchestrations with a fine-tooth comb to make sure that everything was exactly as intended. Mistakes can really slow you down in a session,” says Price. “The orchestral recording was all done in a single 10-hour day for each episode. It was intense. We were getting through 45 to 50 minutes of music, so everything had to run very smoothly.”

At the session, the best takes were edited together by Price’s assistant Bradley Farmer, who combined them with any final pre-recorded material that Price had already done.

Those tracks were handed over to re-recording mixer Gareth Cousins. “Since there was such a limited budget, Gareth would mix at his place and then pass the session down to me and I would do a bit and pass it back to him.

We have matching Pro Tools rigs, so we can just pass a file between us with no trouble,” says Price.

While that was happening, Price was writing for the next episode and Butterworth was working on the orchestrations for the upcoming recording session. He says, “At times, I was flitting between three episodes.

Our goal always was to keep the score to a feature film standard. We were recording the equivalent of a film score every month.”

Ultimately, they delivered stems to the dub stage and the re-recording mixer spread those around the Dolby Atmos surround field. The Cousins/Price mix in 5.1 was also downmixed to stereo for the show’s OST released by Decca Records/Universal Music, which was mastered by Simon Gibson at Abbey Road.

Price concludes, “This was an intense but brilliant process, being given these amazing images and stories and trying to tie it all together.” n

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Tech

new products

Special Edition: Acoustic Materials 2018

W

ith the recent boom in small-room studios and high-end production spaces, either in the home or in a private facility, there has been a concomitant boom in sales for professional acoustic treatments. The following represents a small sampling of what’s newly available in absorption, reflection and diffusion products. For relatively low cost, acoustic treatment can be one of the best investments you will make in your studio.

Acoustics First QuadraPyramid The QuadraPyramid from Acoustics First is not new, but it has enjoyed a resurgence of late. A variation of the traditional offset pyramidal diffuser, its patented low-profile design presents four pyramids to create 16 angles of reflection on the surface of a single 2x2-foot panel, with each pyramidal quadrant rotated 90 degrees. The QuadraPyramid Diffuser generates a uniform polar response over a broad frequency range.

There is very little sound absorption when used as a ceiling-mounted device in a standard grid (15/16-inch) (NRC=0.10). When wall mounted in a specific manner, it becomes a mid-bass absorber in the range of 250 Hz (0.60 SAC) with the skirt of the bell curve extending down to 125 Hz on the low end and 315 Hz at its upper limit (NRC=0.20).

AirHush ISAT (Inflatable Sound Attenuation Technology)

Acoustic Geometry: Pro Room Pack 6, 8, 10, 12 Now in its second year, the most recent release from Chaska, Minn.-based Acoustic Geometry is the Pro Room Pack Series, featuring the 6, 8, 10 and 12. Known for its research and application of curved diffusers and corner absorbers, the Pro Room Packs are designed to combine phase-coherent diffusion, proven low-frequency mode mitigation and broadband sound absorption. The largest package, the 12, features eight fabric-wrapped wall panels (2x4-feet, 2 inches deep; six fabric-wrapped ceiling clouds (2x4-feet, 1-inch thick); 12 medium Curve Diffusors (21 × 42 × 7 inches); and four CornerSorbers.

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High-end pro audio distributor TransAudio Group made a big splash at NAMM in January with the introduction to of AirHush and the creation of a 10x50-foot “quiet booth” out of ISAT panels. Touted as a revolutionary advancement in sound isolation technology, ISAT consists of lightweight, transparent, modular and infinitely re-configurable panels that reduce SPL and create isolation in temporary or permanent locations anywhere.

At roughly 4 square-feet per panel with sturdy metal frames that hold graphics or lighting, AirHush ISAT panels lock together easily to form any size enclosure, wall or barrier, with no need for professional installation.

AirHush panels also reduce freight cost tremendously, as three deflated panels ship in the space of one inflated on-site panel. Essentially ISAT systems replace the mass used in traditional sound control solutions with air and combine it with modern sound attenuation materials.

Auralex Acoustics RLX: Room Layout eXpress App At NAMM in January, amid a plethora of absorbers and diffusers on poles and in packages, Auralex Acoustics showed the first version of

its RLX: Room Layout eXpress acoustical treatment app, an intuitive, automated treatment app designed to give instantaneous recommendations for various small room types and give users the ability to quickly get acoustical treatment suggestions on their mobile devices.

To begin, simply select your “Room Type.” You can also use the “Edit Room” function to view multiple results for the same dimensions previously entered. The kit recommendations provided are based on both the type of room selected, and the suggested amount of necessary acoustic treatment required based on your specific square footage. You are also able to input various types of equipment and gear used in your room. The standalone app is available on the Apple App Store and Android App Store.

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GIK Acoustics: Impression Series Released early in 2017 and just now reaching its height, the new Impression Series from GIK Acoustics is a line of acoustic panels and bass traps with decorative plates that deliver a visual statement to enhance any room. Impression Series panels are ideal for creating an even balance of low-end absorption that also helps reflect/scatter high-frequency content in the room, giving the proper balance needed. The panels come in five available designs (Bubbles, Checkerboard, Gatsby Arches, Mod Geometric, 3D Cubes); three standard sizes of Square (24 x 24 inches), Narrow (12 x 48 inches) and Rectangle (24 x 48 inches); three levels of absorption (2-, 4- and 6-inch thick) and three plate finishes (blonde wood veneer, black acrylic, white acrylic).

Delta H Design CAT System The Custom Acoustic Treatment (CAT) system from Delta H Design is based around multidensity, multilayered absorption that allows control of more frequencies and more amplitudes than previous generations of absorption. CAT panels were originally designed in flexible shapes and sizes to fit any space for architects and interior designers. The thin profile allows for great aesthetics and minimal obstruction while maintaining acoustical performance. The CAT System is available in three categories: CAT 4 (up to 4 square feet and up to 6 sides), CAT 8 (up to 8 square feet and up to 8 sides) and CAT 16 (up to 16 square feet and 10 sides). Panels are a half-inch thick, with a stated NRC of 0.5 wideband response. Custom shapes are limited to convex polygons with no in-cuts. Customers provide detailed, dimensioned drawings for all custom shapes in AutoCAD 2018 or PDF.

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At NAMM in January, IsoAcoustics introduced a series of isolation feet designed for loudspeakers, stage monitors, amplifiers and subwoofers, giving live sound professionals a solid, low-cost means of reducing vibration. They also work just fine in the studio. The new STAGE 1 Isolators are packaged as a set of four, which can either be screwed directly to the bottom of the amplifier/

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loudspeaker/subwoofer/monitor or attached to a board to create an isolation platform for supporting the equipment.

The rugged aluminum housing features a very low-profile design, with a height of 1 inch, enabling the equipment to maintain a low stance, and allowing them to fit easily inside road cases. The new STAGE 1 Isolators can support a maximum weight of 200 pounds per set of four and are designed for equipment ranging from small bass combo amps to stacked 4-12 cabinets.

Primacoustic: Hercules, London and Bass Absorption Primacoustic provides a vast range of acoustic treatments, from its Broadway line to its Element Series, from bass trapping and diffusion to ceiling clouds and its popular Recoil Stabilizers. Last year the company, a division of Radial Engineering, introduced Hercules “impactresistant” absorption panels manufactured from the same high-density (6 pcf/96 kg/m3) glass wool core as Primacoustic Broadway, but the face of the panel is covered with a high-density fiberglass layer. This facing allows the panel to effectively absorb most frequencies, but the protection will prevent damage occurring from accidental contact. Hercules panels measure 24 x 48 x 2 inches, with square edges, and are available in beige or gray acoustically transparent fabric. Meanwhile the company’s London Room Kits, ranging from London 8 to London 16, have enjoyed a resurgence as a complete studio solution. And the range of bass traps, from Cumulus to Max to London, has been on the rise with the surge in small-studio construction. n

m i x o nl i n e.co m | J U N E 2 0 1 9 | M I X

Bonus Product!

Manley Labs 30th Anniversary Limited Edition Preamp Manley Laboratories is proud to announce a special Limited Edition run of its classic Dual Mono microphone preamplifiers with special blue and black cosmetics in honor of the company’s 30th anniversary. Though Manley’s current equipment lineup is designed with more modern, efficient manufacturing techniques in mind, the Dual Mono Mic Preamp comes from an era where products were painstakingly built in a decidedly old-school fashion. “There are a tremendous number of American labor-hours required to hand-wire each Dual Mono Microphone preamplifier,” says company president EveAnna Manley. “But because we are in the audio business—always listening!—we have decided to celebrate our 30 Years of Manley pro audio production with a run of these classic cornerstone products.”

The Manley all-tube Dual Mono microphone preamplifier is primarily intended for use with modern capacitor (condenser) microphones. Now, 40 to 60 dB of gain, enough for most ribbon mics, are selectable in precise 5 dB steps by varying the amount of overall negative feedback on the Gain switch, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and “tubey-er” through to faster, punchier and more aggressive. Tube complement per channel: 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. The front panel 1/4-inch DI jack makes these preamplifiers serve double duty as a pure tube line stage for instruments such as bass, drum machines and keyboards.

Total gain in this mode becomes 20 dB less than indicated on the Gain switch. Both transformer coupled balanced and direct (via humongous metalized film MultiCaps) capacitor coupled unbalanced outputs are provided, giving you the choice of audiophile-purist or big iron sounds.

These Limited Edition units are available now through select Manley resellers worldwide with an MSRP of $3,300 USD.

Tech // reviews MOTU Digital Performer 10 Esteemed DAW Adds Huge Soundbank, New Features for Studio and Stage

By Michael Cooper

I

’ve been a Digital Performer user since shortly after its initial release. With each new version, the venerable DAW added terrific new features while preserving what I value most about it: ease of use when I’m under the gun. DP bests its track record once again with the release of the outstanding Version 10.

DP10 includes the new MOTU Instruments soundbank, comprising roughly 5.5 GB of multi-sampled instruments (having up to eight velocity layers), synths, loops and phrases (various riffs). The more than 300 different multi-sampled instruments include acoustic and electronic drum kits; nearly two dozen different percussion instruments; pianos, guitars and basses (acoustic and electric types for all); mallets (celestas, glockenspiels, marimba, vibraphones, xylophone and music box); organs (church and electric); strings (celli, contrabasses, violas, violins and ensemble string orchestra); brass (French horns, tubas, saxophones, trombones and trumpets); and woodwinds (bassoons, clarinets, English horns, flutes, oboes and piccolos). You’ll also find accordions, harps, harpsichords, tympani, choirs, over 40 ethnic instruments and various sound effects.

The soundbank’s 500 loops are organized in big beat, drum & bass, disco, electro, rock, funk and industrial genres.

MOTU Instruments content is played using the third-party, free UVIWorkstation application, which operates either as a standalone virtual instrument or an instrument plug-in in DP. Alternatively, you can load MOTU Instruments in MOTU MachFive 3 or UVI’s Falcon universal sampler, if you own either of those products, just like any other UFS soundbank. UVIWorkstation can load up to four presets at once (for

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Fig. 1: DP10’s GUI features a central section with tabs for displaying 10 main workspaces, flanked by resizable sidebars for additional windows. Here, the VCA tracks in the Sequence Editor (top-center of GUI) are those displaying no waveforms. A partial view of DP’s Mixing Board is shown below the Sequence Editor. The new Content Browser is shown in the bottom-left sidebar.

multitimbral operation or mapping to different zones on your MIDI keyboard controller) and includes a built-in arpeggiator and numerous effects processors.

DP10’s new Content Browser provides a super convenient central directory from which you can drag and drop audio files, loops, plug-ins and virtual instruments (including in VST3 format, which DP10 supports), insert settings (custom plug-in settings—for single or chained plug-ins—saved for use in DP’s Mixing Board inserts), individual samples and clippings into windows in your current project that can accept these assets (see Fig. 1). (Clippings can be a single audio or MIDI note, a multi-bar phrase, multiple tracks in their entirety, plug-in chains or just about anything else—including lyrics or folders for other applications—you’d like to store for quick access at a later time.) I found the

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Content Browser to be especially helpful for quickly finding loops to drop into tracks in DP’s Sequence Editor or new Clips window (more in a bit).

IN THE STUDIO DP has long let users group selected tracks’ faders, mutes, solos, pans, sends, automation and editing functions, and more. DP10 brings powerful VCA groups to the party. In a VCA group, the included tracks’ faders are all boosted or attenuated by a VCA track’s fader assigned to the group (maintaining the grouped faders’ offsets to one another), but— here’s the benefit—dragging an individual fader in the group only moves that track’s fader. This extremely useful feature lets you, for example, briefly goose understated crash cymbal strikes to add excitement to a song’s choruses without jacking up the entire,

PRODUCT SUMMARY COMPANY: MOTU PRODUCT: Digital Performer 10 WEBSITE: motu.com PRICES: $499 (street price); upgrades $195 (from previous version) or $395 (from competing product or MOTU AudioDesk) PROS: Includes versatile 5.5GB soundbank; new VCA tracks aid mixing; Clips window turbocharges improvisational live performance; new Stretch edit layer automatically conforms audio to project tempo and timeline; Content Browser hastens retrieval and use of digital assets; at-the-ready Bite Gain adjustments; Quantization and Snap to Grid enhancements; superb documentation CONS: Nothing major grouped drum kit. The VCA track also controls its group’s solos, mutes, input-monitoring activation and record-enable function.

You add a VCA track like you would any other track in DP. Then, in its output menu, you choose the desired track group you wish it to control.

You can even make the VCA track control an Edit, Mix, Edit & Mix or Custom track group— those types of groups control other parameters a VCA group does not—in which case group fader control by the VCA’s fader will be added to the non-VCA group’s intrinsic settings. Nice!

The VCA track includes a level meter for the group’s combined levels. Its fader and mute button can be automated (in separate takes!), and it can be renamed and assigned a track color.

(Tip: make the color match that of the group it controls). When you automate a VCA track’s fader, its level adjustments add or subtract to any fader automation for the individual tracks in its group. That’s a terrific feature because it allows you to preserve dynamic level adjustments in a group while making the whole group louder or softer overall in different song sections.

MIDI Volume controllers can also be scaled

by VCA tracks. VCA track-mute automation, on the other hand, overrides any track mute automation in the group’s individual tracks, which makes sense.

The Sequence Editor and Waveform Editor— the latter is enhanced and streamlined in DP10— each have a new Stretch edit layer that lets you stretch individual audio beats earlier or later in time, aided by DP10’s re-engineered Beat Detection Engine and optimized by ZTX PRO technology from Zynaptiq.

In either editor, you select the Stretch edit layer and drag individual beats left or right. You

then drag anchor points left and right so that beats on either side of the stretched beat aren’t affected (unless you want them to be). Entire tracks that have a tempo map established (their beat and tempo previously analyzed) can also be automatically stretched to conform to your project’s tempo and timeline by enabling their respective Stretch layers in their Track Settings menu—a major timesaver.

Many other new features and improvements have bowed in DP10. One of my favorites: When soundbites are made large enough, both vertically and horizontally, their current Bite Gain setting appears as a readout in the bottomleft corner of the soundbite along with a fader for adjusting it—an invaluable timesaver when comping vocals or mixing dialog tracks.

MIDI controller data can now be made to follow any relocation of associated MIDI Notes when they’re quantized, and the same locked relationship is also optional for plugin automation data and quantized soundbites.

The Groove Quantize command similarly locks continuous controller data to notes, and audio automation to beats, that are moved.

A new Snap Relative option for the Snap to Grid function preserves any prior offset to the absolute grid that data had before moving it, preserving the feel of a performance. The playback wiper can now also be made to snap to the grid. To speed editing along, DP10 lets you switch between using a primary and alternate editing tool simply by typing the “x” key on your computer keyboard. Can’t remember where to find a certain command? Just type shift-spacebar and then the command’s name, and DP10 instantly will find it for you! The clearly written and exhaustively comprehensive operation manual sets a high standard all pro audio manufacturers should aspire to achieve.

IN LIVE PERFORMANCE The new Clips window (opened via a new tab in DP’s Consolidated Window) brings powerful improvisation capabilities to performing musicians by letting them trigger playback of MIDI and audio clips on the fly—or queue them to automatically play sequentially at a specified interval—with seamless transitions in their playback.

When you first open the Clips window, a matrix of cells appears. All the tracks in your current sequence are displayed (if selected in a Track Selector dedicated to the Clips window) at the top of the columns, below which initially are empty cells. To create a clip, simply copy a time-

range selection for a track in the Sequence Editor and paste it in a cell in the Clips window, or drag a soundbite (audio region) from the Soundbites window or the Content Browser into a cell. The channel configurations for an audio clip and cell must match.

Clicking inside individual cells on respective “clip triggers” (they look like play buttons) queues the associated clips to play successively at repeated intervals—the length of which you select in the queue grid’s pop-up menu—ranging from a quarter-note duration to 32 measures after you begin DP’s playback. For example, if you set the queue grid to 4 bars, the first clip or scene in the queue will play on bar 1 (assuming DP begins playback there), the second clip or scene in the queue will play on bar 5, and so on.

All clips situated in the same row in the Clips window belong to a “scene” and will be added en masse to the queue for simultaneous playback when the scene’s trigger is activated.

A common way to use scenes is to have Scene1 trigger during your song’s intro, Scene 2 trigger in verse 1, Scene 3 trigger in chorus 1, and so on.

Your pre-recorded tracks (situated at the head of each column) also have triggers, both individually and—like a scene—for all tracks at once. A track and the clip(s) occupying its column can’t play at the same time—one supplants the other when loaded for playback by the queue.

If a clip’s length is shorter than the queue grid setting (for example, four bars), it will loop until the next queue grid boundary (the next multiple of four bars in the timeline) arrives—unless you specify in an associated Clip Editor that it’s to be a one-shot clip. The Clip Editor—situated at the bottom of the Clips window—lets you set the clip’s start and end times (trimming it) and displays its waveform.

A condensed version of DP’s Mixing Board (situated between the cells matrix and Clip Editor) lets you solo, mute, pan, adjust the level for and process with plug-ins each clip or track playing in its column. If you have effects plugins on your master track, you can copy their automation data (recorded in the Sequence Editor) and paste it into a cell in the master track’s column; when the automation clip plays in the queue, the automation for the effects will be heard on all the other clips that are playing.

DP’s bounty of new features is extremely impressive, and I’ve only scratched the surface.

DP10 is both a powerful upgrade for longtime users and an intuitive DAW for beginners. Two thumbs up! n

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Tech // reviews Audient iD44 Desktop Interface Newest Entry in iD Line Adds Analog Channels, Updates Converters

By Mike Levine

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ver the past several years, Audient has regularly expanded its impressive iD series of desktop interfaces.

These units are appealing for many reasons, including simplicity, expandability, excellent mixer software, and the inclusion of Audient console-grade preamps.

The newest version, the iD44, is its most formidable yet, offering more analog channels, new converters and lots of monitor section features. Audient also redesigned the accompanying iD software application, making it even more powerful.

FRONT AND CENTER The iD44 is billed as a 20-in, 24-out interface, but that number includes its optical expansion ports, which require additional preamp units or interfaces. Actual onboard analog I/O comprises four inputs and four outputs.

All four input channels sport rear-panel Neutrik combo jacks that will accept mic or line signals. Channels 1 and 2 can also be accessed through conveniently placed front-panel DI inputs with JFET circuitry.

Moving back to the rear panel, you’ll find 1/4-inch balanced insert sends and returns for channels 1 and 2. These allow you to patch another processor into the signal path before it hits the converters. The Insert jacks are half-normaled, so there’s no need to connect them to let the signal pass through when you’re not using them.

Signals connected to the Insert Return jacks go through an electronically balanced input stage and straight into the converters.

Audient recommends connecting a source directly to the insert returns if you want to bypass the preamplifiers or the DI circuitry.

For example, if you have a mic pre that you really want to use, you can avoid the coloration of sending it through a second preamp stage by connecting it directly to the Insert Return jack.

Two back-panel 1/4-inch line outputs allow for the connection of two pairs of monitors. Also included are two sets of optical I/O. These can handle eight channels of ADAT I/O per pair in, and also support S/PDIF. You connect the iD44 to your computer’s USB port with an included USB Type C to Type A cable. Despite the USB-C connector, the iD44 only supports USB 2.0 functionality. That’s all that’s needed, however, because it uses its onboard DSP to create no-latency monitoring through its accompanying ID software.

Rounding out the back of the unit are a BNC Word Clock output

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The iD44 combines audio interface and monitor section features.

jack and the port for the included 12V DC power adapter. There is no MIDI I/O. You can control the input functions from the top panel. For each channel, you get an input level knob. Below each knob are Signal (present) and Peak indicator LEDs. Under the LEDs for each channel is a vertical row of three toggle switches. The top one turns on and off the 48V phantom power, and below it are a –10 dB pad and a 100 Hz high-pass filter. To the right of the four columns of channel controls are the main meters, which are eight-step LED ladders with a power status LED underneath.

LISTENING IN The controls on the right side of the unit let you manipulate the substantial monitor section and headphone features, some of which must be configured in the iD software application.

Dominating this cluster of controls is a large knob called the Encoder. By default, it governs the level of the analog line outputs.

It’s also a switch when you press it, but, oddly, that switch appears to have no function, nor is there anything in the (otherwise very informative) manual about it. Perhaps the switch will be assigned a function in a firmware upgrade.

Below the Encoder is a horizontal row of three buttons labeled Cut, DIM and iD. Cut mutes the signal to the outputs, DIM lowers it and iD turns on ScrollControl, which is a unique feature of the iD Series interfaces.

If you press the iD button, Audient’s unique ScrollControl mode is activated. When it is, the Encoder controls anything scrollable in whatever software is active on your computer. Use it with a fader

PRODUCT SUMMARY COMPANY: Audient PRODUCT: iD44 WEBSITE: audient.com PRICE: $699 PROS: Excellent sound from preamps; JFET DI circuitry provides above-average quality; iD software powerful and straightforward; perchannel phantom power switches; per-channel pad switches and high-pass filters; Return jacks for direct ADC access; handy monitor control features; assignable function buttons; Mix Solo feature sends a cue mix through main speakers; USB mic or built-in mic can be used for talkback CONS: No built-in reverb for monitoring; no MIDI I/O or panner in your DAW’s mixer or to control any onscreen knob.

ScrollControl is not specific to music software, so you can even use it to scroll up and down in a Word document if you like. Although it’s not a feature crucial to the primary function of the iD44, it’s handy.

Two knobs, considerably smaller than the Encoder, control the two independent headphone outputs. By default, they’re linked to the main output mix, but you can also assign specific cue mixes to them in the accompanying iD software.

Rounding out the hardware controls is a vertical row of four buttons: three are Assignable Function buttons and the fourth is Talkback. All of these are configured from the iD software as well.

The Talkback feature doesn’t have a built-in mic, so you have two choices: use up one of the input channels, or use your computer’s built-in mic or a USB mic. I would certainly recommend one of the latter choices, rather than using up a valuable mic input for talkback.

SHOW SOME ID The iD application is a free addition to the iD44 and is crucial for getting the most from the interface. It’s mixer software for your computer that works with the unit’s built-in DSP, but also lets you handle the setup for the three assignable buttons, routing of the various outputs and adjusting levels of the DIM and Alt functions.

You can easily configure the software mixer to show channels for the analog inputs, digital inputs and returns from your DAW. Each input channel offers a volume slider, pan pot, solo button, mute button and a phase reversal switch, as well as an input meter. Stereo channels have

The iD software application offers straightforward mixing and configuration features.

two pan pots, two phase switches and left and right meters.

At the right of the iD software is the Master Section, which contains global controls and displays. In addition to a stereo master meter, it also features a Chronometer display, which is a level readout that goes from right to left and shows the current audio and 30 seconds prior in a continuous scroll. What’s really helpful is that you can clearly see when clipping is occurring, as the green and yellow lines turn red at the spot it happens.

The right half of the Master Section lets you choose which groups of channels are visible, the analog inputs, digital inputs and the DAW return. It also contains Talkback, Phase Flip, Mono, Alt Speaker, DIM and Cut buttons.

You can select a Cue Mix in the Master Section for editing. Click on Cue A, B, C or D to make that mix available for editing, and then adjust the input faders as desired. Each Cue Mix has its own master fader. It also has its own Solo button, which temporarily routes the selected Cue Mix through the main speakers. Nice.

One weakness of the iD44’s design is that there is no way to add reverb to a cue mix for monitoring. Although the mixer is DSP-based, the iD44 doesn’t include any built-in effects.

PANEL DISCUSSION Another crucial window in the iD software, which you can open when needed, is called the System Panel. From it, you can route any of the four Cue Mixes to one of the two headphone outputs or to the Main or Alt output pairs. Doing so is simple, thanks to an easy-to-use Routing Matrix.

You can also switch the digital outputs between ADAT and S/PDIF format, and have one digital I/O pair dedicated to each. You can set the Clock Source between Internal and Digital port

1 and 2. You can even choose where the signal goes when you press the Mono button: to the left speaker, right speaker or both. The System Panel is also where you go to set the Talkback source.

Mixer setups can be saved and recalled in the software. You can also save one to the internal memory of the unit itself. If you were to use the unit standalone, running its mic pres into a different interface, that setting would be active.

SOUNDING OFF I used the iD44 as my primary interface for several weeks and was extremely satisfied with it. I was quite happy with the sound of the mic preamps, which were clean and full. I recorded both vocals and miked acoustic instruments and got excellent-sounding results.

There’s a lot to like about the iD44. It offers Audient sound quality and enough analog I/O to handle most home studio sessions. With two sets of ADAT optical ports, you can expand your channel count by connecting external devices to the system.

The revamped iD Software application is even better than before, gives you four Cue Mixes and is super easy to use. The monitor section features such as DIM and Talkback are handy. I love that you can use a USB mic or your computer’s builtin mic for talkback, so you don’t have to allocate a preamp for that.

I’m also impressed with the flexible options you get from the insert jacks, including the ability to send signal straight to the converters— essentially using the iD44 as an ADC. My only complaint is the lack of built-in reverb to monitor with. I’d love to see that in a future version. But overall, this is a well-designed, flexible and professional-quality unit that is an excellent value, too. n

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Tech // reviews Shure TwinPlex TL46 and TH53 Subminiature, Dual-Diaphragm Condenser Headset & Lavalier Microphones

By Steve La Cerra

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espite their small size, lavalier microphones are used in some pretty big spots. News reporting, interviews and film, television and theatrical productions are all applications that require a unique combination of intelligibility, rejection of unwanted sound, robust construction, unobtrusive size and resistance to moisture. Shure’s TwinPlex line of subminiature condenser microphones are designed to address all of these issues and then some.

Comprising four lavalier and one headset model, the TwinPlex line of mics was a “from-the-ground-up” project for Shure.

The mics are built in a dedicated facility using a combination of automation and hand-crafted construction, with many of the manufacturing steps developed specifically for TwinPlex technology. The result is a range of subminiature microphones that maximize capsule surface area while reducing size and providing exceptional audio performance.

At the heart of all TwinPlex microphones is Shure’s patent-pending TwinPlex omnidirectional capsule, which employs dual-diaphragm construction with independent backplates for each. The diaphragms are arranged parallel in a sideaddress configuration, as opposed to the more typical single-diaphragm, end-address configuration. This essentially doubles the diaphragm surface area within the same amount of space and is said to yield improved low-frequency response, consistent offaxis response and lower self-noise. Overall length of the capsule has been reduced to 5mm by locating the electronics PCB in between the two diaphragms. Very clever.

The TwinPlex line consists of the TL45, TL46, TL47 and TL48 lavaliers (which offer

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a variety of sensitivity and response curves), and the TH53 headset. Shure sent Mix the TL46 lavalier in black and a TH53 headset in tan. Both mics can be ordered with a choice of connector, including LEMO, Microdot and TA4; we requested TA4 connectors so that we could use the mics with the Shure Axient Digital wireless system (AD1 bodypack). Each mic is packaged in a semi-hardshell case with a variety of accessories, including extra caps (flat and presence), windscreens and tie and vampire clips (T46 only).

The first thing I noticed about the TwinPlex mics was the cable: it’s very pliable and thin (1.6 mm diameter), yet does not feel flimsy. Shure engineers took a great deal of care in developing this medical-grade cable, employing dual redundant grounds for secondary shielding and cable longevity.

The cable is said to have no memory effect, and the paintable jacket resists drying or cracking while remaining extremely flexible.

TwinPlex mics are furnished with two different removable plastic capsule caps: there’s a flat frequency response cap and a presence peak cap. Initially, I couldn’t tell the difference between the caps by looking at them, but closer examination revealed that the vents on the flat cap are longer than those on the presence cap.

In addition to their effect on the frequency response, the caps serve another important function: they have a hydrophobic coating that repels sweat and moisture, providing longer “sweat out” time (sweat resistance) than an uncoated cap.

That might not sound like a big deal, but when you consider the fact that theater performers are under hot lights, and that subminiature mics are often concealed in clothing or hair, it becomes apparent why resistance to moisture is crucial.

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TL46 LAVALIER MIC The TL46 was designed for high-sensitivity and medium-SPL applications (the TL45 is available for low-sensitivity, highSPL applications). I used the TL46 with the Axient Digital system for speech reproduction, and, after a bit of tweaking of the mic position, the results were excellent.

Initially, I used the supplied tie clip to place the mic on the lapel of the speaker’s shirt, a few inches under his chin. This placement sounded a bit muffled, even with the presence cap installed. Moving the mic down a few inches to the button placket made a big difference in clarity, and his voice sounded natural and clear. Rejection of offaxis sound was generally very good, though we did experience a bit of feedback when he turned and faced the speakers (good grief).

I next used the TL46 to record audio for a video on drum tuning, using both the Axient Digital wireless system and a custom-built preamp that enabled me to connect both

PRODUCT SUMMARY COMPANY: Shure PRODUCTS: TL46 Lavalier and TH53 Headset Subminiature Microphones WEBSITE: www.shure.com/twinplex PRICE: TL46: $399; TH53: $599 (prices vary depending upon connector) PROS: Great intelligibility; extremely low handling noise; available in a variety of colors, including black, cocoa, tan (TL46 also available in white); headset is very stable CONS: Difficult to identify various caps TwinPlex mics via wire into an external mic preamp (a Grace 201). Dynamic range of this recording was huge because you have a person speaking in a conversational voice, and then the sound of a snare drum being whacked, both being captured by a mic that’s about 18 inches away from the drum. The TL46 handled it effortlessly, as did the TH53 headset. Background noise was never an issue, and the mics handled the SPL from the drum without distortion.

TH53 HEADSET MIC I used the TH53 in similar applications, including the drum tuning video. The TH53 seemed to capture a bit less of the room ambience than did the TL46, which enhanced the clarity of the vocal while keeping the snare sound focused.

When I first saw the TH53’s headset, I thought it looked delicate and had my doubts that it would stay put; but once set in position, it did not move at all. The headset has separate adjustments for headband width, ear hook angle and boom angle. A pivoting clutch with an easy-to-grab thumbwheel sits behind the ear and is used to adjust boom height and boom arm length.

Provided that I placed the headset as suggested in the manual, I never heard a plosive sound, nor did I experience any issues with “t” or “s” sounds.

The headset has wonderful fidelity and seemed to produce a more extended low-frequency response than that of the TL46. Using the presence cap on either model produced a very subtle difference, more adding a sense of air or space as opposed

to creating a pronounced peak in the response. I thought I might have heard a bit more emphasis on “s” or “t” sounds with the presence cap. The caps don’t require a lot of pressure to pull off or push on, yet remain in place securely.

I found that the SH53 and TL46 produced excellent-sounding vocals, though I think I’d prefer the extended LF response of the TH53 for theater applications where the talent would be singing as well as speaking.

As you would hope for a lav or head-worn mic, the capsules are small enough to be hidden easily in clothing or hair, yet produce a full frequency response. Capsule self-noise was never evident in quiet applications, and both microphones demonstrated the ability to handle a wide dynamic range.

The TwinPlex performance, combined with excellent sound, robust construction and resistance to moisture, add up to a line of mics that will undoubtedly have a formidable presence in theater, film and TV applications. n

Classifieds ACOUSTIC PRODUCTS

Glenn Rosenstein Producer/Mixer/Engineer (U2, Talking Heads, Ziggy Marley, Whitney Woerz)

“From room to room, I always have a consistent and predictable monitoring environment, thanks to Auralex.”

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4/18/19 2:08 PM

Tech // back page blog Begin Again; Real-Life Live Sound Classroom Mike Levine: Mix Technology Editor, Studio

Steve La Cerra: Mix Technology Editor, Live

Tear It Down and Start Over: I’ve had my home studio in its current location for about six years, and what started out as a relatively organized setup has gotten progressively less so during that time. Between adding or replacing pieces of gear and temporarily adding and removing products that I’m reviewing, I now have a rat’s nest of cables behind my rack and studio desk. I’ve got USB hubs daisychained, and a tower-style computer I no longer use underneath my desk.

I also need to completely redo the power setup to add more RFI filtering and conditioners.

Yes, if I were one of those super-organized, OCD types, I would have carefully run the cables for anything new that came in and made sure that the power cables and AC cables were at right angles. The cables would all be custom length to avoid buildup, the non-rack hardware would all be neatly placed (and velcro’d down) on rack trays or stands, I would have used a laser measuring tool to precisely position my monitors, and so forth.

Alas, that’s not me. I’m just not that neat or organized a person, and I can tolerate a certain degree of chaos. That’s not to say you would mistake my studio for a hoarder’s lair. In fact, I can even make it look pretty spiffy when clients come around—as long as they don’t glance behind the racks.

Much as I don’t look forward to the amount of work involved in reorganizing my studio, I’ve now arrived at a “bite the bullet” moment.

Time to blow it up and start all over.

I have to first inventory everything, figure out what cabling and accessories I need to replace, and order what I need—and that’s the simple part. Then I have to disconnect everything and redo all the cabling, both audio and AC. Fortunately, a holiday weekend is coming up and I’ll have a lot of free time.

Formation, Transformation and Deformation: On April 17, 2019, one of my classes had the opportunity to participate in a very special event. Held in the Rotunda, Mercy Hall at the Dobbs Ferry, N.Y., campus of Mercy College, the event was Formation, Transformation and Deformation, An Ambient Electronic Music Performance, featuring special guests Steve H, sym.bi.otism and Tundra Ghosts. The event was organized

by Stephen B. Ward, associate professor of Music Production & Recording Arts at Mercy College. When Professor Ward asked if the students in my sound reinforcement class would be able to provide and run a sound system for the event, the answer was a definitive yes!

At a class discussion the prior week, the heart rates of my students spiked when they heard the word “quad” because some of them know what quad is and fear it, and some of them feared it because they weren’t familiar with the idea. In the meantime, myself and Mercy College Music Studio manager Sam Stauff formulated a simple plan for configuring the P.A. that would ensure student success.

Sam came up with the idea of designating each of the four speakers with a letter, and assigning a specific pair to each performer as their front left and right. The students deployed the speakers (QSC K10s) in each position and patched four separate outputs from the X32, one to each speaker.

At soundcheck, each performer sent test signals to his own front left, front right, rear left and rear right outputs. The students dialed up gain and assigned these channels to the appropriate output buses—quite frankly, they nailed it. There was not a single technical issue during the show. It was obvious that the audience and performers enjoyed the evening, and my students had the chance to successfully run tech for a once-in-a-lifetime event.

Product of the Month: Røde Rødecaster Pro. For those who haven’t been paying attention, podcasting has become huge. Not surprisingly, gear manufacturers have taken notice and are putting out products specifically designed for podcast production. One of the most comprehensive is the Rødecaster Pro from Røde. Released l ate in 2018, the unit is an all-in-one podcast production studio that functions as an audio interface, mixer, recorder, telephone interface, sample-triggering device and more.

The Rødecaster Pro was a compelling product already, but what makes it newsworthy today is its 1.2.0 firmware update, which introduces multitrack recording of all its sources to the internal microSD recorder. This supplements the existing capability to record the stereo outputs. Now you can record mono tracks of the four mic preamps, and stereo tracks of the USB input, TRRS phone connector, Bluetooth input and the sound-trigger pads.

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Product of the Month: Aviom BOOM System. The BOOM System from Aviom is a series of products that enhance headphone or IEM systems, enabling the performer to feel bass frequencies without need for unnecessarily loud traditional LF transducers.

Serving as the nucleus of the system is the BOOM-1 Tactile Transducer Processor, an amplifier unit that easily interfaces with any personal monitoring system and drives a tactile transducer such as the CTT-1 Clamp-On Tactile Transducer; the PLF-1 Platform transducer; the PFS-1 Performance Stool; or the KBS-1 keyboard seat.

All of the BOOM transducers are plug-and-play with the BOOM-1 processor. The Boom-1 has 1/4-inch TRS stereo headphone input and thru ports, a locking transducer output, mono XLR input for direct connection to Aviom’s A360 Personal Mixer, and a mono XLR output that provides the DSP processed signal for connection to an external power amplifier. n

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