Audio Pro Issue 19, May 2009

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Issue 19 • May 2009

LIVE • COMMERCIAL • RECORDING • BROADCAST

www.audioprointernational.com

The sky’s the limit for the UK festival circuit.

So who’s in the mix behind the scenes?

SPEAKER MANAGEMENT • PROLIGHT+SOUND • KEN THOMAS • NAB

Eminence Advert

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ISSUE 19 May 2009

CONTENTS > IN THIS ISSSUE

NEWS SHURE ACQUISITION • 4 Mic giant takes on Crowley & Tripp

HOMECOMING OFF • 5 Council forces festival cancellation

MPG CHAIRMAN • 5 Steve Levine to lead the UK guild

EMINENCE • 6 Adam Hall assigned for Europe

FEATURES METROPOLIS STUDIO • 18 Europe’s biggest independant studio turns 20

SPEAKER MANAGEMENT • 23 A review of the lastest gear the market has to offer for those big rigs

KEN THOMAS • 30 An old school UK engineer talks on how sometimes less is more

LIVE SOUND COVER FEATURE UK FESTIVALS • 28 The big summer festival season is upon us

DERRICK ZIEBA • 20 The Brit Awards’ system designer talks shop

LS9 • 33 Yamaha’s small-format console in action

EVENTS AES PREVIEW• 8 What’s in store for Munich

NAB REVIEW • 12 The new gear on show in Las Vegas

PROLIGHT+SOUND • 14 A review of pro audio’s biggest show

///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

> Regulars: Applications 36 In Session 38 People 40 Distribution 41 Products 42 Mixdown 48

EDITORIAL

T

he doors on my new studio opened this month, well I say a studio, right now it is merely a room in Dalston with instruments, a few nice mics and a digital recording set up. The plan is to make an acoustically treated space with the right mix of digital and analog gear to satisfy the needs of many genres of music.

I am still very much in the research phase of buying the equipment and am finding out new and interesting things every day about the way the market has changed. .

Most of the smaller consoles designed by renowned manufacturers feature many of the same components as larger consoles, including preamps, eq and features concerning routing signals in and out of the board. These boards can also be less noisy than full format consoles due to the smaller length of cables between the channels and the master section.

Much of this may not be news to Audio Pro readers, but it shows the great pains that developers of this kit have gone through to provide the same quality gear to their users at a small percentage of the price. It is a bit disheartening to see that the shift of recording studios to smaller spaces with lower rates has forced this adaptation. Not only have R&D teams been forced to squeeze their ideas into a much smaller format, the entire direction of these companies has to be refocused towards a more commercial audience.

On the other hand, this shift has put the result of decades of research and progress into the hands of untrained musicians, which harks back to The Simpson’s quote, “We have the technology, we just don’t know how to use it.”

Andrew Low - Editor andrew.low@intenemedia.co.uk A bookmark us in your phone

mobile.audioprointernational.com Contacts for Audio Pro International Editorial: +44 (0)1992 535646 Ads: +44 (0)1992 535647 Fax: +44 (0) 1992 535648 Editor: Andrew Low

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> NEWS

Shure returns to ribbon mics through acquisition Mic giant buys Crowley & Tripp and brings ribbon microphones back to catalogue after over 20 years SHURE INCORPORATED HAS acquired Crowley & Tripp, the ribbon microphone maker, from Soundwave Research Laboratories of Massachusetts, USA. Shure now owns all intellectual property, microphone process equipment, product designs and other important assets related to the Crowley & Tripp line. The ribbon microphones will now be manufactured in Shure’s Wheeling, Illinois, facility using the patented Roswellite shape-memory acoustic ribbon material developed by Soundwave Research.

“Ribbon microphones have always been prized for their warm sound quality, but older designs are delicate, which has limited their applications,” said Scott Sullivan, Shure’s senior director of global product management. “With the acquisition of the Crowley & Tripp product line and its Roswellite ribbon technology, Shure is planning to extend the use of ribbon microphones to the stage and in the studio.”

“We are pleased to be working with the leading manufacturer of microphones and further the development and commercialisation of ribbon microphones,” said Soundwave president Robert Crowley.

“Bringing new technologies like Roswellite into the marketplace is an important goal for our company,” added Sandy LaMantia, Shure’s president and CEO. “Our customers have come to expect continuous improvement. For more than 84 years, Shure has been dedicated to manufacturing the finest microphones in the world and developing innovative audio technologies for our customers.”

“This new ribbon technology enables us to combine the characteristic ribbon sound with the durability for which Shure products are famous,” said Chad Wiggins, Shure’s wired microphone products category manager. “Our customers know they can use their Shure microphones in every conceivable scenario, from the most subtle vocal performance to high-SPL instruments, like a kick drum. Now they can take advantage of the unique sound signature of a ribbon microphone no matter what their application is.”

Shure will manufacture ribbon microphones exclusively in the US and also assume responsibility for ongoing service and support for existing owners of Crowley & Tripp ribbon microphone products. > shure.com

Homecoming festival cancelled Official organiser statement claims excessive council demands to blame for abandonment HOMECOMING 09, the music festival due to be held at Irvine Bay, Scotland, has been cancelled.

In an official announcement, the organiser blamed what would seem to be excessive council demands for the termination of the festival. The statement read: “It is with great regret that organisers of the Homecoming festival have announced that this year’s event has been cancelled.

This is due to new demands from the council requesting 50 per cent of the profits and a £60,000 bond on the land.

“All ticket holders will be entitled to a full refund, and

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arrangements are currently being made to organise new venues and dates for some of the artists that were scheduled to perform.

“We’re all gutted and share your disappointment at missing out on what would have been a massive gig,” it added.

Homecoming is now the second festival scheduled for 2009 to be affected by local authority ruling.

Earlier this year, the Glade electronic music festival was forced to relocate due to inflexible noise restrictions enforced by the Berkshire County Council.

Happily, the organiser of that festival have now secured the Matterly Bowl near Winchester, Hampshire, to host the event. Nick Ladd, Glade's creative director, said: “We can now run it later on all nights, including Sunday, and make some proper noise.”

www.audioprointernational.com

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All the news from the Prolight+Sound show

Derek Zieba reveals some secrets

Audio Pro’s annual festival focus

NEWS <

Prism’s METAlliance certification ADA-8XR and Orpheus recognised for superior audio production from alliance’s founders

Music Producers Guild appoints new chairman Renowned producer Steve Levine takes over at the helm from Mike Howlett THE MUSIC PRODUCERS Guild (UK) has appointed Steve Levine as its new chairman.

Levine is an award-winning producer and a member of the Musicians Union’s executive committee and a director of PRS, MCPS and BASCA, which he represents on the UK Music board.

He replaces the former chairman, Mike Howlett, who has left for a new position as associate professor and head of music and sound at the Queensland University of Technology in Brisbane, Australia.

“We are absolutely delighted that Steve has agreed to take on the mantle of MPG Chairman,” said Howlett on behalf of the MPG. “As well as being a highly respected music producer, Steve is well placed in the music industry and I know he will be a capable and articulate voice to carry the Music Producers Guild’s mission forward, namely speaking for the interests of recording professionals throughout the UK. www.audioprointernational.com

“The MPG is engaged with industry, with government and with education to ensure that the perspective of recording professionals is heard. Issues such as copyright extension, digital rights and the value of intellectual property in music affect all our members. I know that Steve will be a strong voice in these arenas.”

Levine added: “I am really thrilled that the MPG has asked me to be the next chairman. Mike has done a superb job, as witnessed by the huge success of the inaugural Music Producers Guild Awards earlier this year – an event that has significantly raised our profile. I intend to build on the positive effect that the awards have achieved. My roles on various boards will, I hope, be invaluable to the Guild.

“Most creators share the same aims, trying to earn a living from those creative efforts. In this current climate the role of the record producer has become more important than ever. A whole new generation of artistes

require the services of a professional record producer. The MPG is best suited to help the record production community achieve their aims.”

With a history of record production that dates back to 1975, Levine has worked with many renowned artists, including all of Culture Club’s classic hits and three multi-platinum albums. His work with Deniece Williams earned him a Grammy in 1987. He has also composed a number of film scores. > mpg.org.uk

LEVINE: A strong voice for the MPG

PRISM SOUND has been granted Music Engineering & Technology Alliance (METAlliance) certification for the ADA-8XR multi-channel ADA converter and the multi-channel Orpheus Firewire computer interface.

Established in 2005 by producers and engineers, the METAlliance is a US-based collaborative community that allows those involved in audio technology to work together to ensure the highest standards of audio production.

METAlliance also works closely with manufacturers to evaluate and certify products. To date, only a handful of products have achieved this accolade.

“It is an honour to receive METAlliance certification for one product, but to receive it for two is very special,” said Graham Boswell, sales and marketing director of Prism Sound. “We make specialised performance products built to offer quality to the most discerning in the industry. They are not expected to be cheap, but they are expected to do their job in a manner that leaves nothing to chance.”

METAlliance founders Frank Fillipetti and Al Schmitt both have experience with Prism Sound's products and were instrumental in this certification. > prismsound.com

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> NEWS

Behringer targets pro growth Presence in the commercial and install markets earmarked for expansion by budget specialist considerable experience with motivation, drive and enthusiasm.”

At NAMM this year, Behringer introduced a number of pro audio products, including three condenser microphones (two of which were large vacuum tube condensers for studio recording), stereo power amps and a number of live sound and recording mixers.

Pictured is the SX4882, a 48/24input, eight-bus in-line mixer with Xenyx mic preamps, British eq and integrated meterbridge. It is targeted at studio, FOH, monitor, corporate and touring audio applications.

BUDGET AUDIO manufacturer Behringer has reported that, despite the tough economy, it is still growing and even expanding into new markets. In light of this, the firm has launched a major hiring initiative to support its continuing expansion and development.

“Over our 20-year history we have developed technologies and processes that we can now apply to a growing number of markets”, stated chairman Uli Behringer. “We will be serving new market segments with new means of marketing. We’re looking for talented and passionate people to make this happen.”

Behringer currently reports that opportunities exist at all levels of the organisation from COO and CTO, to vice presidents of business development and sales, to engineers, product developers and web content managers, as well as numerous admin positions.

Qualified candidates from throughout the audio, engineering, web and admin industries are encouraged to consider the firm when seeking employment. Specific areas of expansion for Behringer are the commercial and install markets.

“Behringer can bring a solid set of technologies to these markets,” added Behringer. “We’re looking for the right person to lead this initiative in the US; someone of

> behringer.com

Dennis Harburn 1950 to 2009 DENNIS HARBURN, the managing director of Shure Distribution UK, passed away at his home on Sunday March 15th after a short illness. In one form or another, he had been with the company for over 36 years.

Harburn joined Shure in 1972, when it was Shure Electronics, as a rep for the South East. As the company shifted to independence, he rose through the ranks as sales manager, director and ultimately managing director in 2000.

While spending almost his entire career supporting Shure, he was also a classic car enthusiast, a lover of horse riding, a die-hard fan of Gillingham FC and was the proud owner of a vast and diverse music collection.

“I was shocked and deeply saddened by this news,” said Sandy LaMantia, Shure’s president and CEO. “Dennis had a very long relationship with Shure, as an associate and as a partner. His expertise and leadership in the complex UK audio marketplace were invaluable 6

audioPRO

May 2009

Adam Hall for Eminence Global arrangement now extended to Europe as German operation expands audio catalogue

to Shure throughout those years. He will be greatly missed. My sympathies go out to his family and to our ‘family’ of UK associates.”

His staff at the UK office added: “The honest manner in which he did business, the way he looked out for his staff, his passion for Shure, music, old cars and the loving way he spoke of his family, are some of the attributes that made Dennis a respected managing director.”

He is survived by his wife, their three children and three grandchildren.

ADAM HALL HAS announced that it will now serve as the exclusive distributor for Eminence speakers in all European countries.

Adam Hall has worked with Eminence for over 18 years and will take on the latter's range of speakers for both MI and pro audio markets.

David Kirby, CEO of Adam Hall, stated: “We are very happy about the confidence Eminence has shown us with this step.”

Rob Gault, president of Eminence, added: "With Adam Hall we have enjoyed many years of success and are excited about taking our partnership to the next level.”

Adam Hall UK’s general manager, Andrew Richardson, furthered: “Distributing Eminence speakers takes us into new markets and enables

Rob Gault and David Kirby

us to go full circle, selling the speakers that have proved themselves in the LD System’s loudspeakers. Eminence makes great products and we could not ask for a more fantastic group of people to work with." > adamhall.com www.audioprointernational.com

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> EVENT PREVIEW AES

May 7-10 Munich, Germany

A new Bavarian brew The 126th AES Convention will have a special focus on live and broadcast sound this year. With many of the Pro Audio’s respected names on board for the show and support from the APRS, the event organiser is making strides to reinvigorate its European trade fair. Andrew Low looks into the details… hile the Audio Engineering Society’s (AES) annual American show remains one of the most revered trade fairs in the business, the European chapter faces huge competition from leading shows Prolight+Sound and ISE, a problem that is only exacerbated by the current financial climate. The organisers of this year’s event, held from May 7th to the 10th at MOC in Munich, Germany, have worked hard to develop a unique experience for visitors and exhibitors.

Proof of this effort is AES’ relationship with The Association of Professional Recording Services (APRS) and the UKTI, the branch of UK government responsible for supporting export, which is offering UK exhibitors discounted booth space at the show by providing a free hospitality suite and up to £1,400 towards booth and hire costs for all qualifying British companies.

Visitors will see a special focus on live and broadcast sound with dedicated seminars held in co-operation with Sennheiser, Yamaha, d&b and Neumann & Müller. The companies will be holding live sound focused sessions throughout the show in addition to providing equipment for visitors to bang on.

There will also be a special seminar titled Digital Mixing Consoles with Analog User Interfaces: Which Paradigm

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The convention is highlighting so many thrilling broadcast topics during the technical program of workshops and tutorials. - Florian Camerer

is Desirable, which is a round table discussion held by representatives from console manufacturers and sound engineers to discuss the pros and cons of different console user interfaces.

Another roundtable discussion focusing on the digital path from microphone to the mixing consoles will be held at the show. This event will address the manufacturers of digital microphones and mixing consoles in an attempt to answer questions about basic parameters such as power supply via phantom power.

In addition to the live sound focus, chairmen Florian Camerer has chosen a full list of broadcast sound related seminars. He explains: “The convention is highlighting so many thrilling broadcast topics during the technical program of workshops and tutorials. Technologies for audio over IP, always high on the list of every convention in recent years, is the subject of an interesting workshop.

Another current topic is audio for Bluray, again reflected in a workshop.

Lipsync, loudness, 5.1 – all in all, I invite you to check out a really varied program rather than pointing out only one favorite.”

Munich-based Optical digital network system developers, Optocore will also be on site hosting daily

workshops seminars on booth 2103.

The topics will include Fibre vs.

Copper, Optocore networking – broadcast, Installation, and live applications, and a concise version of the company’s renowned Optocore Certification Training (OCT).

Interested attendees can receive further information about the seminars by contacting the company at: inquiry@optocore.com.

Exhibitors like Cranesong, Euphonix, Neumann, Josephson Engineering, Korg, Lavry, Manley Labs, Riedel and Sennheiser will be on the tradeshow floor displaying their latest product developments and technology Neutrik will show its range of products featuring the award winning intraGram – a hologram developed in cooperation with U-NICA and Sulzer Mixpac to ensures users what they are buying is a true Neutrik product and not a counterfeit.

Schoeps will introduce the MK 22 microphone capsule at the show, which is the newest addition to the Colette series of modular condenser microphones, with a new Open Cardioid direction pattern.

Competition aside, it is hard to deny the new and unique offerings available at the 126th AES convention. > aes.org www.audioprointernational.com

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Power and Clarity Funktion One's new RM18 triple concentric stage monitor is a radical departure from the standard 15" and compression driver configuration, delivering a significant perfromance advantage over conventional monitors.

www.funktion-one.com

The innovative design comprises an ultra-fast Neodymium 18" driver with 5" coil and a special mid range driver with a built in super tweeter passively crossed over at 9kHz. The 700Hz crossover point and the natural materials used in the mid device give a previously unheard clarity and definition to the vocal range. The bass response of the 18" driver also makes it well suited to use as a drum monitor.

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PLASA EVENT PREVIEW <

Northern exposure

PLASA’s first crack of the whip up north. Many would take a punt on its success. Rob Hughes speculates…

April 28th-29th: The Royal Armouries, Leeds

n odd one this, at least in so far as its timing, which sees the show at its bustling best just as this very page you are reading makes its way through the printing machine. Less than ideal from a reporter’s point of view, but then the benefit of hindsight in this case would surely confirm what we all expect: a winner.

The formula speaks for itself really – an already highly successful trade show, acquired by the organiser of what is by far the largest and most attended lighting and sound event in the UK. AC Lighting sold its eight year-old trade show to PLASA back in September 2007, having established it as the premier north British event of its kind.

This suited both companies well – it allowed PLASA to initiate the first of a planned series of regional events and AC to focus on its growing business activities. Both rightly agreed that the entertainment, event and production industries in the north should have a

A

The formula speaks for itself – an already successful show acquired by the organiser of the largest sound and light event in the UK.

OPTOCORE introduces the

NEW

single industry-led event and, well, once PLASA had its sights set on a northern show…

AC North 2008 was the last trade show organised under that name, as PLASA got to work creating a successive event that would ‘take the look and feel of the latter as its basis and see an expansion and development in many areas, including exhibitor space and seminar sessions, alongside partnerships with regional organisations’.

By December last year, PLASA was reporting that over 75 per cent of AC Lighting North exhibitors had already committed to the new event, and there had been ‘numerous expressions of interest from manufacturers and distributors who had not previously been in a position to take advantage’ of the show.

Then, by February this year, almost 95 per cent of exhibitor floor space was sold, even after the event had

converter generation

With the new converters, customers are now remarkably flexible due to card slots, which can be equipped with five different card types. Analog inputs, outputs, and especially the dual microphone inputs with two independent adjustable gains as well as the AES/EBU inputs with sample rate converters provide a new universal versatility.

Full integration into OPTOCORE network by DD32E:

X6R / V3R NEW!

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• 16 / 8 channel converter unit in a 1 RU enclosure • Card slots for customized I/O configuration - 8 mic inputs - 8 line inputs - 8 line outputs - 8 mic inputs with two independent preamps each - 8 AES/EBU inputs with sample rate converters • Sample rates up to 192 kHz • All card equipped with Phoenix connectors • Mic inputs with selectable gain (0 dB to +70 dB in true analogue 1 dB steps) and 48 V phantom power

• •

• • • •

• • •

grown to fill two halls at the Royal Armouries in Leeds and preregistration figures had broken all previous records. Exhibitors include the likes of Martin Audio, Shure, EAW, Neutrik, Yamaha, Sennhesier, A&H and Alcons, backed up by a comprehensive two-day educational seminar programme.

For audio pros, the highlight of the inaugural schedule is sure to be Surrounded by Sound, in which Steve Brown from the Royal Exchange Theatre gives an overview of the demands on sound design and the need for a conceptual, rather than technical approach to the discipline.

How can the role of the sound designer be developed away from a purely technical pursuit? And what are organisations such as OISTAT and the Royal Exchange Theatre Company doing to promote a more creative approach to sound design? plasafocus.com

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> NAB EVENT REPORT April 18-23 Las Vegas Convention Centre, USA

Broadcasting mirages Hot on the heels of Frankfurt is another big show, which brought broadcast professionals to the deserts of Las Vegas, Nevada to see the latest in broadcast technology for audio, video and filmed content across numerous broadcasting platforms. Andrew Low travels to Sin City to bring you this report... he National Association of Broadcasters (NAB) annual show, held at the Las Vegas Convention Centre in Nevada, USA from April 18th to 23rd this year, is one of the most prominent broadcasting shows in the world, showcasing the latest technology available and attracting celebrities from the broadcasting world, like Kelsey Grammer, who played the psychiatrist Frasier Crane on Frasier and Cheers.

As such, Riedel introduced MediorNet, which it says heralds a new age of fibre-based real-time signal transport solutions for multichannel HD video, audio and data.

The company is hoping to establish a new approach to broadcast production infrastructure by integrating networks and technologies that were divided before.

Cable and connector company Neutrik released its new OpticalCon Quad at the show. It is a four-channel version of its protected fibre optic connector system designed specifically for multichannel point-to-point cabling applications. Pete Milbery, managing director of Neutrik USA, stated: “With the introduction of our upgraded opticalCon Quad, we have fine-tuned our technology to offer the broadcast market the ultimate in fibre connectivity. Our new opticalCon Quad is ideal for any multi-channel point-to-point application where fourchannels of fibre are needed. And broadcasters now have the ability to fibre-link several broadcast trucks together for a solid and convenient connectivity solution.”

Linear Acoustic and Cobalt Digital introduced the result of their

T

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FACT FILE Venue: Las Vegas Convention Centre Date: April 18th to 23rd Exhibitors: 1541 Visitors: 83,842 (registered) Verdict: NAB is one of the

world’s three big broadcasting events, along with Infocomm and IBC, so manufacturers from around the world made the trip to Las Vegas to show off their latest gear.

Kelsey Grammer was one of several broadcast ‘celebs’ at the show

collaborative efforts that have lead to the incorporation of Linear Acoustic’s upMAX surround sound upmixing technology into Cobalt's 9305 embedded audio delay processor.

These new technologies were designed to enable broadcasters to receive any stereo pair source material and upmix it to 5.1 for storage or transmission, while providing viewers with high-quality audio.

The Austrailian company Fairlight showed many of its new products at the show, including The Constellation family of digital audio mixing consoles with automation and processing. The range is available in a variety of sizes, from two bays and 12 faders to eight bays with optional wraparound and up to 72 faders.

It also exhibited its Pyxis-MT audio and video capture, playback and file transfer system, which is a HD non-linear recorder/player with a professional 192 track audio recorder built in one.

The system provides true HD VTR performance and includes extensive drag and drop file handling capabilities. Pyxis can operate as a standalone system, under Sony ninepin control, or as part of a multi-system.

Communication systems specialist Clear-Com previewed the latest version of its digital matrix intercom system, the Eclipse Version 5.1. The new version allows connection

between Clear-Com’s IP-enabled Vseries control panels and Concert Version 2.0 software-based intercom system, and features the company’s Hybrid Time-Divisional Multiplexing (TDM) intercom/IP server network concept.

Clear com also used the show as a launching pad for its Eclipse V5.1’s IPlinking capability, enabled by ClearCom’s new IVC-32 IP matrix card, which establishes a single communications environment between all traditional hardware and IP-based intercom users in a broadcast facility. It also introduced the Production Maestro add-on module for Eclipse 5.1 and the latest version of its softwarebased intercom technology, ClearCom Concert Version 2.0.

Solid State Logic (SSL) introduced the C10 HD digital broadcast audio console in Las Vegas. The new SSL desk integrates all DSP signal processing and operating hardware into a convection-cooled control surface.

The console is available in two frame sizes – 24+8 and 32+8 – with scalable DSP and I/O options. Its control surface features a graphical overview of all signals in addition to SSL’s Eyeconix feature that presents thumbnail pictures of sources to be displayed for fast visual recognition and navigation. > nabshow.com www.audioprointernational.com

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> PL&S EVENT REVIEW April 1-4 Messe Frankfurt, Germany

See you at the Irish Bar Hours after arriving in Frankfurt the word from exhibitors of Prolight+Sound (who had retreated to the pub before the show) was to expect much smaller booths in every hall. While this did prove to be true and many companies opted for shrunken spaces, it was apparent that the international pro audio community was represented in strong numbers. Andrew Low walks the halls of the Messe to bring you this report… ecession or not, Frankfurt remains the show to exhibit at and attend. Proof of this was in the many new product launches and announcements that happened during the show, held from April 1st to 4th at Messe Frankfurt, Germany. This year 111,000 visitors from 125 countries visited the show giving it a one per cent increase from 2008 With most companies remaining strong ‘despite the credit crunch’, another major trend was the shift of pro audio manufacturers to release products for the ‘prosumer’ with the introduction of smaller format gear loaded with pro features. The most glaring example of this was Solid State Logic’s release of the X-Desk, a compact, eight-fader console. While this trend certainly isn’t new, to see a company that used to make its money selling £500,000 consoles offering a compact mixer aimed at the project studio is proof that the sector continues to experience a significant and prolonged shift in this direction.

This trend has also been seen in the

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FACT FILE Venue: Messe Frankfurt Date: April 1-4, 2009 Exhibitors: 850 Visitors: 111,000 Verdict: While exhibitors

had noticably smaller booths, visitors and exhibitors were upbeat about the future with new products and announcments were made every day of the show.

live sound sector with a raft of new small-format digital consoles dominating this year’s new product offerings, which started at PLASA. A positive spin on this could be the idea that big things come in little packages, and perhaps this is the case. Modern developers are confident they can offer the same features, functionality and sonic characteristics in a smaller and more affordable package. The truth will be shown as these products hit the market and engineers begin to put them to the test.

ALCONS AUDIO The company reported its best PL&S ever. In addition to product displays, it hosted the Modular Stacked Ribbon Array (MSRA) design study, a concept consisting of a scalable high-power line-source monitor system based on vertically stacked modules and applying the (cylindrical) array ability of Alcons’ proprietary pro-ribbon technology. Products on show included the latest and smallest member of its pro-ribbon line arrays, the micro LR7,

along with the accompanying LR7B bass extension, which applys a new dual-tuned concentric bandpass configuration. Its single long-excursion 12-inch Neodymium woofer was integrated to create a highly-efficient, compact package as a powerful LR7 extension for the lower octaves. It also had the CR1 compact AV/Digital Cinema three-way sound system with the CB181sl subwoofer.

OHM One of three new introductions for Ohm was the 10-inch Bootique active band-pass sub-woofer. Bootique is listed as a packaged professional sound system in a box. It features a two hundred Watt amplifier with two eighty-five Watt amplifiers, contained in the same cabinet, to power up to eight Bootique speakers. Ohm also showed the Ersa Minor line array system, which was developed to meet the growing demand for high-powered, small enclosure, portable line array systems. It features two six-inch Neodynium magnet bass units and a www.audioprointernational.com

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Frankfurt certainly offered a full range of products with all ends of the industry represented

one-inch compression driver on a proprietary waveguide and a unique flying system. The new wide dispersion, low profile BR-7 was also on display.

Designed for low ceiling or under balcony applications, it features two six-inch Neodynium, 35mm voice coil bass units that are coupled to the proprietary one-inch compression driver and diffraction horn in a 41cm wide cabinet.

NEUTRIK Neutrik showed its new multi-channel point-to-point connector for broadcast and pro audio applications, opticalCon 4. With four integrated fibres, opticalCON 4 is based on the wellestablished opticalCon 2 and is just as dust-proof and compatible to LC connectors. It also showed its multimedia product series, which includes USB, HDMI and Firewire feed-through chassis connectors, in

Many of the new product releases at the show were focused on software updates and new gear with pro audio/MI crossover appeal.

addition to the locking USB and HDMI cable connectors; the HD version of the XX series with protection class IP67; the Neutrik Trouble Shooters, including the EMC XLR with enhanced RF screening.

ADAM HALL LD Systems exhibited its brand new range of LD Premium Series. The new line includes eight-inch, ten-inch, 12inch and 15-inch multi-purpose speakers, in addition to the VA4 and VA8 line array systems and subwoofers from 1 x 15-inch, 2 x 15-inch up to 2 x 18-inch. Premium series speaker cabinets come with high-quality components and are housed in a durable 18mm multiplex caninet coated with the DuraCoat LX coating.

SENNHEISER Sennheiser made the grand premier of the Evolution G3, which features the

100, 300 and 500 G3 series, as well as the 300 IEM G3 wireless monitoring system and ENG sets for reporters and filmmakers. The complete systemâ&#x20AC;&#x2122;s transmitters can be synchronised with the receivers via an infrared interface, while its frequency management function makes more compatible frequencies available and all thirdgeneration series now have a switching bandwidth of 42 MHz and up to 1,680 switchable frequencies.

DIGICO Digico introduced two software upgrades at the show. The new Mach 2 software suite is free to all exisiting SD7 owners and adds numerous new features to the board, including DigiTube, the worldâ&#x20AC;&#x2122;s first Super FPGA preamp tube emulation, with full drive and bias control; dynamic eq available on all 256 processing paths and on all four eq bands; Multi Band Compressor,

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> PL&SEVENT REVIEW CONTINUED

also available on all 256 paths, and adding an extra two compressors per path giving a further 512 dynamics to the console; 16 floating point stereo Super FPGA Stealth digital reverbs and 32 floating point stereo effects and a talk-to-buss with dim function. It also introduced a software expansion to the SD7 digital console with the SD7T Digital Theatre Mixing System. SD7T features a delay on matrix inputs per node (nodal delay), the next generation of Live Update known as Auto Update, complete integration of Cue Editor for fast editing and updating of VCA assignment and ripple through VCA control and all advanced feature sets provided in the Mach2 software suite.

The halls of Prolight+Sound were illuminated by the lights of the latest that the live sound and installation markets have to offer

PRISM SOUND Prism Sound announced that its multichannel Orpheus Firewire computer interface is now supported on Vista64, as well as other 64-bit operating systems. This comes after extensive tests by Prism Soundâ&#x20AC;&#x2122;s research and development team to ensure its integration with the latest 64-bit DAWs. It also displayed its new lowercost version of the dScope Series III audio analyser, which is now available to order as an analog-only variant for users who only require audio analysis tools in an analog format, while allowing future upgrades for digital functionality.

ADAMSON Canadian loudspeaker manufactuer, Adamson unveiled the new Point Series loudspeaker system. The new line features five models complete with EASE Data; the Point eight, Point 12 and Point 15 two-way enclosures, with companion single and double 15-inch subwoofers and the Point 115 Sub and Point 215 Sub. It also released Point Control, a new four by eight DSP device for speaker management.

REA SOUND Irish pro audio distributor, Rea Sound was at the show with its full range of products from Martin Audio, Yamaha, Allen & Heath, Digico and range of loudspeakers from Nexoâ&#x20AC;&#x2122;s GEO line and dB Technologies. While Rea Sound is a big distributor in the Irish market, it also supplies its

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comprehensive line of pro audio products in Europe and the UK, hence its presence at the show.

JTS JTS debuted the new TG-10 wireless microphone system. The live sound focused product works in a UHF band with 16 preset channels with an operation distance of over 60 metres. It allows at least 12 systems to work simultaneously, while built-in Lithium batteries allow over 14 hours of continuous use. A cabin baggage-sized charger with 36 slots is also available with the system.

OPTOCORE Optocore introduced the new 8 in 1 X6R 16-channel, analog, AES/EBU converter and the eight-channel V3R. X6R is an eight-in-one system with two card slots on the rear that can be equipped with five different card types.

It is designed to convert analog signals (16 inputs, 16 outputs, 8 inputs and 8 outputs, dual microphone inputs with two independent adjustable gains) to AES/EBU or as a sample rate converter for AES3 input signals. X6R is a customised device that provides Optocore interfaces with reliability and sample rates up to 192 kHz. It also showed its new control software version 2.12 and associated firmware upgrades. The newest addition to the Optocore team, sales manager Alberto V. Leiva Soulages was introduced at the show to new and old Optocore clients. www.audioprointernational.com

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VMB Spanish pro audio manufacturer, VMB released the new ADP15M active stage monitor, which incorporates an internal DSP high output (130dB) powered by 1500W class D amplification (1000W for the low frequencies and 500W for the driver). It also features a 15-inch

neodymium woofer and a 1.4-inch compression driver and weighs only 27kg. With a frequency response from 60Hz-20KHz, it reduces the need for eq filters to achieve the desired eq while delivering flat phase response. It also exhibited the new Rainbow v1.1 prediction software for VMB and Lynx cabinets and a range of new products with DSP control features, including the DSX amplifiers and its ADP PA speakers series, alongside a new ADP stage monitor.

ALLEN & HEATH Allen & Heath tipped the scales on new products with numerous introductions. One being three new audio interface plug-in cards for

the iLive-T digital mixing series, which now enables the system to interface with popular standards, including EtherSound, ADAT and Aviom. The Mini Multi-Out card has 3 optical ADAT outputs (24 channels), an Aviom 16-channel output, and 2 iDR 8-bus outputs, which are HearBus compatible, providing 56 outputs with independent patch-bay sourcing.

It also made the debut of the XB-14 broadcast-centric console, with Telco inputs for telephone callers, mic fader start sensing for external connection and internal automatic muting of the speaker outputs, stereo channel start/cue outputs for CD deck transport control, multiple headphone outputs and an additional stereo bus (Mix B).

Finally, the addition of the Euroblock connnector versions of its range of installation products was made at the show. This means that iDR digital series and GR05 analog zone mixer are now manufactured in two versions, the original model with the existing XLR connectors, and a new ‘ST’ model fitted with Euroblock connectors.

CROWN The new Crown I-Tech HD amplifiers were on display at the Harman booth.

I-Tech HD features a new DSP engine co-developed with BSS and Linear Phase FIR filters together with Crown’s Class-I amplifier technology. See the Loudspeaker Management feature.

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> STUDIO PROFILE METROPOLIS

Two decades of sound With credits on albums from the biggest names in music, the fact that Metropolis Studios has been around for two decades is no surprise. Its studios feature a range of vintage and new gear from the most renowned names in pro audio. Andrew Low looks at the history and gear behind the success of Europe’s biggest independent studio… he building that houses Metropolis Studio has a checkered past that has seen everything from steam powered generators to pornographic movie sets. While the walls of the building could tell some quite interesting stories, a more alluring tale is that of Metropolis studios’ life in the building. Conceived in 1998 as the brainchild of Karin Clayton, Gary Langan, Carey Taylor and Alexander Skeaping, it is now celebrating its 20th anniversary.

Over the past 20 years Metropolis has recorded legendary albums including The Verve’s Urban Hymns, The Stone Roses’ The Second Coming and Amy Winehouse’s Grammy Award winning Back To Black, as well as the Live Aid and Live 8 DVDs. This year alone the studio has hosted U2, Pussycat Dolls, Lily Allen, Franz Ferdinand, Akon, The Black Eyed Peas and Stevie Wonder.

Ian Brenchley was appointed as the managing director of Metropolis in 2008 and predicts a positive future for the studio despite the decline of large studio spaces. He comments: “Metropolis has always been one of the top studios in the world, featuring cutting edge technology, a wealth of expertise and a creative hub location for the music industry and iconic artists alike. In our 20th year, we plan to take things one step further by starting a label, adding multiple new services and in short, put the rock n roll back into the music industry, not a moment too soon I might add.”

While the engineers who have used the studio get all the notoriety, the gear processing the sound should be duly noted.

Metropolis’ big Studio A has three separate recording areas, one of which can fit up to a 26-piece orchestra. It houses an SSL 9072 J Series console with monitoring from Genelec 1035As and Yamaha NS10s, PMC or Auratone for nearfield monitoring. A Pro Tools HD 3 with Prism ADA-8 interfaces configured to 24 inputs & outputs (expandable) or Otari MTR 100(with dolby A or SR) is also in place, while outboard

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from Lexicon, Pultec, Maselec/Prism, Neve and Drawmer can also be used in conjunction with a full host of plugins, such as Waves Gold, Autotune, Serato Pitch n Time, Soundtoys, McDSP and Sonnox eq.

Studios B and C have a similar Pro Tools/Prism set ups used with an SSL 4064 G series console (60 mono / 4 stereo channels) in Studio B and a Neve VR 72- channel desk in Studio C. Studio B features a central live area and two separate booths. Session monitoring is handled by a Genelec 1035A system with Yamaha NS10s or Aratone nearfield monitors. Both studios feature outboard from renowned names like Empirical Labs, Eventide, Manley, dbx, Tube Tec and many others while Studio C features an EMT 244 reverb.

A 5.1 set up for mixing sound to picture can be found in Studio E. SSL’s XL 9072K console is used with monitors from PMC and Yamaha. It also features an N-Vision House sync and an overdub booth with large sight lines maintained for producer to actor direction. The studio maintains the same high standards of hi-end gear found in the tracking studios.

Metropolis is the biggest independent mastering house in Europe, with six state-of-the-art mastering suites. The studio’s staff of ten mastering engineers share credits from legends such as The Beatles to recent hits from the Ting Tings and Coldplay.

The history and heritage gained in the last 20 years shines through in its credits as the studio continues to be a leader in the European market with plans in place to expand the business. As the industry changes, it is refreshing to see a studio of Metropolis’ size continue to maintain a high standard of recording and mastering for recorded music. > metropolis-group.co.uk

Metropolis: stunning outside and in www.audioprointernational.com

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BEHIND THE BOARD WITH…

Natalie Baker Imperial Leisure’s FOH engineer warns us to stay away from bands that brandish pigs’ heads….

Which band/project are you currently working on?

I’m currently working with a band called Imperial Leisure; they’re an eight-piece ska/punk/rap band – a lot of fun to work with. We are currently touring Europe, supporting Young Blood Brass band.

What audio console are you utilising?

At the moment I have to work with whatever they have in-house at the venues. Loads of venues have replaced their old analog consoles with digital ones in the last year or two, so I see a lot of Yamaha LS9s, M7CLs and Digidesign Profiles now. If I had the choice I’d probably take out a Soundcraft Vi6.

Do you utilise any outboard effects/eq, and if so, what are they used on and why?

Usually I use a couple of reverbs, one for the snare and another for the brass and then a delay on the brass with loads of repeats for the beginning of one of the songs.

Ideally I’d have at least one more reverb and another delay, which is why a digital console is so useful – especially in the smaller venues where they haven’t the financing or the space for a big rack of effects.

Favourite console?

That really depends on the application; for touring with Imperial Leisure I’d choose a Vi6, maybe a PM5D. If it was a one off and I had loads of space I certainly wouldn’t say no to a Midas H3000.

Favourite PA system (or monitors)?

D&B. I don’t think anything compares to it – I just love it.

Best toy you take on tour?

A good sturdy box to stand on while I’m mixing – I’m a bit below the average height of most sound engineers.

What’s been your worst professional experience to date?

I used to work at the Underworld in Camden, London and one night I was doing monitors and the band had brought two real pig’s heads to hang on the stage. They had been ‘sealed’ by the butcher, but the ceiling was quite low and the stage lights were very close to the pig’s heads and the hotter the heads got the more they stank. The whole venue reeked and my clothes and hair absorbed the smell.

What’s been your career highlight?

Mixing the band Lightyear at Reading and Leeds festivals 2002.

I’d been with them for a couple of years and even before I’d started working with them I’d been a really big fan. The festival was pretty special because it was the first time that they had played there and my first time mixing there, so it was the biggest show for all of us. I was nervous, but I was happy with the sound and it went well. The crowd bounced up and down and sang all the words. It was one of those moments that made all the hours spent on the road in a cramped, smelly splitter van worthwhile.

“Digital consoles are so useful, especially in smaller venues where there isn’t space for a big rack of effects.”

Natalie Baker – FOH engineer

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> INTERVIEW DERRICK ZIEBA

Odd man out With experience from system design for big rock shows to events at strange venues, designer Derrick Zieba has developed a reputation in the UK for tackling challenging projects. Andrew Low talks to Zieba about his work and how the popularity of digital desks is causing a regression in live sound mixing… he dividing factor between audio engineers and a lot of other engineering factions is their devotion to the arts.

Those with a penchant for engineering could easily choose more family and lifestyle-friendly sciences, but only a certain few choose to spend their lives on the road or earning studio tans from countless hours behind a recording console; Derrick Zieba is proud to be one of the latter. After walking away from university training as an electrical engineer, Zieba embarked on a career as a system designer that has led to work on high profile events including The Queen’s Golden Jubilee, the Brit and MTV Awards, Concert for Diana and the world’s largest film premiere, Prince Caspian at London’s O2 arena.

While recent jobs have found him working predominantly with live television events, Zieba has a strong background in sound reinforcement for orchestral, pop and rock n roll. He has also developed surround systems for numerous UK premieres for Disney films at tricky venues such as the Royal Albert Hall.

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PREMIER SOUND SYSTEMS “In developing surround systems for film premieres you have a standard to produce that cannot be set at half measures,” Zieba states.

“Even with the premieres at the Albert Hall I could not just say, ‘Oh it is the Albert Hall and it has tricky acoustics’. It is something that a company has put millions of pounds into producing and engineers have spent many months mixing. I have to make sure I can make it sound as good in any venue as it will in the Odeon Leicester Square.”

A similarly tricky task was the Chronicles of Narnia: Prince Caspian premiere at the O2, which required the installation of a surround sound system to broadcast the film’s sound to 10,000 spectators in the arena and a line array system to project presentations made during the event.

“The premiere of Prince Caspian at the O2 took a lot of work on lip sync testing to shorten the delivery time between the front and back seats. In the end it was simple physics – 20

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the higher we could get the PA system and the farther we could get it from the front seats, the less differential there was between the sound arrival time in the front and back of the auditorium,” Zieba explains.

Zieba has also been the sound designer for the Brit Awards since 1994. His position has let him experiment with new technology to maintain fluidity through quick changeovers.

He has recently seen somewhat of a regression in the show as the show’s performers use many different digital consoles.

He comments: “In the beginning we were using six analog desks at FOH and monitors and an extra one for mixing the live presentations, which sounds crazy for today’s standards. The introduction of digital desks meant that we could use one board for monitoring and one for FOH in single stage presentations. However, with the plethora of digital boards out there, now I am seeing a regression to the point where, at this year’s show, we needed a Digico D5 and a Digidesign venue at FOH with the same boards mirrored for monitoring, and we may need to provide another two for future events. Part of my job has become negotiating with the performers to find solutions that will satisfy the bands without going back to using 14 different boards.”

Experience with many brands in numerous applications has made Zieba a master at choosing the right gear for the job.

While frequently relying on EV’s X-line array or Outline’s Butterfly system, Zieba is not against trying out new technology if it can benefit the project. His experience, in addition to his willingness to tackle difficult jobs that others shy away from, has also lead him to be the engineer of choice for unusual projects. “It seems that I have become the guy to call when there is a weird project held at an odd venue. I welcome the day when someone calls me to mix a simple fourpiece band at normal club,” Zieba laughs, “but I love the challenge and enjoy using equipment that has never been used in a new application.”

“

I have to make film premieres sound as good in any venue as they will in the Odeon Leicester Square.

Derrick Zieba – system designer

www.audioprointernational.com

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> SECTOR SPOTLIGHT SPEAKER MANAGEMENT

Crossover value In the race to squeeze as much of the sound system as possible into a 2U box, a growing number of manufacturers now integrate DSP into their amps. The advantages of this are clear, but the standalone units still deserve our attention, as Rob Hughes finds out… ny 20-something system tech caught bemoaning his duties might well be reprimanded by more senior professionals with the classic “you don’t know you’re born”. And not without justification, or so it would appear after an investigation of today’s Swiss-army-knife-esque (thanks to VMB for the analogy) DSP device and the history of its cornerstone, the crossover.

Based on the work of Bell Telephone engineers Campbell and Zobel, the earliest loudspeaker crossovers were crude, to put it mildly. This was because little attention was paid to the design of them – a puzzling fact, but one that a bold statement from John Lenard Burnett on his website lenardaudio.com, might go someway to explain: “People who make speaker systems rarely have electronic knowledge.” Controversial, but nevertheless, the limits of these circuits offset the multi-way loudspeaker’s potential advantages of increased frequency response and sound pressure levels.

The familiar and more elegant Butterworth filters of the 1950s were a major progression, but it wasn’t until the mid 70s that understanding and technology finally permitted the advancement of these filters to the point where they could accurately and adequately attenuate frequencies outside a driver’s operational bandwidth.

Even so, these were rudimentary passive crossovers, which were bulky, caused power loss and often sounded a lot like a passing Golf GTI occupied by local rudeboys. As a less inflammatory Burnett points out: “The auditory difference

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“

The earliest speaker crossovers were crude, to put it mildly.

between an active and passive speaker system is noticed by everyone. A correctly set up active sound system has greater clarity and realism and is free from inter-modulation distortion.”

Many would say therefore that the most significant development in the field, at least as far as the pro industry is concerned, was the onset of digital audio, which ultimately made it possible to cram not only an active crossover (one with gain in its filters), but eqs, limiters, delays and all manner of other sharp audio tools into a single rack unit. Being comprised of firmware – and therefore almost virtual – this can even be squeezed into a touring amplifier without making it any bigger, which is precisely why many manufacturers have recently done just that.

Those involved with the development of these devices truly have excelled themselves, but whether you opt for the amplified controller or the standalone DSP, it is without contention that any of the following units will make your system tech’s life infinitely easier than it once was…

LAB.GRUPPEN Following Lab.gruppen’s acquisition of Dolby’s Lake technology, it has now introduced its own standalone processor to replace the discontinued Dolby Lake Processor. A prototype of the new device, named LM 26, was recently showcased at the Prolight+Sound show in Frankfurt.

The LM 26 is a full-featured two-in/six-out Lake processor in a 1U frame. It will accept audio signals as analog, AES

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digital or via Audinate’s Dante digital audio network at 48 and 96kHz sampling rates. Lake processing features include raised cosine equalisation, linear phase and classical crossovers, LimiterMax peak and RMS limiters. A Super Module capability allows flexible grouping of processor channels across separate hardware frames, including prior Lake products and PLM Series units.

The new processor is scheduled for launch later in 2009, but Lake fans can still access the technology through LG’s PLM (powered loudspeaker management) amplifiers, in which it is built in. These units are now a mainstay of Live Sound Agency’s L’Acoustics V-Dosc PA system, which has provided sound reinforcement for Slipknot, Iron Maiden and Santana. labgruppen.com

”

Omnidrive has been used on many high profile tours, but many are turning to Crown’s I-Tech HD amps.

Dbx’s new Driverack and XTA’s latest DP426: serious processing in slimline units

www.audioprointernational.com

BSS/CROWN BSS’ Omnidrive series of live loudspeaker management processors marked the first pro audio application of Precision Audio’s Whiseworks NTM crossover filters. Developed by Neville Thiele, the crossover uses a notched response to achieve a very steep roll-off outside the pass band, which allows operators to push loudspeakers extremely close to their operating bandwidths without risk of over-excursion.

The Omnidrive devices have been deployed on numerous high-profile tours by firms such as Adlib Audio, Britannia Row and Audio Analysts, but many users are now turning to Crown’s I-Tech HD amplifiers, which incorporate a version of the technology co-developed by BSS and Crown, Omnidrive HD. With 24-bit, 192 kHz converters Omnidrive HD’s features include linear phase FIR filters and the LevelMax limiter, which links peak, thermal and RMS limiters for more effective protection and maximum SPLs. For the installation market, BSS also manufactures the Soundweb London devices, which provide a distributed, programmable DSP system on a single Cat 5 cable, with network audio via CobraNet. The latest high-profile installation of Soundweb London devices was undertaken by sound integration firm Acme Professional at Verizon Hall in Philadelphia, a 2,800-seat grand performance hall. bss.co.uk crownaudio.com

ALCONS Alcons’ ALC 4 and 6 units combine speaker controllers and power amplifiers, tuned to work as the ‘engines’ of its ribbon

line array system. They can be loaded either with analog SDP modules or DDP digital drive processors.

The SDP circuit affords multiple processing functions that operate at the same time, including protection from overexcursion and power overload, dedicated filtering with fixed cross-over settings cater for the best system performance, optimised power response and system equalisation. The DDP also offers level control, mute, a user-controllable, four-band parametric equaliser and up to 340ms delay.

At the output stage the ALC units feature Alcons’ proprietary Signal Integrity Sensing (SIS) circuit. This extends the control-loop of the amp to the input terminals of the speaker, by means of two additional sense wires, compensating for the influence of speaker cables, which offers cable-length dependent damping, which is virtually infinite.

SIS also maintains signal level by detecting the amount of signal loss at the end of the cable. As a result of precompensation of the self-induction of the cable, non-linear harmonic and intermodulation distortion are reduced, while offering a more linear frequency response. The result is tighter and more accurate low and mid response. alconsaudio.com

DBX Spring 2009 will see the arrival of the new Driverack PA+, the successor to the popular Driverack PA. New features of the processor include an updated library of stored speaker and amplifier presets, USB connection, front panel mute buttons, an improved auto eq wizard and an enhanced set up wizard process, which now includes an industry first auto-level wizard function. These functions should allow speaker systems to be configured and ready for performance within minutes.

The new Driverack PA+ also includes all the features of the original Driverack, including an industry-standard dbx stereo compressor module, the dbx 120A subharmonic synthesizer function on the input and a high quality sixchannel output system that includes parametric eqs, Peak Plus limiters and the Advanced Feedback Suppression system. dbxpro.com

XTA British DSP manufacturer XTA Electronics has just announced the latest addition to its 4 series – the DP426, a two-in, six-out audio management tool that has been

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> SECTOR SPOTLIGHT SPEAKER MANAGEMENT

introduced in direct response to demand from customers following the discontinuation of the popular DP226. It is ideally suited to stereo three-way applications.

The DP426 shares exactly the same features as all the other models in the 4 series, including the flagship DP448, such as 28 band graphic eq and eight bands of fully parametric eq on the inputs, nine bands on the outputs, crossover filters with various slopes from 6dB/octave to 48dB/octave, delay, limiting and Audiocore remote control.

Prominent audio companies Audile and SSE are likely to use XTA 4 series devices across a number of the biggest festivals in the UK this summer. Between them, they handle stages at Reading and Leeds, V2008, Glastonbury, Bestival and many others. xta.co.uk

DB TECHNOLOGIES Featuring two inputs and four outputs, dB Technologies’ DSX 2040 boasts 96kHz, 40-bit floating point signal processing with 115dB dynamic range and is ideally suited to widely used two-way active stereo systems comprising subwoofers and mid/high units. Two separate crossover filters per input/output include Butterworth, Linkwitz Riley and Bessel types, with slopes from six to 48dB/octave.

An extensive set of signal processing tools such as input compressors, delays, 31-band graphic input eq and six parametric eqs for each output let users tune speaker systems with precision to suit the given venue and operating conditions. Each output also features a tunable digital limiter to protect speaker components.

With the controller software, users can create presets for dB Technologies speakers as well as custom configurations and load them on to the DSX2040. The integrated RS232 and USB interfaces allow remote management and control via a PC, but for those who prefer the handling convenience of analog features, front panel hands-on controls afford direct access to key parameters. dbtechnologies.com

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LD SYSTEMS To complement its first range of speakers aimed at the pro market, LD Premium, LD Systems launched its very first DSP controller at Prolight+Sound last month.

The DPA-260 is a six-channel 19-inch speaker processor with 32-bit DSP and 24-bit DA converters. Five bands of parametric eq are provided, with low shelving or high shelving also available. Crossover range is 20Hz to 20kHz with slope, types and bandwidth selectable. Maximum delay time is 10ms and the device also features a limiter with threshold, attack, release and hold parameters.

With phase invert function, the unit is also equipped with a USB port and fully programmable software, which offers 40 presets for those flying in the dark. While the DPA-260 is primarily designed for use with the LD Premium VA-4 and VA-8 line array systems, there is no reason why it shouldn’t be considered a ‘more bang for buck’ controller for other systems. ldpremium.com

ELECTRO-VOICE EV's flagship digital sound system processor is the two-in, four-out Dx38, which provides 48-bit filter algorithms, 24-bit conversion and a dynamic range of 115dB. The Dx38 can be used in networks of up to 31 controllers with a maximum networking distance of 1,000 metres.

The Dx38 was put to use earlier this year alongside indie band, The Notwist, who gave three concerts with the Andromega Mega Express Orchestra at the Volkstheater in Munich. No less than five of the controllers were used in conjunction with 18 EV XLD enclosures, ten Dynacord V17s and a 20-strong combination of Dynacord LX3000 and H5000 power amps.

For users of small to medium sized sound systems, EV also manufacturers the DC-One, based on a two-in, six-out topology. Built on the same DSP heritage as its Dx38, the DC-One uses powerful Sharc processing, something normally associated with units in higher price ranges. electro-voice.com

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Users from the Las Vegas desert to humid Singapore will wonder how they managed without air absorbtion compensation for so long Javier Matali - VMB

Ohm’s Cred Mk2: Ohm processing can now be found in Manchester’s Walrus Bar

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SPEAKER MANAGEMENT SECTOR SPOTLIGHT <

Presenting the latest in theatre technology OHM Ohm’s flagship Cred Mk2 is a two input, four or six output, PC controllable speaker management unit with a 96kHz sampling rate, employing powerful third generation Sharc processors, a Burr-Brown AD converter and Wolfson multi-bit DA converter.

45 complete sets of parameters can be stored giving pre-set input and output gains, delays, limiting and eight parametric eqs per channel. In addition to the Bessel, Butterworth and Linkwitz-Riley filter shapes there is a fourth and eighth order Hardman crossover filter, which produces much steeper cut-off slopes for a given order than conventional crossover alignments. This allows a lower order filter to be used without sacrificing cut-off characteristics, but with smoother group delay and less severe phase penalties, giving a more natural sound.

For installations and small to medium touring systems, the company also offers the Cleo Mk2, which is a fully featured controller at a more affordable price. Up to 60 user programmes can be stored in the unit and saved and transferred between units via the MIDI facility. All controllers are pre-loaded with the recommended settings for Ohm loudspeakers. The Cleo Mk2 was recently used in an installation of Ohm speaker products at Manchester’s Walrus Bar. Alternatively, Ohm’s DSP-A3 switchmode amplifier combines Class H output with a fully featured DSP, including filtering, delay, eq and limiting. Setup, monitoring and controlling can be done locally or by use of the in-built Ethernet communication system.

09

ABTT

THEATRE SHOW 10th & 11th June Royal Horticultural Halls London SW1

ohm.co.uk

VMB Arkeops is the latest generation of VMB’s processors, which have been continually developed for the last ten years. VMB assures that the device uses absolutely the best converters available, ensuring very low distortion and a 120 dB dynamic range. Earlier this year, the firm released Version 3 of the Arkeops, which now boasts air absorption compensation.

The Akeops allows the user to apply a filter to compensate for absortion losses caused by distance, relative humidity and temperature. Calculations and compensations of different distances can be made at the outputs, each of which offers both an RMS compressor/limiter and a peak limiter. The first stage uses a RMS detector algorithm to obtain high quality compression. The sound system can then gradually reach maximum power while maintaining clear sound, before the second stage is activated for a mechanical control and maximum speaker excursion.

“There is an impressive improvement in sound quality for common distances such as 20 or 30 metres,” notes Javier Matali, VMB’s director of marketing. “With a weather station on top of the mixer, users from the desert in Las Vegas to humid Singapore will wonder how they could have managed without air absorption compensation for so long.”

Register NOW for free admission: www.abtt.org.uk/theatreshow

vmb.es

If you are unable to register online call our helpline on 01628 789052

www.audioprointernational.com

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> SECTOR SPOTLIGHT UK FESTIVALS

Perfect pitches Bands and punters from around the world are gearing up for the UK’s notorious summer festival schedule.

While tickets are being flogged and final line-ups secured, rental companies are working on finalising deals to determine where their stacks will hang. Andrew Low looks at the gear being used… s an American living in the Great Britain, I can objectively state that England’s festivals are far better than those held in the US. Perhaps the riots and fires that erupted during 1999’s Woodstock festival created a more conservative festival atmosphere in America, while UK promoters continue to deliver well-organised events with a friendly and accommodating atmosphere.

Between the bands and the pissed punters at these festivals lies the most important part of the show: the sound systems that make them come to life. Sound companies push their gear to the test all summer long to bring sound to the herds of people who gather in fields, tents and huts around Great Britain.

Possibly the most publicised festival in the world, Glastonbury faced a huge amount of criticism for its unlikely line-up of performers chosen in 2008. Despite Noel Gallagher’s opinion that rap did not belong at the event, Jay-Z and other big artists pleased the press with their main stage performances.

Organisers of the main stage opted for a Martin Audio line array for the Pyramid stage, abandoning the Funktion-One system used for many years prior. Supplied by South London-based RG Jones, the system comprised dual 15-deep

A

“

The sound of a particular music style is shaped on the console, so a correctly specified and set-up system will cope with any style.

Rob AshworthAudile

left and right hangs of Martin Audio’s W8L Longbow high power line array, each with W8LD downfills and complemented

by W8LC stereo infills. RG Jones dry-hired the Martin Longbow packages from London-based Capital Sound Hire.

System eq was achieved using XTA digital eq controlled by a wireless tablet and Klark Teknik DN360 for grab eq. Three delay hangs of Martin’s Synco W8LC-based line array hangs, with eight WLX units forming steered sub-bass arrays from RG Jones’ rental stock also employed to help ensure clarity across the 80,000 capacity arena. Acoustician Andy Pardoe devised a special bass array configuration made up of a row of 54 WS218X subwoofers, arranged in blocks of three (two front-facing, one rear-facing)to provide directional control.

The main stage FOH setup featured a range of digital consoles including a pair of Digidesign Venue consoles in an A/B flip-flop set up, with a D-Show Profile as a FOH matrix.

It was linked to the stage via an Optocore DD32E digital fibre-based network system via AES to the XTA loudspeaker processors. This maintained a digital signal path all the way to the DP226 outputs. The consoles’ integral processing and plugins eliminated the need for effects racks.

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UK FESTIVALS SECTOR SPOTLIGHT <

Creamfields 08 was packed with punters and high-end gear

â&#x20AC;?

We were allocated a limited weight from the speaker towers.

The Lynx array meant we could get everything up with little equipment.

Mark Bott Glasto operations manager

Another unlikely act for the bill was the legendary crooner Neil Diamond. Any preshow scepticism was turned into elated screams from main stage audiences when Diamond took the stage and cracked out smash hits like Forever In Blue Jeans and Sweet Caroline.

Diamondâ&#x20AC;&#x2122;s FOH engineer Bernie Becker used TL Audioâ&#x20AC;&#x2122;s Ebony A2 stereo processor for the gig.

Becker commented: â&#x20AC;&#x153;We inserted the [Ebony A2] on the outputs of the DM1000 before Neilâ&#x20AC;&#x2122;s transmitter for his belt pack. The A2 really did the trick. The compressor worked really well with the adverse levels we threw at it and the tube stage and eq shined.â&#x20AC;?

The Jazz Stage featured an Electrovoice PA system chosen by APR Audio, while Chris Fitch of Skan PA chose the d&b audiotechnik J-Series system for the Other Stage, with a L-Acoustics VDosc as a centre line array, all amplified by d&b D12 amps with a Midas XL4 in place at FOH. The John Peel stage featured possibly the most exciting line-up of bands for those looking for an escape from the mainstream artists on the Pyramid Stage. Spiritualized, MGMT, The Futureheads and The Kills were mixed by 24-bit/ 96kHz digital audio from microphone to amp, the first stage in UK history to use this spec.

Yamaha technical sales specialist and freelance sound engineer, Nick Pemberton employed a PM5DRH at both the FOH and monitor positions with a DSP5D. A dual Neutrik

Opticon fibre optic trunk linked FOH and mons, while a digital audio EtherSound network linked the control, via an MY16ES64 interface card and three DME8o-ES satellite interfaces, to 16 of Yamahaâ&#x20AC;&#x2122;s T5N amplifiers powering a large EAW PA system. â&#x20AC;&#x153;With monitors being mainly in-ears, there was no analog in the system at all,â&#x20AC;? said Pemberton. â&#x20AC;&#x153;All signals were split to monitors and FOH at the stage box, with a further set of splits taking the signals to the BBC for broadcast and a recording truck.â&#x20AC;?

South West Audio provided a VMB Lynx V8 line array for the Park Stage at last yearâ&#x20AC;&#x2122;s Glasto. With bands like Franz Ferdinand, John Cale, My Morning Jacket and Battles performing, the stage used eight Lynx V8 active top boxes, with six Lynx active 218 subwoofers used per side, which were driven through VMBâ&#x20AC;&#x2122;s ARK 48 system processor.

Operations manager, Mark Bott explained: â&#x20AC;&#x153;We were allocated a very limited weight to fly from the speaker towers on the Park Stage and the Lynx line array meant we could get everything we wanted into the air with very little flying equipment.â&#x20AC;?

South West also used Sennheiserâ&#x20AC;&#x2122;s Evolution 300 Series IEM's with 500 Series radio mics, all with 935 capsules on The Park, John Peel and the BBC Introducing stages. It also used Roland Systems Groupâ&#x20AC;&#x2122;s RSS M-400 desks for FOH and monitors on the BBC Stage and the RSS Digital Snake on the Park Stage.

2009 Year Anniversary

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> SECTOR SPOTLIGHT UK FESTIVALS US

SSE Audio Group was the provider for numerous festivals in 2008 including Bestival, Rockness, Cream Fields, Global Gathering Reading and Leeds. It has confirmed that it will provide gear for this year’s V, Oxegen, Download, Global Gathering, LoveBox, T4 on the Beach, Hop Farm, Summer Sunday and Cropredy gigs, with others still to be confirmed.

SSE switches between L-Acoustics’ V-Dosc and Kudos systems and a Nexo’s GEO system for its festival PA. Last year it used XTA’s DP226s and DP448 to control the V-Dosc systems. Spencer Beard, operations manager at SSE Audio, stated: “The audio quality is very good and, most importantly, XTA is accepted by a lot of engineers. The processors are also very easy and intuitive to use.”

Smaller boutique festivals like Bestival offer an escape from the huge crowds by capping attendance numbers around 35,000, compared to Glasto’s 170,000. Despite its smaller size, visitors were not spared great sound as SSE, Audile, Production Hire and Full Fat Audio provided top end gear for the various stages and tents at the festival.

The main stage at Bestival consisted of two drops of 11 L-Acoustics V-Doscs hanging above two ground stacks of 12 Nexo CD18 subs. Front fill was provided by 60 additional VDoscs, while side fills were combinations of Arcs and dV Subs. SSE used its own stage boxes and MB4 wedges for monitors.

The FOH position hosted a variety of analog and digital consoles throughout the weekend. The main boards were two Soundcraft Vi6s and two Yamaha PM5Ds on stage for monitor mixes. SSE also provided Underworld with a Midas Venice desk and Grace Jones used a PM5D.

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Miles Hillyard of SSE Audio Group stated: “We do quite a lot of outdoor festivals and Bestival and the Rockness festival are our favourites to work for. Bestival has decent quality food stands and it is less commercial than other festivals. It is also more accommodating to the punters, especially those who bring their families.”

The Big Top stage at Bestival included main hangs of ten Funktion-One Resolution 5 point-source loudspeakers on each side, all powered by Full Fat Audio amplifiers. Project Audio in partnership with Production Hire of Northants, UK provided the gear for the stage. The company also used 24 F121 bass enclosures and ten Resolution 4 speakers for downfills. Martin Audio’s Le700s wedges were also used on stage for monitors. Production Hire chose a Midas XL3 because it favours an analog board over digital in festival situations.

Full Fat Audio provided 60 of its 10,000, 36,000, 2000 and 6000 model amplifiers between the Big Top and Bollywood stages at Bestival 08. The company will have many of its amps at Bestival 09, in addition to debuting its new four-channel FFA 4004 and 6004 amps and other models on the stages of this year’s Glastonbury, Trash City, Rockness (main stage), Camp Bestival, Jersey Live and Workhouse festivals.

Manchester-based Audile is another big player in the UK festival scene. It is a member of the Funktion-One Rental Network, carrying the largest hire stock of F-1 speakers north of London. In 2008 it provided systems for various stages and areas at Bestival, Creamfields, Camp Bestival, Glastonbury, Beachbreak Live, both V Festivals, The Isle of Wight festival,

Even Gary Numan showed up to check out Bestival 08’s ‘30,000 freaks under the sea’ theme

“

Bestival has decent quality food stands, it is less commercial than other festivals and it is more accommodating to the punters.

Miles Hillyard SSE Audio Group

www.audioprointernational.com

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UK FESTIVALS SECTOR SPOTLIGHT

Punters wait for the big riffs from the Park Stage

A closer look at VMB’s Lynx subs

Escape In The Park and the Gatecrasher Summer Soundsystem.

Audile’s festival rig featured Funktion-One self-powered Resolution 5s with F-221 subs (the latter featuring Funktion-One/XTA A6 amp modules) and passive Resolution-5s/4s with F-218 subs, driven by MC2 amplifiers. XTA DP448s and GQ600s controlled the systems, with C2 compressors, G2 gates and a D2 dynamic EQ in the insert rack. It also used the XTA's GQ600 dual 30-band graphic eq at FOH and on monitors, as well as DP224s and 226s for controlling Turbosound TFM450 wedges. “We strongly believe that an audio system should be transparent, from the signal entering the drive to sound exiting the speakers,” states Audile director, Rob Ashworth.

“The sound of a particular music style is shaped on the mixing console, so a correctly specified and set-up system will cope with any style. Our gear is chosen for its transparency and XTA drive is the best there is. It sounds great with any music.”

www.audioprointernational.com

Bestival 08 was a real blast

Ashworth also feels that the XTA SiDD and D2 processors were invaluable tools for its festival kit. “Their exceptional compression, limiting and dynamic EQ capabilities make it easy to stay within the limits we have to work to. And where those limits are particularly low, they make it possible to gain in perceived level,” Ashworth notes.

Funktion-One will be featured at many festivals this year. Audile will be using using its gear on the Glastonbury Dance Stage East, Camp Bestival Main stage and Creamfields. Taylored Sound will also use its speakers on all stages of the Wickerman Festival. Ward Steedsy will use its speakers at Solfest in Cumbria.

Funktion-One recently released the new RM18 triple concentric stage monitor that is suited for use on festival stages. Its 700Hz crossover point and natural materials used in the mid-device were engineered to give it clarity and definition in the vocal range, while its 18-inch driver make it suited for use as a drum monitor.

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> INTERVIEW KEN THOMAS

Quit while you’re Fresh from mixing Moby’s forthcoming album in New York, legendary British producer and engineer Ken Thomas explains how sometimes, youngsters just do too much… ’ve just come back from New York where I was mixing Moby’s new album. And he’s actually left some of the mistakes in. I never realised what a genius the guy really is until I got the chance to work with him.

You see nowadays everything in music is kind of looped and replaced or whatever. In the old days they were still just catching a sound, yet the Beatles recordings, for example, were fantastic.

In the David Bowie era everything was about getting great sounding records, which took time, but when punk happened you had to just catch the energy and performance. You had to get the recording quickly, because they didn’t want to spend ages hitting a bass drum or a snare drum. They’d simply want to come in and get on with it. You had to treat the overall sound, you couldn’t say: “Hang on, let’s spend two hours on the snare drum” – you’d just get what you were given, which gave it that young, fresh feel, I think.

Sometimes you were limited, but you had to find a way of getting around any challenges and that still holds true today.

When we did Sigur Ros’ Agaetis Byrun, we recorded it really quickly. The drummer wasn’t particularly good but his parts and feel were perfect, so I spent ages just putting clicks down and making him play to them with the band.

I

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You can’t have a long song and vary the speed too much – no one can play to it. As soon as we’d finished the album he just collapsed, he was completely exhausted. But sometimes you have to grab the kite and not let it go too far.

The arrangement of the song is one of the most important parts of the production and usually less is more. You’ve got to play to your watch – in the punk days the guys would hit every cymbal and every note, so you just had to bring it all back, so if the drummer was going to do it all wrong on the toms, he couldn’t do too much. I suppose that when you’re dealing with young energy they always try to do too much.

Moby’s drumming is just like that of a punk; he might be a little out of time but he doesn’t care. I just thought it was great; I’d tell him the drums were slightly out of time and he would say: “No, I like that”.

He also wanted everything panned really hard left and right, drums and everything, the old fashioned way. He knows what he likes, he takes chances and he’s not scared to try new things. We didn’t autotune any of the vocals, which keeps them sounding natural. His production on this record is very spontaneous and alive and mixing was very much in the same vein with no rules. A lot of people in his league find this quite hard. www.audioprointernational.com

”

The arrangement of the song is one of the most important parts of the production and usually less is more.

Ken Thomas – producer

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KEN THOMAS INTERVIEW <

Thomas worked with acts such as PIL (see album artwork, left)

Pitchin’ in The sound of a successful career over the years...

ahead We mixed the album at a rate of two to three mixes a day, which is really quick, the kind of speed you do rough mixes at. I used to work with Chaz Chandler, who is famous for producing Jimi Hendrix. He told me that when he recorded Hendrix, some of the rough mixes were used as the masters, because often you’d come back to mix it and start gating things and so on and mess about with it too much. He found that some of the rough mixes were perfect first time. Overthinking things sometimes destroys them. Getting a bit deep now, aren’t we?

I apply a similar approach to processing. I always compress the bass quite hard, and the vocal as well, but I won’t always use compression, particularly on guitar – because you can lose the dymanics, which are important. If you listen to some of these American engineers, they normally compress everything and ride the faders, so when the chorus comes in they push things up, but everything is still compressed very hard. That’s one way of doing it, but I like to leave it a bit more open. I’m into feeling as well; I don’t want everything to sound like its too ‘sheened’. Riding the faders is a ‘sheening’ job, which is good for some bands – like My Chemical Romance, for example. It sounds expensive.

This is probably down to my experience working with producers such as Chandler. A lot of it was just pushing everything up. If you listen to the Hendrix records, they’re not very compressed but the feel of some of the songs is so good.

He was just catching a moment and he wasn’t scared to push the guitars. When I worked with him he used to say: “I want to hear the guitars in my face; see them on my nose”. He wanted it that loud. He said if you’re going to play it I want to hear it. It wasn’t about just compressing everything to make it really tight. www.audioprointernational.com

Thomas sets up an ARP 2500 for Jeff Wayne’s War of the Worlds

STARTING HIS PRO sound career with events heavyweight RG Jones in the late ‘60s, Thomas would set up early PA systems at cricket matches and other sports events. This led to sound reinforcement jobs for the BBC and summer concerts, where he would experiment with delayed horns.

His ambition to ditch the field in favour of the recording studio was formed as he walked past prestige London facilities such as Trident early in his career. He recalls: “I used to think: ‘God, if I could work in there it would be amazing’. I still do – just because of the atmosphere when you walk past a place and it says ‘recording studio’.”

With a good grasp of electronics, a willingness to learn and a proficiency for making hot drinks, Thomas soon bagged his first job at Trident, as the ubiquitous tea boy.

He immediately made it his business to master every aspect of the recording process, and learnt from some industry legends such as Ray Staff, the cutting engineer responsible for making the world's first three-sided album.

In the early ‘70s Trident had acts such as David Bowie and Elton John regularly passing through its doors. As such, few of the studio’s employees really wanted to work with a relatively unknown band called Queen.

However, they had little choice as the band was signed to Trident’s production company.

Unbeknown to Thomas, this was to become one of his most famous credits.

Showing an early taste for slightly less mainstream music, Thomas left Trident and moved on to Advision studio, which was known for its progressive rock recordings.

It was here that he worked on Jeff Wayne’s War of the Worlds. Thomas gave over two years of work to the project, yet was never credited. In the end, however, he left Advision to work with an emerging form of music known as punk.

Thomas went on to work with such recognised acts as Public Image Ltd (PIL) during the punk days and has since then continued the theme of young, fresh and sometimes esoteric music throughout his career. He has recently worked with electronic and alternative acts such as M83, Sigur Ros and Moby.

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YAMAHA LS9 LIVE SOUND <

In-flight mixing The advent of digital consoles has brought a slew of contenders to the market offering new and expanded capabilities beyond those of the analog format. Yamaha has earned a reputation as a leader in the sector and carved a niche with the LS9 by offering a full feature set in a format that fits on an airplane seat. Andrew Low puts one on his lap… amaha made its first foray into digital mixing with the introduction of the PM1D. The company has since developed this technology into boards like the PM5D, M7CL and the smaller format LS9-16 and LS9-32.

The LS9 has quickly gained a reputation for offering a comprehensive mixer in a body that can be transported and set up by one engineer at a competitive cost/performance ratio.

These consoles can now be found everywhere from big events such as the Glastonbury, Reading and Leeds festivals to installations in Italy’s Grand Hotel Plaza.

“The LS9 crams the most advanced facilities into smallest footprint and price package,” says Nick Cook, European marketing director for Yamaha Commercial Audio.

“It really is a versatile product, plus with Yamaha’s longevity and stability it’s a very safe purchase, despite the uncertain times the industry is currently having to face. And so far it has found a home in a remarkable range of situations, from the sublime to the almost ridiculous.

“Having spent a great deal of time in detailed discussions with users and rental companies during the development phase, we knew the LS9 was a good product when we launched it,” outlines Cook.

Featuring up to 64 input channels, 16 mix buses, eight matrix buses, extensive gating, compression and eq, a wide range of other effects with eq, scene memory, USB memory, recorder/player, editor software and many other features, Yamaha designed the LS9 to offer everything engineers mixing small to medium scale live or installed sound applications need.

Added features such as a scene function for saving settings and a user-friendly layout have made the LS9 the board of choice for hire company ESS. “Successive band engineers often have very different requirements for gates and inserts. Physically re-patching can take several minutes, which is a huge slice of a very tight changeover time,” comments Phil McDaniel of ESS. “With the LS9 there’s a gate and compressor on every channel, we just turn them on and off as required.”

Y

www.audioprointernational.com

”

We needed a console that would fit on an aircraft seat, but which would be capable of doing the live mix.

Mike Lowe – Britannia Row

The LS9 has also earned space in the bus on The Pigeon Detectives’ tour and holds the title for being the only console to have mixed at 35,000 feet during Jamiroquai’s in-flight gig on a Boeing 757.

“We needed a console that would fit on an aircraft seat, but which would be capable of doing the live mix, Jay Kay's wedge monitors, the in-ear monitor mixes for the rest of the band, backing vocalists and a live digital recording,” says Mike Lowe of sound provider Britannia Row. “The LS9 was the ideal tool for this task. And with no space to carry any back-up, reliability was also paramount.”

Pigeon Detectives FOH Andy Hawkins uses the board for venues big and small. “It’s absolutely ideal for us,” states Hawkins. “Even when we headline bigger venues, I see no reason to change it. The LS9 is the right tool for the job.”

In addition to live sound mixing, the LS9 has been used in many fixed installations applications. The board can be found managing the corporate facilities in the Grand Hotel Palazzo and in multi-purpose venues like Milan’s Café Blanco.

When renowned sound engineer and MK Dons FC chairman, Pete Winkelman was given the task to choose a sound system for the new MK Dons football stadium in Milton Keynes, UK he turned to long-time Metallica FOH engineer, ‘Big Mick’ Hughes for advice. A devout Midas console user, Hughes surprisingly suggested he use an LS9 for mixing at the stadium. “Putting the Yamaha LS9 at the front end enhanced our quality and control of the stadium sound system – our fans noticed the improvement straight away,” says Winkelman.

The LS9 is promoted as Yamaha’s ‘credit crunch console’ by offering multiple features at a competitive price point. The company also states that its secure manufacturing ensures spares and support well into the future and hopes to pass on those attributes to rental and installation companies that are looking for a board to suit big projects on small budgets. > yamahacommercialaudio.com

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> APPLICATIONS

Red hot, X-rated action for Digico D5s and SD7s notch up the big tour dates with Simply Red and X Factor

Chris Hedge at the controls of the D5 for Simply Red

DIGICO CONTINUES to rack up the tour miles with its D5 and SD7 desks, which have been out on the road with both Simply Red and X Factor.

Simply Red’s FOH engineer, Chris ‘Privet’ Hedge, chose Digico’s D5 digital console to handle FOH duties for Simply Red’s recent world tour.

“It's very much a mixer's console,” commented Hedge. “I'm using one of Brit Row's Version 4 D5s and I use it very simply. On the current tour we have 48 mic inputs and, as well as the onboard FX, I have four engines of TC6000 and an SPX990 plumbed

into it but I use the D5’s internal effects throughout the show. I have a huge ’80s snare reverb, a few delays, and some gentle chorusing 'wobbles' on the brass.”

Meanwhile, Wigwam’s D5 and SD7 have just returned back to HQ after the X Factor tour, which gave finalists and their newly found fans a chance to get up close and personal at multiple shows in the UK and Ireland’s main arenas.

The SD7 and D5 boards were to be found on monitors and at Front of House respectively.

”

You can see 24 channels at a time.

To need any more you would have to be an octopus.

-Sean Horsman, Wigwam

On stage, monitor engineer Sean Horsman had a combination of inears, wedges and sidefills, with 56 input channels and 12 mono and 12 stereo outputs on his SD7.

“It’s a lovely soft sounding desk and it responds beautifully,” he commented. “With many other digital consoles I’ve used, you would have perhaps one channel you could work on at a time. But with the SD7 you can see 24 at a time. To need any more than that in front of you, you would have to be an octopus.” > digico.org

Prism saves session GRAMMY AWARD-WINNING producer Frank Filipetti used Prism Sound’s Orpheus Firewire computer interface during a session at Carly Simon’s home studio after every other piece of gear broke down.

“It was one of those situations where there just wasn’t any other choice,” Filipetti said. “Normally, with any new piece of technology, I’ll spend hours evaluating it in my studio before using it. But on this occasion I was desperate, so I took the plunge with the Orpheus – and I’m delighted to say it saved the day.”

Filipetti was recording tracks for Simon’s new album at her Martha’s Vineyard home. Filipetti explained: “Some of the rooms in her house have great acoustics and we thought it would be a nice, relaxed way to get down a few tracks.”

The plan was to record using a Pro 36

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Tools rig in conjunction with a Digidesign 003. But with everyone waiting to start, they encountered a problem.

“For some reason the Pro Tools rig wouldn’t recognise the 003 and I spent hours trying to get it to work. It turned out to have a hardware fault, but we didn’t know that at the time.”

Carly’s son Ben Taylor proposed that they use his laptop, but when that crashed, Filipetti needed to find a third alternative.

“I had my laptop with me, with Cubase loaded onto it, so I decided to try that as a last resort,” he said.

Filipetti also had a brand new Prism Sound Orpheus unit with him and within 20 minutes had a working recording system.

Simon’s new album is set for release later this year. > prismsound.com

>> ALLEN & HEATH HAS… ... supplied iDR and iLive digital systems to manage audio control and distribution in the Istana Merdeka Presidential Palace in Jakarta.

Indonesian contractor Kairos Media Pamuja was appointed to replace the building’s analog system and resolve the sound issues within the space.

“This is new technology to Indonesia,” the company explained. “The auditorium sounds so classy, particularly when delivering articulated speech and hosting strumming jazz bands.” > ilive-digital.com www.audioprointernational.com

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APPLICATIONS <

SCRATCHING

AC/DC rocks London’s 02

THE PAD Recent industry deals ACOUSTIC CONTROL has commissioned the first Midas XL8 system in India and installed it in Infosys's new auditorium in Bangalore. Infosys was started in 1981 and is a global IT and consulting firm with revenues of over US$ 4 billion.

The XL8 will be used for events ranging from simple four microphone conferences to orchestral performances and an impressive inhouse band – said to be thrilled by the fact that they share the same console with the likes of Aerosmith and Metallica. > midasconsoles.com

EV X-Array system is Witz’s choice again on the road with metal monsters’ Black Ice tour AC/DC ARE BACK on the road, making stops around the globe in support of the band’s new album Black Ice. The now essential O2 Arena was the setting for two sold-out shows.

The band has hit the road for the first time since 2003 with Electovoice’s X-Array system employed to support the band’s big rock riffs.

(who is also Sir Paul McCartney’s FOH man) and monitor engineer Mike Adams, respectively. A Klark Teknik DN9696 is also being used to record the shows while Midas’ Pro 6 is handling FOH duties for the opening acts.

Witz and Boothroyd used the X-Array on the

The X-Array was used on AC/DC’s last tour with some considerable success and the engineers chose to stick with the same system this time around.

The X-Array system used on the tour was designed by long-time Electrovoice user and renowned consultant Harry Witz of Clair Global. The set-up features no fewer than 96 X-Array cabinets driven by P3000 amplifiers.

The band has also specified a Midas analog console for the tour that includes a vintage Pro 40 and a Heritage 4000 operated by FOH engineer Paul ‘Pab’ Boothroyd

GREG LADANYI, known for his work with Jackson Browne, Fleetwood Mac, Don Henley and Toto, has installed a pair of ATC SCM50ASL Pro active three-way monitors in his studio at Maple Jam Music Group.

"These speakers have incredible imaging. I was fascinated with that, which has probably been the most fun thing for me," commented Ladanyi, a 30-year record production and live sound veteran who is president of the Maple Jam Music Group. > maplejammusic.com

band’s last tour with some considerable success and chose to stick with the same system this time.

Over 500,000 people have already seen the show and over one million people will have been by the time the tour comes to a close in Glasgow in June. > electrovoice.com

Nexo debuts at The Arches THE ARCHES IN South London has become the first city nightclub on the scene to use Nexo’s GEO S12 line array system.

The 4,000 square foot space is located just south of the River Thames and privately owned by Mark Ames, a DJ and promoter. The club has undergone a series of technical refurbishments since its opening in 2002. The latest series of upgrades sees the club with a new £300,000 lighting system and an all new bar and dance floor sound system provided by Nexo.

The club is made up of four railway arches, divided into three rooms for music and two bars. Viba Sound has fitted the 1,500 capacity club with Nexo’s new RS15 subs to match the S12 cabinets, coupled three a side and running in omnidirectional mode. At the back of Arch 2, where the main dancefloor is located, two www.audioprointernational.com

pairs of Nexo PS15s have been installed. “The club wanted to create a more embracing sound,” explained PJ, Viba Sound’s installation engineer. “The PS15s are not there to give coverage in terms of SPL, we’ve used them to create the feeling of being in the middle of things wherever you are.”

Nexo’s full-range PS Series loudspeakers are used throughout the venue, primarily PS15s but the smaller PS10s are used in Arch 4.

Viba Sound has used BSS Soundweb technology to create a network allowing every music source to be directed to any of the four arches.

FRANZ FERDINAND producer Dan Cary has recently employed Munro Acoustics to build and install its own brand of studio monitors, Dynaudioacoustics, in his recording studio.

Carey’s accolades range from rock bands such as Franz Ferdinand and The Kills to pop and dance acts CSS, MIA and Lilly Allen. He chose the Dynaudioacoustics monitors for their ability to deliver loud, yet meticulous sound during sessions. Carey explained: “I like to record everything in the same room, but I don’t use headphones. I play everything back through the speakers. This is detailed and loud enough for the whole band to listen to.” > munro.co.uk

> nexo.fr

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Studios:

People and equipment behind studios in the UK and around the world ...

Rooms: Control room, live room, drum room, iso booth Consoles: SSL 9080 J Series Mics: AKG, DPA, EV, Microtech Gefell, Royer, Neumann, Sennheiser, Shure Outboard: Manlry, ADL, Avalon, Neve, Amek, Eventide, Focusrite Monitoring: Genelec, KRK, Yamaha

Rooms: Control room, live room Preamps: Manley, ART, DBX, True Systems Mics: AKG, Telefunken, Groove Tubes, Oktava, Crown, Sennheiser, Shure Outboard: Manley, Universal Audio, Brent Avril, Monitoring: Mackie, Optimus, Cerwin Vega, JBL

Black Rock, Greece

Pleasantry Lane, Texas

IN ASSOCIATION WITH producer Kostas Kalimeris, London-based Miloco has introduced Black Rock, Europe’s latest world-class residential studio.

Black Rock is the most recent addition to the Miloco group, which also owns Alpha Centauri in North West London. It is located on the idyllic Greek island of Santorini, popularly known as The Island of the Gods, in the South Aegean Sea. The meticulously crafted facility was designed by the legendary studio architect Roger D'Arcy of Recording Architecture. Its substantial 40 square metre control room features an SSL 9080 J Series console with Ultimation and Total Recall, Genelec 1035Bs and a choice of KRK E8 and Yamaha NS10 nearfield monitors. A sublime outboard selection is highlighted by Neve 1081 classic preamps and, for those wishing to work inside the box, quite possibly every plugin available.

PLEASANTRY LANE IS a residential multitrack recording studio located in the Lower Greenville, downtown area of Dallas, Texas. The studio is owned and operated by Salim Nourallah and Rip Rowan, who have a combined 30plus years of experience recording and playing music and have worked together for over a decade.

Between them, the pair cover virtually all instruments including guitar, bass, drums, keyboards and percussion, and have produced approximately 100 albums to date.

Black Rock’s 25 square metre live area features a six-metre high, archshaped ceiling, producing an enviable sound. In addition to the live room, there is a 15 square metre drum room and a second isolation space for recording vocals or guitars. The design of the studio allows for clear visibility between the rooms via soundproof windows and glass doors.

The villa sits high on Santorini's volcanic terrain and is surrounded by dramatic oceanic vistas. Guests will reside in a five-star, three-storey villa influenced by a blend of classic and modern Cycladic architecture with six en-suite bedrooms and a selection of luxurious indoor hangouts and outdoor terraces. A pool and jacuzzi, daily concierge and housekeeping services, along with a private chef and waiter, complete the service. Miloco is currently taking bookings for Black Rock starting in June. Interested parties should call the office directly.

Black Rock is located on the idyllic Greek island of Santorini, popularly known as The Island of the Gods, in the South Aegean Sea. Telephone: +44 (0) 20 7232 0008 Web: www.miloco.co.uk/studios/blackrock

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simple: It's the ear, not the gear. We don't try to dazzle our clients with cool gadgets, tasty cookies or comfy couches. We simply let the recordings we make speak for themselves.

Although we do have a nice couch.”

The studio’s control room was completed with the addition of a workstation console conceived by Rip Rowan and was designed and constructed by Brent Hawthorne. The room itself was designed by Bob Suffolk and his team at Dallas-based Suffolk Studio Design and has since been used

“Instead of feeling like you’ve just stepped onto the flight deck of the Starship Enterprise, Pleasantry Lane feels like home.” Pleasantrylane.com Nourallah has received numerous Dallas Observer awards, including Best Album and Best Producer, while Rowan is also editor-in-chief of prorec.com, the web-based pro recording resource, and has been published in Wired magazine.

Rowan and Nourallah created Pleasantry Lane in an effort to provide a practical and relaxed alternative to Dallas' abundant, high-end, expensive recording studios. Its website notes: “Instead of feeling like you've just stepped onto the flight deck of the Starship Enterprise, Pleasantry Lane feels like home. Our philosophy is

to record popular Texas country artist Rhett Miller’s latest album.

Pleasantry Lane recently turned to Suffolk Studio Design once again, to acoustically retrofit its control room, giving it a classic ‘70s design and improved sound. SSD incorporated its own innovative custom acoustical retro design ideas with several bestselling lines from Auralex Acoustics. For surface treatments that met the ‘70sstyle mandate, Bob Suffolk created a series of custom wood and fabric complete wall treatments and shag-pile carpet over bamboo floors for a retro yet acoustically pristine environment.

Telephone: +1 214 707 8765 Web: www.pleasantrylane.com

www.audioprointernational.com

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IN ASSOCIATION WITH

///////////////////////////////////////////////////////////////////////////////////////////////// To have your studio featured in this section, please send all details to: andrew.low@intentmedia.co.uk or call +44 1992 535646

TL Audio’s Sarah Yule offers her insights into sound recording, mixed with some hot tips for you to try out...

Perfect harmony

Rooms: Studio One, Studio Two Consoles: SSL Duality 48 and 32 Mics: Telefunken, Neumann

Outboard: Rupert Neve, Avalon, Universal Audio, Tube-Tech, Chandler Monitoring: Exigy, ProAc, Adam, Yamaha, Digidesign

Germano Studios, NY BOLDLY CLAIMING TO return reliable music recording studios to the New York market, Germano, owned by former Hit Factory CEO Troy Germano, finally opened its doors in June last year, after a five-year search by the founder for a suitable location.

“My intention from day one was to find that special location where creativity would be easier to achieve,” notes Germano.

“After voluntarily taking exile from the studio business for the last five years, I believe these studios will be a breath of fresh air to anyone who chooses to walk through the door.”

In just eight months since its launch, the studio has played host to a who’s who of recording artists, from Mariah Carey and Rob Thomas to Paul Simon and Mary J Blige, who recorded at Germano for her latest project with TPain, engineered by Ed Tuton (pictured at the studios).

Located on New York’s most famous of streets, Broadway, Germano has two

near identical studios, each offering a superlative specifaction in terms of both design and equipment. The philosophy behind offering two matching control rooms was to offer clients ease of transition between Studio One and Studio Two, regardless of whether they are recording, over dubbing or mixing.

The capability of the Duality consoles to offer control of the studio’s Pro Tools systems ensures that projects started in a private home studio environment can easily translate through to Germano’s facilities.

“We are in the business of selling sound and providing a wide palette of sonic choices to our clients, be it a vintage microphone, a classic outboard box or the latest plugin,” continues Troy Germano.

Earlier this year, the studios earned its first US platinum record for Beyonce’s I Am… Sasha Fierce, the R&B singersongwriter’s latest album, recorded for Music World, Columbia and Sony Music.

“My intention from day one was to find that special location where creativity would be easier to achieve.” Troy Germano – Owner, Germano Telephone: +1 214 707 8765 Web: www.germanostudios.com

www.audioprointernational.com

This month it’s all about balance.

Not just one’s own equilibrioception that may suffer somewhat come closing time at your favourite haunt on a Saturday night, but of our general perception of placement, proportions and ability to co-exist within an allocated space.

So, where do we start trying to create a good balance in our mix?

Well, first, let’s actually consider what a good balance is. As mentioned in one of my previous articles, a good mix is like Amnesty International: each individual part has its own space to co-exist with its neighbours, having a fair share of the frequency spectrum and given the right to be heard fairly and accurately.

So, let’s discuss the first stumbling block of our auditory ideal – gain staging.

Getting the levels right during the recording process is vital.

Poor management of input signals and recording levels can lead to an array of difficulties when trying to balance a mix, so here are a few points to consider. To start with, in the recording stage, make sure you use the appropriate microphone for your sound source. Condenser and ribbon mics are very sensitive to highpressure levels, so not ideal choices for percussive sounds like a kick drum or high level sources such as the front of a guitar cab.

The sensitivity of some condenser/preamp combinations also means they are not always the best choice for some vocalists. If you are finding that your vocals are clipping or distorting, you may try just turning the input gain down. However, if this just gives you a quieter source and a lot of background noise, try either applying a high pass filter on the preamp (to cut out some of the room noise and rumble), or use a dynamic mic which can be more

capable of handling the dynamics of the vocalist and is also more directional. It should pick up more of the direct signal rather than unwanted noise.

The key is never to overload your inputs on your DAW and make sure you always leave yourself with plenty of headroom.

Your recording levels should not be at 0dB as some commonly presume, try maybe -6dB as a rough guide or even less.

A good mix is like Amnesty International: each part has its own space to co-exist with its neighbours.

If every source you have is already at a max it is much harder to balance these parts together without clipping the master track.

You are also leaving no room for subtle fader movements to have an audible effect. During mix down, having as much headroom as possible on individual sources is great for when you start creating stem mixes or summing down.

On analog equipment it is true that you can push the piece hard without causing huge problems.

However in digital equipment, the signal should never clip as this produces a nasty sounding square wave cut off to your audio and once it has been distorted there is no way to undo it, so keep those levels controlled.

Pay attention to your gain staging, eq spread and find easier ways to balance the levels, such as stem mixing and you will soon find yourself feeling a lot more balanced and possibly ‘in tune’ with your audio.

Let us not forget that balance is actually one of the most natural phenomena of existence.

Sarah Yule is an experienced audio engineer and Liverpool Institute for Performing Arts (LIPA) graduate. She currently works for TL Audio where she is sales director and was responsible for the conceptual design of the Fat Track Tube Production Suit.

To contact TL Audio Telephone: +44(0)1462 492090 Email: info@tlaudio.co.uk www.tlaudio.co.uk

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IN BRIEF ANDREAS STELLING has been promoted to the position of MD of Steinberg Media Technologies. Previously general manager of the company, Stelling replaces Kazunori Kobayashi, who will now serve in a new role at Yamaha, which owns Steinberg.

“The last four years have seen important changes and exciting successes for the company.

We intend to maintain the strong momentum moving forward to grow our business further in the long-term,” Stelling commented. > steinberg.net HARMAN PROFESSIONAL has added three new staff members to its Pro Asia team to strengthen its relations with pro audio recording and broadcast clients in the region.

Eric Goh, Kit Roche and Raymond Tee have been added to expand on Harman’s business with partners in Asia, Latin America and Canada.

Goh has been added to the Asia staff as regional sales director for South Asia, while Roche and Tee will serve in the positions of office manager and application engineer, respectively. > harman.com SHURE EUROPE has appointed Fred Sicko as EMEA sales manager. In his new role he will provide sales, marketing and market development support for Shure’s distribution and channel partners in Europe, Middle East and Africa.

Sicko was previously the seven-year sales manager for Shure Distribution GmBH. > shure.de CLEAR-COM Communication Systems has announced that Ahmed Magd Eldin will take over as regional sales manager for the Middle East, Cyprus, Greece and Turkey. > clearcom.com

40 audioPRO May 2009

Max Lindsay-Johnson joins Studiomaster Ex-Harman UK MD appointed as sales manager STUDIOMASTER HAS announced the appointment of Max Lindsay-Johnson as international sales manager.

Lindsay-Johnson was the former MD of Harman Pro UK and moved with the Harman UK business to the Letchworth-based supplier, Sound Technology where he was involved with the incorporation of the Harman brands. His initial task at Studiomaster will focus on the development of the worldwide distribution network of the Studiomaster brand.

“My appointment

coincides with the brand’s re-launch, and I couldn’t be joining the company at a more dynamic time in its history.”

Johnson - Studiomaster He commented on his appointment: “Studiomaster has a substantial pro-audio heritage, stretching back to the mid 1970s, and is a well-respected name worldwide. My appointment coincides with the brand’s re-launch, and I couldn’t be joining the company at a more dynamic time in its history. Studiomaster has been reorganised, new products have been

New leadership roles for staff at Roland UK

JOHNSON: A world-class brand

HEATH: Remains at head of RSG

designed, and it’s on track to becoming a world-class brand. Our new product portfolio has its emphasis on quality and choice at very competitive price points, with an excellent selection of innovative products that address the MI, live and install sectors. My target is to ensure that the Studiomaster brand achieves its planned growth over the next few years and, with the additional resources now available to us, this promises to be a successful and rewarding experience – for the company and its customers alike.”

Audio Pro understands that Lindsay-Johnson had effectively been on leave from Sound Technology since September 2008. > studiomaster.com

ROLAND UK HAS announced that the commercial director, Tim Walter, will take on the role of CEO and Peter Heath, the general manager of the Roland Systems Group, will join the board in the newly-created position of sales director.

Citing ‘a strong show of solidarity with its dealer network’, the board of Roland UK has, for the first time in some years, two directors involved in shaping sales strategies and relationships. Walter remains in charge of all sales and marketing and adds responsibility for operations to his remit.

Heath, who has a dedicated sales mandate, will now support him. Heath has spent 12 years at Roland UK in a variety of sales management roles and is well-known in the industry. > roland.co.uk

New CEO for Lab.gruppen Ulf Larson to take helm of amp specialist from July 1st as Lilja steps down LAB.GRUPPEN HAS announced that Ulf Larson will take over as CEO from former officer, Tomas Lilja, effective July 1st, 2009. Lilja is leaving the company after nine years for a position in the software industry.

Anders Fauerskov, chairman of the board of directors and CEO of the parent company, TC Group, stated: “Ulf has many years of experience in senior management at Lab.gruppen.

Most importantly, as far as the company’s development is concerned, he has been heading up the business units developing the PLM series powered loudspeaker management systems and the new Lake LM 26 digital audio processor. He also has experience as production manager in the defence industry and was an officer in the Swedish navy. I am confident

LARSON: Honoured by appointment

that he will be able to provide the leadership to execute Lab.gruppen’s aggressive market strategies.”

“I have decided to take on a new project in the software industry and it hasn’t been an easy choice. Leading Lab.gruppen through several growth phases and the fact that many goals and visions have been accomplished, however, has made me want to take on the new challenges of developing a smaller, but potentially successful company once again,” commented Lilja on his imminent departure. “The difficult part of my decision is that I will miss my staff, customers and friends within the industry.”

Larson said that he looked forward to the future. “I am honoured by this appointment and am excited by the challenge of moving the company on as we continue to expand sales in core and newly targeted markets,” he said. > labgruppen.com www.audioprointernational.com

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DISTRIBUTION <

Powersoft joins forces with CUK in Great Britian POWERSOFT has announced the appointment of CUK Audio as its distributor for mainland UK. The Italian manufactuer revealed that it was ending its releationship with Sennheiser UK at this year’s PL&S. Established in 1995 and based in Firenze, Powersoft is a well-known designer and manufacturer of power amplifiers. Glasgow-based CUK Audio was started by MD Stuart Thomson in 2005 and now exclusively represents Audica Professional, Community Loudspeakers, DIS Danish Interpretation Systems, Digigram, In Out Digital and MTSi Media Technology Systems in the UK. “With our focus on being a complete solution provider we were still looking for one core element,” said Thomson.

“We needed a premium amplifier brand with advanced design, future technology and a proven track record.”

The appointment was made by Powersoft’s co-owner, Carlo Lastrucci, and audio sales manager, Luca Giorgi. >powersoft.com

DPA appoints Quanta for distribution in Brazil

IN BRIEF TC ELECTRONIC and Blue Microphones have extended their relationship with a new deal that sees TC distributing the company’s mics in China and Japan. Blue had already appointed TC to handle its European distribution earlier this year.

Blue designs and builds handtuned microphones. Its products do not contain integrated circuits and its solid state and tube mics amplifiers are based on a Class A, fully discrete circuit, which uses a custom microphone transformer built and wound to Blue specifications. Blue mics are used around the world in studio and live applications to support a variety of musical genres. > tcelectronic.com

Danish microphones opt for country’s biggest DPA MICROPHONES has appointed Quanta Brazil as its distributor for Brazil. Quanta has grown from its humble beginnings as a small music technology shop to become one of the country’s leading audio distributors, with a network of almost 400 official retail dealers.

DPA will be handled by the company’s Quanta Systems division which is a focused on the sale of audio production products, in addition to AV solutions, training, consultancy and after-sales support.

“As a big fan of DPA mics myself, I know they will match perfectly with our high-end lines of mic preamps and recording systems,” said Quanta Brazil’s sales and marketing director Adinaldo Neves. “Our customers are as excited as we are and we already have commitments from broadcasters, theatrical sound designers and recording engineers from all over Brazil.”

DPA covers MI and pro audio

DPA’s Morten Stove added: “We have been looking for a partner with the right product portfolio and right attitude and are happy that DPA and Quanta Systems are now partners in the Brazilian market.” > dpamicrophones.com

17-18 November 2009 RDS, Dublin, Ireland The entertainment and installation technology showcase for Ireland evenTech Ireland is a focused networking forum for the region’s key decision-makers to keep up-to-date with the hottest technologies and latest industry trends and developments. evenTech will provide manufacturers and suppliers with a unique regional platform to make face-to-face contact with a quality audience involved in Ireland’s major entertainment and installation projects and initiatives.

Enquire NOW about exhibiting at evenTech Ireland 2009!

www.audioprointernational.com

To find out more about evenTech Ireland and the exciting opportunities Ireland presents contact:

Email: info@eventech-ireland.com Telephone: +44 (0) 1776 703572 To register to attend for FREE as a visitor please visit www.eventech-ireland.com

Media Partner:

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NEW GEAR >> Recent releases in audio technology 1

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d&b Audiotechnik J-Infra subwoofer

QSC ILA v2 line array system

Blue Sky SAT 8 monitor

CA-MX35M Solderless Stereo Connector

THEY SAY: A highly efficient solution for a cardioid infra bass reinforcement offering higher sensitivity and extended frequency response.

THEY SAY: A complete, turnkey line array system with high performance.

THEY SAY: A powerful system similar to the Blue Sky Sat 12, in a smaller package.

SPECIFICATIONS: ILA v2 is an installation turnkey package featuring dedicated fullrange and subwoofer loudspeaker components, processing, amplification, and suspension accessories. The arrays include a moulded enclosure, simplified rigging scheme and ILA v2’s SC28 system controller. It also features QSC’s proprietary Intrinsic Correction circuitry, ILA v2 includes the WL2082-I line array system and the WL118-sw subwoofer.

The WL2082-I features three-way speakers with 140-degree horizontal coverage. HFs are handled by dual oneinch exit speakers with a 1.75-inch neodymium magnets, while the low end is supported by two eight-inch woofers with a two-inch voice coil and a neodymium magnet.

SPECIFICATIONS: The SAT 8 is a threeway, tri-amplified, 300W, compact mid-field monitor with an eight-inch high excursion hemispherical woofer, a low distortion four-inch hemispherical midrange driver and a one-inch dual ring radiator tweeter with integral waveguide.

It features the ‘Multi-Aperture Acoustic Diffraction Absorber’ to maintain smooth on and off axis frequency response in the MF and HF frequency range.

The active SAT 8 has dedicated 100W amplifiers for its woofer, midrange and tweeter. Frequency response ranges from 80Hz to 30kHz +/-3.0dB (200Hz to 15kHz +/-1.5dB). Its rear panel has controls for full or half space operation, along with individual HF, MF and LF level trims and controls for variable gain settings.

SPECIFICATIONS: The J-Infra is a cardioid infra subwoofer for d&b’s popular J-Series. It is an actively driven, two-way bass-reflex design that houses three long excursion neodymium 21-inch drivers: two facing the front, while the other radiates to the rear of the cabinet.

The two forward facing drivers are powered by a single channel from the D12 amp, with a second channel powering the rear driver, thus avoiding unwanted energy behind the system and reducing the reverberant field at low frequencies. The hypercardioid mode in the D12 amp optimises the tuning of front and rear channels for a maximum rejection at the sides behind the cabinet.

> dbaudio.com

> qscaudio.com

> abluesky.com

THEY SAY: Designed to save time during installations by eliminating the task of soldering small 3.5mm stereo connectors.

SPECIFICATIONS: The CA-MX35M is a solderless 3.5-mm stereo cable mount male connector. Suited for AV applications where computer audio or IR control is used, CA-MX35M features a 3.5mm stereo plug with an attached screw terminal block, along with a twopiece, snap-together hood.

The company has designed the compact CA-MX35M stereo connector to make installations easier by eliminating the need for soldering equipment. The firm states: ”By the time you heat up the soldering iron you would already be done terminating the CA-MX35M with just a strip tool and a screwdriver."

> btx.com

5

6

7

8

Dynacord SL Series amplifiers

Fohnn XM-4 stage monitor

Kinesys Evo chain hoist controller

dbx ZonePRO Series M Versions

THEY SAY: The SL Series amplifiers offer stable power output, a high efficiency factor and a high performance level.

THEY SAY: XM-4’s complex passive crossover and self-resetting, highfrequency protection configuration maximises the dynamic range of a variety of sound sources while remaining transparent.

THEY SAY: Allows the motors to ‘hover’ without brakes being applied for the subtlest of slow movement cues and instantaneous reaction.

THEY SAY: Extends the reach of ZonePRO into further applications requiring additional microphone inputs.

SPECIFICATIONS: Dynacord’s new SL Series amplifiers offer high-output power efficiency while benefiting from the company’s 60 years of experience in the industry.

The SL Series comprises the SL900 (2 x 450W / 4Ω), SL 1200 (2 x 450W / 4Ω), SL 1800 (2 x 900W/ 4Ω) and SL 2400 (2 x 1,200W/ 4Ω).

Features of the SL series amplifiers include the Dynacord’s comprehensive protection system – which guards against overheating, overload, short circuit, HF and DC – and a patented LPN filter providing switchable frequency and phase response correction of connected loudspeakers.

> dynacord.com 42

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SPECIFICATIONS: XM-4 is a passive two-way monitor featuring a 12-inch bass/mid chassis and 3.5-inch highfrequency driver with 1.4-inch CD horn.

The monitor also features a complex and adjustable passive crossover and self-resetting high-frequency protection configuration.

Users have a choice of two set-up angles of 35 and 55 degrees, while its defined sound dispersion characteristics provide protection against feedback. Its 80 x 60 degree dispersion angle ensures that sound accurately reaches the target area on stage.

SPECIFICATIONS: The Evo is a precision variable speed chain hoist controller approved to BGV C1, with a multitude of features. Its loadcell provides precise load information for both controller and the operator with incremental and absolute encoders for accurate and secure positioning. An integrated data and emergency stop system provides Category 4 safety, which eliminates the need for custom power distribution.

Evo’s 32A three-phase Ceeform power can be daisy chained through controllers for cabling with communication features via high-speed Ethernet connections.

Onboard display and manual controls are built into the Evo controller.

SPECIFICATIONS: Harman has added four new members to the dbx ZonePRO digital zone processors with the new 1260m, 1261m, 640m and 641m.

The new devices share the same total numbers of I/O as previous models with the addition of more mic/line inputs. The 1260m and 1261m have six mic/line inputs and the 640m and 641m have four mic/line inputs, thus extending its use to even more applications.

Ambient Noise Compensation is also a new feature of the models, which allows the level of zone outputs to track the ambient noise level, monitored through a microphone and microphone input.

Each of the new ZonePRO devices features Ethernet and RS-232 control.

> fohhn.com

> kinesys.co.uk

> harman.com www.audioprointernational.com

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API house advert

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Now available on your mobile…

Keep on top of breaking news and developments within the pro audio industry… …on your laptop

…on your mobile device

…straight to your inbox

mobile.audioprointernational.com BOOKMARK US IN YOUR PHONE TODAY Telephone Darrell Carter for exciting new advertising opportunities on: 01992 535 647

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MARKETPLACE <

SUPPLIER SPOTLIGHT

Gasoline Media FORMED IN 2000, Gasoline Media specialises in public relations for the AV, entertainment technology and events markets.

Owner and director, Sarah James, has been working in the industry for 20 years, initially at Disco International and Live! magazines, moving into PR in 1993 and setting up Gasoline Media in 2000.

“When I started doing PR there were very few companies around offering that sort of service,” James said. “As the industry has evolved, and people have become both more busy and more savvy about promoting their businesses, the need to have someone permanently looking after their publicity interests has become an increasing necessity. And that’s where companies like Gasoline can really help.”

Gasoline works with a variety of companies across the industry, which helps it to be creative in approach and cost efficient.

To ensure maximum effectiveness is provided to its clients, James works closely with freelance staff who have extensive experience of both the technical side of the industry and media/PR. She stated:“We’re always looking for new angles and also for those where more than one client is involved,” James continued. “It can make a story more

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Leisuretec

01525 850085

Neutrik

+44 (0) 1983 811 441

www.flightcasewarehouse.co.uk www.fullfataudio.com

www.graphicnature.co.uk sales@hypex.nl sales@leisuretec.co.uk www.neutrik.com

Gasoline offers specialised PR interesting to the magazines, plus splitting a project between a number of budgets means that we can make everyone’s PR fee go that much further.”

Gasoline’s aim is always to work closely with its clients, making sure that core messages are communicated with each and every piece of material produced and supplying a PR programme that builds brands and connects clients directly with their customers.

Gasoline’s audio clients include DiGiCo, Turbosound and Ampetronic. > www.gasolinemedia.com

AUDIO MARKETPLACE CLASSIFIED RATES: Minimum 12 Months One Annual Charge Quarter Page £1,495 FLIGHTCASE

To advertise call

Darrell Carter on 01992 535647

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MARKETPLACE LOUDSPEAKER

Your Choice

2

Core to Your Business

MARKETPLACE

MAKE SOME

NOISE

GET YOUR PRODUCTS OR SERVICES IN FRONT OF THE WHOLE INDUSTRY

CONTACT: DARRELL D)

)

Power - Squared - www.leisuretec.co.uk

Leisuretec Distribution Limited Unit L3 Cherrycourt Way Leighton Buzzard Bedfordshire LU7 4UH T: +44 (0)1525 850085 F: +44 (0)1525 852285 sales@leisuretec.co.uk

MANUFACTURER

darrell.carter@intentmedia.co.uk Tel: 01992 53647 MANUFACTURER

On the largest stages

Complete Sound System Solutions

by Electro-Voice Kenny Chesney on tour with EV System Design by Phillip Scobee, Morris Leasing

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MARKETPLACE < MANUFACTURER

PR

â&#x20AC;&#x153;One great sounding amplifierâ&#x20AC;?

actual size: 141x110x35mm

Introducing the Highlights Flat, fully load-independent response Very low output impedance Low, frequency-independent THD Very low noise Industry best EMC Conservative thermal design

now g shippin

Performance meets power! The famed UcDTM sound quality is now available at over 2kW. If you must know more precisely: the UcD2kTM module delivers up to 120Vrms and up to 35Arms to the load, depending on the capabilities of the power supply. Conservative thermal design insures all parts remain well within their ratings even with the most unfavourable programme. Contact Hypex or have a look at www.hypex.nl for more information.

Kattegat 8 | 9723 JP Groningen The Netherlands | +31 50 52 64 993 sales@hypex.nl

recording

STUDIO

ADVERTISER INDEX A

ABTT ......................................................................25 Adam Hall ............................................................2, 21 Alcons Audio............................................................31

C

Crown International ................................................13

D

Digico......................................................................52

E

Eventech ..................................................................41

F

Funktion One ............................................................9

2 studios powered by Pro tools Large live room with three iso booths Logic Pro Digital Performer All styles welcome Residential accommodation available In-house orchestral composition Scores/Film / TV music composition Access to several Philharmonic orchestras for live purposes Mastering / re-mastering 3 Preproduction / rehearsal rooms Fully Licensed Bar with games facilities

L

Leisuretec ................................................................10

M

MC2 Audio ..............................................................15

N

Neutrik ....................................................................51

O

OHM ........................................................................19 Optocore ..................................................................11

P

Prisim ......................................................................17

Recent clients include: BBC | Warner Bros | EMI | Euro Sport | PGA

R

Rea Sound ..............................................................34

S

Sennheiser ................................................................7 Shure ........................................................................1

T

TL Audio..................................................................29

Graphic Nature Ltd 18 Mimram Road Hertford Hertfordshire SG14 1NN

Tel: +44 (0) 1992 558800 Fax: +44 (0) 1992 584823 Skype ID: graphicnature www.graphicnature.co.uk Info@graphicnature.co.uk

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The Audio Pro paparazzi is infiltrating all audio events, snapping away for our monthly Mixdown, which features friendly faces of people in the business and shots from industry events. If you have any pictures from an event that you would like us to include, please send them to andrew.low@intentmedia.co.uk.

The last word in Audio Pro Prolight+Sound 2009

Intent Media’s sales executive and most eligible bachelor, Rob Baker, is also a Drumtech trained drummer.

Baker is participating in this year’s Stick it to MS Charity World Record attempt on Monday, July 13, 2009 with over 600 other drummers to raise money for multiple sclerosis. Hear him in action at: www.thefetts.co.uk

IN-HOUSE MUSIC:

“

THE HAGUE The Alcons Audio team (l-to-r: Tom Back, Niels Janssen, Carsten Albrecht, Steve Badham, Dave Bijvoet) pose in front of the company’s booth. Alcon’s MD, Tom Back stated: “With our stand literally packed with Alcons users, new contacts and interested visitors three days out of four, Alcons again enjoyed significantly increased interest. Drawing-up the balance sheet, with new distributors, a portfolio of projects and leads to follow-up, it was without doubt our best show so far.

QUOTE OF THE MONTH: “As a

Prolight+Sound exhibitor of many years standing I was very pleasantly suprised at the very positive attitude that prevailed during PL+S, especially in Hall 8.

Visitors had projects to discuss and plans for development of business in their countries and there was no shortage of new products from the exhibitors.

Perhaps the inept politicians and mendacious bankers should have spent a day with us to see how the real world is coping”. Clive Kinton - Ohm Speakers

48

audioPRO

May 2009

SENNSHEISER: the mic giant brought Scotland’s charting folkie, Amy Macdonald, to Frankfurt to promote the new Evolution Wireless G3 range and perform at their annual party. Even the oldest and most cynical journalists were won over by the coy, young singer.

Word from the party was her performance was “actually pretty good”.

MIPA

Steinberg Media Technologies GmbH’s Karl ‘Charlie’ Steinberg won the Lifetime Achievement Award at this year’s Music Industry Press Awards, held during Prolight+Sound. Steinberg’s general manager, Andreas Stelling, stated: “Steinberg, the audio industry in general and the musical community at large owe him a great deal.

His vision for technologies empower anyone with a computer to create and produce music at any level.”

www.audioprointernational.com

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PIC OF THE MONTH

GONE FISHIN Paul Crognale of Shure UK shows off a Catfish he caught during a recent trip to the River Ebrow in Spain. The fish weighed in at just over 30 lbs. Crognale fought mercilessly to pull the mammoth fish into the boat. During the stuggle he fended off a swarm of sharks, three pirates and the Catfish’s family. Note: Some of this story may have been made up by API, either way, big fish.

All the way live

(Above) Tannoy’s Mark Flanagan poses at the company’s Prolight+Sound press launch. Red Square Audio’s Paul Nicholson gave a presentation followed by a VQ Live demo. (Below) An unlucky lighting company tries to determine why part of its booth came crashing down on the exhibition floor in Hall 8.

Luckily no one was hurt; therefore, it was kind of funny.

Face value

One of the best parts about trade shows is seeing friendly faces on the exhibition floor.

The hectic nature of the show does not allow for much socialising during the show, and with so many after parties on offer, it is tuugh to decide where most of your friends will be.

Below are some of the new friends we made at Prolight+Sound 09 and old API companions posing for a breath between product launches and meetings.

Ann Andrews and David Brunl of Funktion-One www.audioprointernational.com

Giacomo Previ gives a thumbs up

HME’s John Kowalski

A-Technica’s Harvey Roberts

audioPRO

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DESERT ISLAND DESKS

Don Zientara’s Amek Angela console Don Zientara of Inner Ear studio in Virginia, USA is a world-renowned engineer best known for his work with Fugazi, Minor Threat and many other bands on the Washington, D.C. label Dischord Records. He says that he can’t live without his Amek Angela console with Mackie automation and Neve Preamps. Zientara stated: “I love my Amek Angela, and it's recorded all the Washington D.C. punk bands quite nicely. That, and a few good homemade compressors, and we're off to the races!”

In an interview in API Issue 13, Zientara said of the console: “It is a very flexible board. It has thousands of buttons on it and there are many different ways of routing things. It is an in-line board with Neve Class A discrete preamps. There are six dedicated auxes and sends, but there are ways to route another 24.”

HOW ITS DONE

George Harrison, All Things Must Pass George Harrison’s first solo album, All Things Must Pass, stands as his best solo album and what many claim to be the best post-Beatles solo effort. The album has received unanimous critical acclaim and has been certified six times Platinum by the RIAA. The album was recorded from May to August 1970 at Abbey Road and mixed at Trident Studios from August to September.

Harrison brought Phil Spector on as co-producer for the album, which gave it Spector’s signature wall of noise sound. Harrison later criticised Spector’s influence on the album stating that there was “too much echo”.

David Bowie and The Beatles engineer, Ken Scott also worked on All Things Must Pass. Scott stated in his 2005 EQ Magazine interview that the guitar sound consisted of Vox and Fender amps through Leslie cabinets. “The mics would have been probably a KM 54 or a KM 56 on the top and a U87 or a U67 on the bottom because, once again, it was only a mono track, so we didn’t have to mic both sides,” Scott stated.

Scott goes on to explain that many of the bass parts were doubled with a six string bass, and in some cases doubled with a vocal. This was a technique that started during the White Album.

AUDIO ARCHITYPES The Neve name is known as the vanguard of studio recording consoles. Old Neve desks are highly sought after and can be found in the best studios around the world and used on hit albums for decades. Rupert Neve’s desks are particulary praised for their preamps, eq and compression.

The Neve 8078 console is one that has gained particular praise and was used on recordings by Steely Dan, Nirvana, Pink Floyd, Dire Straits, Quincy Jones, George Clinton and Chick Corea.

There were three 8078s that were famously designed for the Air Studios in 1978. George Martin also had one of these consoles in his Air Monserrat studio.

The console pictured on the right was built to a custom spec for Sony CBS in 1977. It now lives in East London’s The Way Studio.

To discuss advertising contact Darrell Carter on 01992 535647 darrell.carter@intentmedia.co.uk For editorial enquiries email Andrew Low andrew.low@intentmedia.co.uk or call 01992 535646 Audio Pro International is published 11 times a year by Intent Media ~ Saxon House, 6A St. Andrew Street, Hertford SG14 1JA, England

Intent Media is a member of the Audit Bureau of Circulation and the Periodical Publishers Association

A audioPRO

© Intent Media 2009. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Printed by Manson Group, AL3 6PZ

ISSN: 1755-4918

SUBSCRIPTIONS UK: Free Europe: £60 Rest of world: £90 If you or one of your colleagues would like to request a subscription to Audio Pro International, please email audio.subscriptions@c-cms.com or call 01580 883848

If you would like to receive your own copy of Audio Pro International, please email our subscriptions department on: audio.subscriptions@c-cms.com or call 01580 883848 May 2009

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