AMI November 2018 Digital Edition

International

November 2018

www.audiomediainternational.com

KILLER COMBO Getting to grips with hybrid audio systems

AES

John Storyk discusses the pro audio education boom

REVIEWS

Audio-Technica, Waves, DPA and more...

CONTENTS

25

OPINION 12

John Storyk The WSDG founding partner takes the stage at AES New York to find out what is driving the international pro audio education boom

FEATURES

12

15

15

Producer Profile Hookworms singer Matthew Johnson explains how he rebuilt his studio following a 2015 flood disaster

19

Rosewood Studios AMI gets the scoop on this recently opened recording haven on the outskirts of London

25

Hybrid Audio Stephen Bennett looks at the advantages of recording, mixing and mastering using a combination of analogue and digital gear

PRODUCT FOCUS 29 Consoles

REVIEWS

32 Audio-Technica ATH-M60x 38 Waves eMotion LV1 November 2018

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AMI NOVEMBER 2018

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o here we are, the penultimate issue of Audio Media International for 2018, and where has the year gone? The last few months have certainly been a busy time for the pro audio world – PLASA announced a swathe of new professional development training events, the 145th AES Convention in New York welcomed its usual abundance of audiophiles and celebrated the success of its first mastering conference in London, while the Music Modernization Act, the most sweeping reform of music licensing in 40 years, was signed into law following its unanimous passage through the US House and Senate. The legislation updates licensing and mechanical royalties related to streaming, setting rates via a “willing buyer/willing seller” standard that is expected to put performing rights organisations in a stronger negotiating position for the future. What this means exactly for producers and engineers however is something yet to be discovered.

This month has also been a busy time of change at AMI. Having written for the magazine under the previous two editors as senior staff writer, I am delighted to now be returning to the brand as acting editor, and look forward to

getting back to reporting on the pro audio industry’s news and trends at such an exciting time for the business.

The November issue is generally themed around the nerve centres of any recording or mixing setup: consoles, yet you’ll still find a range of features, interviews and opinions from across the pro audio spectrum within this month’s pages.

WSDG’s John Storyk gives us the lowdown on the international pro audio education boom from his panel at AES New York, and discovers how colleges and universities continue to make substantial investments in real estate, faculty, dedicated teaching programmes and state of-the-art facilities focused on preparing next generation pro audio professionals.

We hear from Hookworms singer and producer Matthew Johnson about how he rebuilt his studio following a 2015 flood disaster, while Rosewood Studios owner Edward Scull tells us about the setup and workflow at his newly-opened recording facility in Surrey.

In line with this month’s theme, you’ll find a bumper feature on page 25 in which Stephen Bennett explores the world of hybrid audio setups, followed by a roundup of the most feature-packed consoles in our latest Product Focus on page 29. And don’t forget the back pages dedicated to our usual lineup of product reviews.

As always, please feel free to get in touch with your feedback, whether it’s something you love or hate about what’s being covered in AMI. Personally, it certainly feels good to be back.

I hope you enjoy the issue!

Colby Ramsey Acting Editor Audio Media International

Experts in the issue

If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.

Matthew Johnson is a producer and singer for Leeds-based psychedelic rock band Hookworms.

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November 2018

John Storyk is a WSDG founding partner and adjunct professor of Acoustics & Studio Design, Berklee College of Music.

James Lewis is a UK-based mixer, producer and engineer working out of his Cambridgeshire facility, Studio27A.

NEWS

LOUD AND PROUD: TRACTION SOUND RAPTOR GOES BIG AT THE TATE MODERN’S TURBINE HALL Bass array installed as part of a multi-sensory exhibit is designed to provoke an emotional response from visitors

A

Traction Sound ‘Raptor’ 30-subwoofer bass-array was recently installed in the Turbine Hall of the Tate Modern in London to transmit the sonic element of a multisensory exhibit.

The commission, inspired by the global immigration crisis, is the brainchild of acclaimed Cuban artist and political activist Tania Bruguera, and aims to provoke a moving, emotional response from visitors. Influential producer/DJ and founder of the Hyperdub label Steve Goodman (AKA Kode9) provides the soundtrack, which is designed to make visitors feel uncomfortable and intimidated, whilst touch and atmospheric elements evoke feelings of empathy.

Specified and installed by Brighton Sound System, Raptor is reproducing the demanding source material as the artist intended eight hours a day, every day for a five-month period. The bass array is driven by Traction Engine amplifiers based on Full Fat Audio 10000 series and Traction Control processing featuring NST Audio technology, with an Allen & Heath SQ6 digital mixer on back-end mixing duties.

The program material comprises a series of thumps, ultra-low rumbles and tonal sweeps up to 100hz.

Unlike most twin 21” sub configurations, Raptor 221 is designed purely for the most challenging narrow band of ultra-low frequencies within a range of 25-40Hz, while Raptor 218 takes over up to 100Hz: “This configuration provides effortless delivery of the program material without overstretching or wrongly

purposing each cab,” said original Traction Sound designer and chief technical officer Billy Wood.

Raptor 218 and 221, of which 20 and 10 of each were used respectively, both utilise bandpass designs, which acoustically filter out any unwanted artefacts outside the desired bandwidth and help to achieve the optimum phase and frequency response, all while avoiding the out-of-bandwidth noise/distortion present in horn loaded systems: “We’re only using a small potential of the Raptor 30-sub bass-array at the Tate so we’d love to let it off the leash at the end in all its glory with the ultra-low distortion Raptor 612 top speakers,” said David Vukovich, CEO at Scicoustic Ltd, a UK company which acquired Traction Sound in 2017. “We’re currently looking for a suitable venue and liaising with various artists to make this happen.”

Scicoustic brings together a highly experienced team in acoustic, mechanical, computational design, material science and manufacturing. Designer and CTO Billy Wood is best known for his decade-long research into air-propagation-distortion and SDS (Soft Dome Source) tweeter arrays, which dramatically reduce high frequency distortion over compression drivers.

“The Tate Modern contains some of the world’s most precious art, with obvious sensitivities and concerns from legal teams representing some particularly valuable and important pieces,” said Brighton Sound System owner Jonny Goodwillie. The company conducted extensive out of hours testing before arriving at a solution, which satisfied the artist and Tate management.

“Brighton Sound System worked closely with consultant sound engineer Ben Caro to construct a solution, which de-couples the stack from the building,” explained Goodwillie. “The design had to encompass safety and stability first and foremost, and this requires rigidity and load bearing materials.

The staging on which the PA is built was isolated from the floor by high rigidity load bearing ‘sandwich strips’, which are composed of two layers of hardboard and three layers of a triple layer composite rubber.

“Every time the wave crosses one of the five layers of the sandwich and changes speed it loses energy,” he added.

“The resultant effect dramatically reduced structural vibration and kept most of the bass energy airborne.”

So how effective was this collaborative approach from all the parties involved in the project? “This was a challenging project for Brighton Sound System to deliver with multiple parties involved and uncompromising technical and creative requirements from the artist and Tate management,” said Vukovich.

“Brighton Sound System and Traction Sound have a long history of collaboration, which certainly helped pull the project together in record time, and both parties have a ‘whatever it takes’ approach to making projects like this happen.”

Vukovich concluded: “Following 3 years intensive R&D and preparation for all-in-house manufacturing in Wisconsin, USA, we’re excited about the forthcoming launch of all-new Traction Sound systems from November 2018.”

November 2018

7

OPINION

TOBIN JONES

MIXING IT UP

Tobin Jones offers his thoughts on the growing popularity of hybrid mixing and recording setups

I

s the mixing desk redundant in the modern recording and mixing setup where the DAW and plugins reign supreme? Do you need a mixing desk to make great sounding professional productions? The short answer is no and there are many top engineers and producers working solely in the box. But there are still great benefits in using a console and smaller desks, while summing mixers have come to replace larger scale consoles for those people using a hybrid setup of DAW based mixing and analogue hardware. Mixing and recording this way can often combine both the effectiveness of fast-paced streamlined computer-based production with the hands on intuitive approach of using analogue hardware.

Not so long ago, recalling a mix to tweak a snare level by half a dB or adding a little more delay could take a long time, far longer than the time it would take to do the tweak and print the mix. On an all-analogue mix and even with notes, photos and recall sheets you could never be 100% sure that the mix sounded exactly the same as the last print.

With computer-based mixes this isn’t an issue at all and recalling a mix can take a matter of seconds. As this is now the norm, artists and labels expect these tweaks to be made without understanding the time required to recall if it’s an all-analogue desk mix. This has led some prominent mix engineers to abandon their analogue approach completely and work only in the box.

Using a hybrid approach – although not quite as fast as solely in the box productions – can still help to greatly reduce the time required for recalls. Desks such as the SSL AWS have great recall software and DAW incorporation, and smaller desks mean less time recalling. Using the DAW as the main mixing

platform and the desk as a summing mixer can give you all the benefits of the DAW, using amazing plugins and workflows, while allowing the desk to almost be used as a hardware insert. Sending bussed outputs to channels on the desk and summing them though a master bus gives a real sense of interaction with the music and using the desk/outboard on these busses adds to the whole overall aesthetic of the mix.

Desks like AWS also integrate a DAW control surface as well as an analogue layer, which allows the engineer to write DAW and plugin control automation and then flick back to the analogue faders to tweak the hardware layer.

What I like about using a hybrid setup is the way I can use the strengths of both analogue and digital to greater effect. I tend to use plugin EQ for more surgical cleaning roles such as removing harsh resonant frequencies, then use analogue EQ to boost frequencies in a more musical way. The same is true of dynamic processing; I like using plugins for gates as I can tweak them in far greater detail whereas I find using analogue dynamics can really make the mix move.

If just mixing solely in the box you can quickly find that you lose headroom. For me this usually means my mixes are not as dynamic and I don’t feel as enveloped in the music as when coming out of multiple stems on a desk.

Bringing my busses out on the desk effectively allows me to make them louder before reaching the headroom of the DAW. I can then balance them on the desk and use my analogue mix bus chain before sending the stereo mix back to the DAW for monitoring and printing.

Although I can achieve the same thing by just using the DAW, I find it easier to give more depth to the mix when using the desk. Part of this is my mindset; having

tactile knobs and faders really makes me feel as if my body is physically involved in the music almost like I’m playing an instrument. I find that sitting in front of a purpose built piece of hardware, designed specifically for this task, gives me a greater sense of individual connection with equipment and music, rather than just using a computer designed for multiple tasks with millions of users around the world.

For me, the only negative in working this way is that printing stems can be time consuming when compared with in-the-box mixes. This is because I have to bounce each stem separately through the desk in real time and can’t just do a print all stem export.

Despite this, I personally find this way of mixing more fun and intuitive and feel it leads me to have a greater connection to the music. I find artists I work with enjoy this way of mixing as well, but ultimately its whatever works for you. There are many amazing engineers and producers working solely in the box who get incredible results – likewise some work only in the analogue realm.

I also record a lot through my console so having a desk the size of the AWS makes sense for me. I still love my DAW and the quick workflow, and the power that plugins can provide me, yet the analogue mixing desk is far from redundant in the age of the DAW. For me there is no battle between analogue and digital music productions, they are one and the same and finding a system that inspires and works for you is key to getting great musical results.

Tobin Jones is owner and head engineer at The Park Studios, a recording studio in Wembley, London. www.theparkstudios.com

November 2018

9

OPINION

LOUD AND

CLEAR

RTW’s Michael Kahsnitz looks at how speech intelligibility will shape the future of broadcast, film and music production

I

n the most basic of explanations, speech intelligibility measures the comprehensibility of the spoken word. In our industry, this might translate to dialogue and music from TV or film characters, theatrical performers, live presenters or recording artists. And, what we’re finding in markets around the world is an increasing number of consumers having difficulty understanding verbal materials in shows and movies. Most specifically, they complain that the artist does not sing clearly, the actor does not articulate or there is simply too much background noise.

Our research has shown that the problem is very complicated. It’s not contingent on each individual’s hearing, each actor’s speech, the quality of each recording, the process by which each project is edited, or the type of consumer-grade speaker being used.

There are hundreds of factors that come into play that affect speech intelligibility.

So, we have to look at every piece of a workflow.

There are continually new cable channels and streaming services, which require production teams to work at a faster rate of speed to meet the needs of these broadcasts. This not only means there is less time spent editing the audio, but the audio is also being compressed more than before.

In the production stage, budget restrictions force directors to capture a scene in one or two takes, leaving the audio crew with the task of having to act quickly to get the best sound possible. In other cases, the team might want to use additional microphones, to ensure the best audio capture, but with a growing emphasis on the ‘artistic’ filming styles, directors are opting for more cameras – which equates to decreased microphones to guarantee there’s no gear in the shot.

Then there are field productions, which usually capture a lot of background noise, an unavoidable aspect of working outside the studio.

We also need to examine the post-production process. In most instances, audio elements or background music are mixed behind the main dialogue, which create challenges for the audio mixers. In

MICHAEL KAHSNITZ many cases, we’ve also found that mixers can start to become familiar with a line they’ve been editing repeatedly and that they will put it into the final production, even if the intelligibility of speech is indiscernible to others.

Finally, there’s the consumer. Through collaborative R&D efforts with Fraunhofer IDMT, we know that people watching traditional broadcast TV are usually 55 or older. These viewers have a natural degradation of their hearing abilities, making it even more difficult to comprehend what is being said. And, though screen size is increasing, the average television built-in speakers are becoming poorer in quality. What’s worse, the speakers face the wall, rather than the consumer, which creates audio reflections that are bad for intelligibility.

Additionally, a lot of younger people are consuming media on their mobile devices using earbuds, which have poor sound and are listened to at high levels.

This will cause detrimental consequences as they age and, 15 to 20 years from now, more individuals will have poorer hearing than ever before.

Hopefully, research and development in speech intelligibility will decrease these adverse auditory effects of current media consumption lifestyles.

The first step to addressing speech intelligibility is to evaluate all contributing factors. One objective is for the development of a numerical scale with 100% representing perfect intelligibility. Another could be a guide that looks at the listening effort needed to understand the audio, with 100% indicating a complete inability to hear. At a certain point, we will

need a standardisation and reference as to what is perfect and poor speech intelligibility.

To accomplish this, we’ll also need to find the best representation of the ‘normal listener,’ meaning a person with no hearing impairments. And we would need to find them for each platform’s average consumers – such as a 50-year-old broadcast viewer.

Speech intelligibility technology would also need to emulate potential future standards, such as a 60-year-old who had been a consistent mobile viewer in their earlier life.

Through our partnership with Fraunhofer, RTW is currently working to establish the algorithms that represent these considerations for speech intelligibility. We hope to find new analysis and correction technologies that will allow broadcasters, networks and other content providers to have an objective measure for speech intelligibility. Studios around the world would then be able to emulate all levels of hearing, so producers can perceive what an audio track might sound like to an impaired listener as well as one with perfect hearing.

Finally, there needs to be a reference within all the standards organisations, such as the ITU (International Telecommunication Union) and EBU (European Broadcasting Union). This standardisation and toolset will ensure that everyone works from the same reference point to best address the audio.

Michael Kahsnitz is a senior director of product management for RTW.

November 2018

11

OPINION

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WHAT IS DRIVING THE INTERNATIONAL PRO AUDIO EDUCATION BOOM?

By John Storyk, founding partner WSDG Walters-Storyk Design Group and Adjunct Professor of Acoustics & Studio Design, Berklee College of Music

JOHN STORYK

A

t the AES 145th Convention at New York’s Javits Convention Center recently, I chaired a panel comprised of leading educators from five prominent seats of higher learning: Rob Jaczko, Berklee College of Music - Boston, MA, Paul Lehrman, Tufts University - Medford, MA, Dana Roun, Full Sail University - Orlando, FL, Mary Simoni, Rensselaer Polytechnic Institute (RPI) - Troy, New York, and Cyrille Taillandier, Drexel University - Philadelphia, PA. You’ll find that beyond their educational chops, each of these panelists is an accomplished music and audio business pro. Collectively, they’ve recorded and mixed numerous gold and platinum hits for superstars ranging from Bruce Springsteen to James Taylor and Don Henley. One has toured the world as a FoH mixer for such legendary artists as Boston and Bon Jovi; another has performed her original award winning compositions in concerts around the globe, another has authored textbooks and magazine articles, consulted with and written documentation for leading manufacturers including Roland, Kurzweil, Yamaha and JBL; and one has served as assistant engineer to Tony Maseratti on multi-platinum albums for P. Diddy, R. 12

November 2018

Kelly, Jennifer Lopez and Alicia Keys among others.

In short, these panelists are industry superstars themselves, educators who can do, have done and then elected to share their hands on experience and unique perspectives with next generation creative and technological pro audio practitioners. And, many of their graduate students now have challenging careers with companies like Akai, Apple, Avid, Bose, Google, IBM, iZotope, Kurzweil, and Microsoft. And, not incidentally, none of these companies will even interview a potential hire without a college degree.

Entitled “What’s Driving The International Pro Audio Education Boom,” our panel was designed to explore a phenomenon that has emerged over the past few years as a formidable new trend in contemporary education.

As with medicine, law, physics and other demanding fields, colleges and universities have, and continue to make, substantial investments in real estate, faculty, dedicated teaching programmes and state of-the-art facilities focused on preparing next generation pro audio professionals.

The field of professional audio has proliferated to encompass a wealth of new ancillary career paths far beyond FoH mixing for Justin Timberlake or tracking

Taylor Swift’s next smash hit. Pro Audio expertise is a critical component of Game Audio Creation, the rapidly emerging Podcast field, Algorithmic Composition, Immersive Music Production, Forensic Audio, Electroacoustics, Virtual Reality (VR), and Acoustic Simulation which engages 3D software programs to aurally “visualise” the sound of a proposed room before it is built, enabling architects to correct potential acoustic problems at the design stage.

Universities around the globe are making significant investments in faculty, real estate, and cutting-edge technology in support of large-scale professional audio production/teaching facilities. 2018 looms as a watershed year for new entries: Drexel University (Philadelphia, PA), Rensselaer Polytechnic Institute (Troy, NY), Concordia College (Irvine, CA), TEC Monterrey (Mexico City), and ICESI U (Cali, Colombia), are just some of the institutions creating ambitious pro audio teaching complexes in 2019.

Our panel explored this escalating commitment to pro audio education. Topics included: • What are the issues in designing for technical and creative training?

• How do we “future-proof” our new facilities? • Where do today’s (and tomorrow’s) students end up working?

• Engineering vs. liberal arts / Dedicated schools vs. traditional colleges: How do we incorporate intensive audio training into a more comprehensive curriculum— or should we?

During the course of our 90-minute discussion each participant provided salient and insightful perspectives on the growing importance of formal education for aspirants for pro audio industry occupations. It quickly became clear that while hiphop, pop, rap, and ‘rock star’ glory fantasys may inspire their forays into music, only a precious few grab those golden rings. The upside is that the majority of serious pro audio students find a way to monetise their love of music into career-worthy employment, which is one of the benefits of higher education - providing realistic direction for a student’s singular skill set. And, as Rob Jaczko of Drexel University pointed out, those career choices, while not obvious to the incoming freshman, are greatly expanded by their immersion in the University’s wider curriculum.

Outfitted with real-world studio environments, designed to duplicate the experience of working in actual recording, mixing, broadcast and writing studios, and taught by instructors who have enjoyed genuine success in the field, students form technical

OPINION learning teams and learn how to collaborate to resolve complex production challenges. And, they’re constantly exposed to career options that will guide them towards appropriate career decisions.

Four of the five schools represented by the panel were leading Universities with “big ticket” tuitions, and demanding admission requirements. Many students attend Full Sail University on the Pell Grant Federal Student Aid programme; director of audio education Dana Roun reports that Full Sail students are committed to sticking with the programme. This point is best illustrated by Dirk Noy, a 1996 Full Sail graduate who won an internship at WSDG, became an invaluable member of the firm, and returned to his Basel, Switzerland home in 1997 to open the WSDG European office. Today Noy is a full partner, and Director of Applied Science & Engineering and partner/owner at WSDG, LLC (USA parent company).

Drexel professor, Taillandier, revealed that the university admits only 72 out of 800 applicants, but this stringent acceptance model translates to an extremely light “melt/drop out” rate. Berklee College of Music chairman, Music production and Engineering, Jaczko points out that every Berklee student is already an accomplished musician when they enroll. And, while performing professionally may have been their initial goal, their access to a wide range of music-related potential occupations serves as an inspiration to explore alternate music industry careers which will take advantage of all their skills.

Tufts professor Lehrman noted that his University had the second smallest programme on the panel, as most of their students are primarily focused on scientific and electrical engineering careers. However, their pro audio students have built extremely successful careers throughout the industry, and many count their educational experience as a catalyst for their entrepreneurial success.

RPI’s new pro audio education complex (pictured right) opened in September 2018, and while designed to accommodate classes of dozens of students, Dean Simoni and her cadre are ‘breaking in’ the curriculum with a small initial group. They are confident that the new facility will attract the same high-level students as RPI has for almost 200 years.

Every panelist commented on the need for campus pro audio education centres to adhere to sound, professional design and construction standards.

They need to replicate the professional production environment, assure students of absolute sound isolation between control and live rooms and other teaching areas, and provide clear lines of site to the consoles and all the video monitors to assure the absolute authenticity of every acoustic and aesthetic detail. Concerns I find particularly gratifying as a studio designer and acoustician.

During the Q&A session following the panel, the question I had been most anticipating was early on the list. ‘Considering the cost of a college education

what was the panel’s opinion of Online Education?’ The answers were understandably mixed. A couple were enthusiastic, a couple were cautiously optimistic and one was emphatically opposed to the idea. Those in favour were of the mind that if the online students were genuinely motivated and capable of sticking with and absorbing the material, that benefited greatly from the ability to work without the distractions of a campus life.

My own opinion had just recently changed from sceptical to true believer. I recently became an online author and instructor for Berklee’s new Masters Programme in Audio Production. Having taught in the classroom for many years on the one subject I do know a “little” about (Architectural Acoustic and Studio Design), initially I said no to my involvement both as author and initial first year instructor. Would anyone sign on? Could I provide real world contact in a virtual “online” universe?

My concerns were quickly allayed. I now have 41 students in five time zones, a wide range of ages, many with their own studios, and some even in professional groups. They are all grown ups, gainfully and some self employed, motivated, capable of doing the work and – as I’ve seen in just the first few weeks that we’ve been working together – blessed with their own largely realistic game plans for employing the education they’re paying for. All of this has been a very pleasant surprise.

Yet, the panelists and I all concur that a hands-on learning experience in a professional educational environment is irreplaceable. Not only for the knowledge that students acquire, but for the opportunity to collaborate with peers in solving problems, figuring out how to take advantage of the technology. The real reason we are seeing an international boom in pro audio education is that young people will always want to be a part of this business. It’s not just because they can’t get a foot in the door without a degree. It’s that the real world educational experience can’t be duplicated online or anywhere other than on a real-world college campus.

It’s sad in a way to acknowledge that we’ve outgrown the “internship to partnership” process, but hey, the world is constantly changing and we’ve either got to get with the programme or get out of the way. Both worlds are coexisting simultaneously and I am thoroughly enjoying this new dance. They share the common theme of wanting music and recorded content to sound as good as possible.

John Storyk is a founding partner of the WSDG Walters-Storyk Design Group and Adjunct Professor of Acoustics & Studio Design at Berklee College of Music.

November 2018

13

PRODUCER PROFILE

BACK FROM

THE BRINK

Daniel Dylan Wray catches up with Hookworms singer and producer Matthew Johnson at his Suburban Home studio to find out about some of his favourite audio gear, how he started his professional career, and how he rebuilt the studio back to strength following a 2015 flood disaster...

November 2018

15

PRODUCER PROFILE

M

any teenagers doing their A-Levels can get side-tracked by new experiences and developments in their life, such is the transitional nature of this time. For Matthew Johnson (MJ), the singer of electronic-psych outfit Hookworms, he didn’t get caught up in booze or drugs but instead got lost in a recording studio. “I screwed all my A-Levels up because I became obsessed with this studio in my sixth form college,” he tells me from his own recording studio, Suburban Home, in Leeds. “I went from being a perfectly well-performing and academically average person to being piss poor. Finally years later nobody is mad at me any more.”

Prior to that, MJ had taken the usual teenage road of being in “loads of really terrible bands”, but he developed an early ear for recording. “I had this little four track, so I would record friends and little ideas. I’ve got tens and tens of tapes of things that I never want to hear again but I also never want to get rid of.” It was during this period that MJ began to understand what a producer did. “Chris Lord Alge was a key person,” he remembers.

“I saw his name on the back of a lot of these really awful ska punk records I liked at the time.”

MJ’s love of punk and post-hardcore soon led him to discover Fugazi, a seminal band that opened a deeper understanding of the sonics on the records he was 16

November 2018

listening to. “I noticed how much quieter those Fugazi recordings were compared to a lot of other things and that’s the first time I really questioned the aesthetics of a record.”

When MJ found himself at Leeds College of Music, these records still enamoured him but his tutors less so: “I took a bunch of that music into tutorials where we’d discuss music and production and I got laughed at by the tutor and the other students. I just thought ‘you idiots’, it was narrow minded.” He quit the course after about a week.

After setting up a small home studio, he continued to record his own music, along with other bands whilst working full-time in admin at Leeds University. “I was starting to spend as much time working in my studio as I was at the university,” recalls MJ. “So I asked my boss if I could go part-time to see if I could do more in the studio and she told me that I couldn’t, so I quit on the spot.

It was terrifying at the time. The look on some of my friends’ faces when I told them I had done it, they were absolutely baffled.”

These instantaneous decisions MJ was in the habit of making would pay off however. He then started Suburban Home Studio in 2011, roughly around the time Hookworms formed, and over the years both have flourished hugely. Hookworms signed to Domino records for their second album and released their third, Microshift, this year to critical acclaim and are

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just about to wrap up 2018 with their biggest ever headline shows and a remix EP. Despite the band’s success, all members have continued to work in order to keep Hookworms fun and about creativity, rather than relying on it as a primary source of income and having to make decisions based on that. MJ’s job has been running Suburban Home and recording bands such as Joanna Gruesome, Martha, Menace Beach, The Spook School, Pulled Apart by Horses and Eagulls, as well as all of Hookworms’ material. In fact, MJ sees the studio almost as a member of the band: “This studio is intrinsic to everything we do in Hookworms and the way that we write. I can’t imagine us functioning in any other way.”

The aim of Suburban Home was, as the name suggests, to be homely. “I wanted to create a place that was welcoming and comfortable for musicians no matter what their background,” MJ says. “I just wanted to create somewhere where people could come and be themselves. The few experiences I’ve had with recording studios when I was younger; I felt like an outsider when I was in those spaces.”

As for the styles of music he records, he’s wide-open, working with anything as long as he likes it and the people, but he admits there’s been a tone that’s taken shape. “I think I have subconsciously railroaded myself down certain genres. I like bands that sound like Built to Spill and I like college, indie and punk rock. More and

PRODUCER PROFILE MJ’S TOP GEAR PICKS ATC SCM25A Monitors “The upper mids on these are so so forward and revealing. The high I felt when they arrived was quickly tempered by realising I now needed to remix everything I was working on; I love how I can mix at extremely low volume (which I like to do) then turn these up for clients and they sound ten times bigger than they are. Artists often comment how well mixes translate from the control room to their own listening system.”

Kush Clariphonic “A really underrated parallel EQ that encourages you to listen. Rather than frequency information on the faceplate there are seemingly abstract words that we all hate artists using like ‘shimmer’ and ‘open’.

Still, I love to use the Clariphonic to bring a little presence and detail to ribbons such as the Coles 4038 and Royer 121, especially as drum overheads.

Really addictive on a mix too although you have to be careful not to push it too far or there’s a nasty surprise the next morning. There’s a plugin version of this that can do equally great things.”

more I’m doing a lot of electronic music and I love that too. I think when I first started I wanted to make records that sounded like Steve Albini and slowly that has changed. He makes some great-sounding rock records but I also really like slick pop music now. I would spend hours and hours on the internet, looking up mic positions and trying to find raw drums tracks, so I could just hear exactly how Albini recorded drum sounds. Now I work with more electronic and pop elements, it’s really cool being able to marry those elements together. People can still come to me and say ‘I want my bass to sound like the Jesus Lizard’ and I can do it straight away but also people can come to me and say ‘I want to sound like Phoenix’ and I can do that as well. That’s really fun.”

As momentum was building, disaster struck in 2015 when on Boxing Day major flooding took place and the nearby river burst its banks. MJ built a barricade of sandbags and tried to save equipment but he was up against it. “Water ended up being between waist and chest height and we were trying to put everything into the attic and stack things high.” But when MJ emerged out of the studio, the water was still gushing and his car was now floating. “We got rescued by someone driving in a monster truck,” he recalls. “It was so surreal, all the lights had gone out and a nearby fuel-powered generator was kicking out smoke everywhere whilst water was still rising, then this fucking monster truck

with a giant spotlight on it drives up.” But the damage became substantial as the flooding continued. “I just sat at home and watched it on the news. My car was on the news every fifteen minutes just bobbing around in the background.”

A crowdfunding campaign was launched and over £10,000 was raised. “The crowd funding saved me,” MJ says. “Without it, this studio wouldn’t be here.” MJ had to borrow more money on top of that and has been gradually building the studio back up and investing in it again. He’s now in a position and in such demand that he’s looking to move in 2019. “I’ve very slowly been building a high-end studio here with the intention of building a new space. Then straight away have this high end studio ready to go.” He also sees this potential move as an opportunity to give a little bit back to the music community that offered so much to him when he most needed it. “I want to create a community space where more people can work together. My girlfriend works in one of these tech hub places, where everyone is freelance and I went along with her and it was so nice. I want to be able to do that but for recording.”

It’s another big move that fills MJ with trepidation but he seems to thrive off these moments. “It’s exciting but also terrifying,” he concludes. “But I’ve always told myself that if I’m not scared then I’m probably not doing the right thing.”

AML EZ-1073 “My favourite preamps - I’d buy another fourteen if I could. Always use the two I have on kick and snare when I’m tracking drums and they’re also lush for a DI’d synth. The high shelf EQ is great for taming brash guitars while the low shelf is great for giving them a little weight. I often pair this preamp with a distressor in opto mode for vocals as it can naturally pull them forward in a mix a little. I recorded all my vocals on ‘Microshift’ with an SM7B into the 1073 into a Shadow Hills Dual Vandergraph just to catch the peaks on the way in. I can have quite a shrill voice and this helped tame it.”

1978 Fender Champ “This is the first amp I’ll save next time the studio floods. People are almost always disappointed when they see me plugging it in until they hear it and realise big doesn’t have to mean loud. Particularly effective for J Mascis style guitar lines or any other chance I get to run three fuzz pedals in a row. My current favourite fuzz is the Death By Audio Fuzz War. Through the Champ it can sound like front row at a Neil Young and Crazy Horse show.”

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STUDIO PROFILE

NEW KID ON

THE BLOCK

AMI speaks to the owner of Rosewood Studios, a recently opened recording haven on the outskirts of London

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osewood Studios is a brand new state-ofthe-art purpose built recording studio in Redhill, Surrey, featuring a modern control room and large live room equipped with the latest gear.

Edward Scull, the studio’s owner, wanted to create a space that focuses solely on the musician and the music itself. "Our mantra is to create an optimum space for creativity to flourish. As soon as you walk through the door the outside world stops, no distractions; a nod to the studios we had back in the day. Choosing a location outside of the city allowed me the freedom to literally create the perfect space, with no height, size and noise restrictions. We have plenty of parking and the most beautiful countryside around us yet we are only a stone throw away from London, just off the M25.”

The studio was installed by Studio Creations and acoustically designed by Chris Walls of Level Acoustic Design: "My studio and vision is centred on having the best sounding live room possible that also feels great to be in,” adds Scull. “The benefits of this are two-fold - obviously to get a great sounding recording, but even more so that the musicians will respond to being in a good acoustic space, allowing them to achieve their best possible performance.

There’s nothing less inspiring than recording in a completely dead booth.

"The whole team were an absolute pleasure to work with. Nothing was too much trouble and I was never told that an idea was impossible. Instead I was given options. They could literally install fish tanks in the floor if I wanted it although I am not too sure about the acoustic properties of goldfish!"

The studio spec included creating a great acoustic space enhanced by high ceilings. “I wanted the vibe to be right” explains Scull. “The interior had to create an ambience that supports creativity.”

The aesthetics create a timeless feel using reds and greys and natural slate; certainly no white walls here.

The grey slate compliments the dark wooden floor and the Edison bulb vintage film set lamps against the colour scheme bring an old and comfortable feel balanced with futuristic elements. Due to space restrictions the studios’ modern break out area is reached using a spiral metal staircase. The stairwell was initially just a means to get upstairs, however noticing its reverb properties it has accidentally found itself with added tie lines and has been rigged for almost every session: “It has become a favourite feature of mine,” says Scull, “however I think we’re November 2018

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STUDIO PROFILE

going to have to build another staircase because the stairwell is always being used on recordings!”

For the technical specification, the studio is centred around an Audient ASP8024 HE console which is supplemented by a full rack of top end mic preamps, as well as an indulgent selection of outboard gear from the likes of Neve, Manley, Chandler, API, Thermionic Culture and Prism Sound to name but a few. Scull also has a desirable mic cupboard with over 10 Neumann microphones, Coles and Samar ribbons and all the usual dynamic mics that you’d expect for a professional grade tracking studio. Main monitoring comes by virtue of ATC SCM100ASL, Neumann KH310A, and Avantone Mixcubes and there’s a Livemix AD24 system for foldback. It has the latest Pro Tools HD with 32 channels of AVID HD I/O and the Audient has a DLC section for DAW control.

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Scull, who makes up one half of the Rosewood team, has a background in classical music and is a classically trained percussionist, a Foundation Scholar of the Royal College of Music and a winner of the Royal College of Music Concerto Competition. He performs extensively in all the major London Concert Halls and several times a year with Rick Wakeman, while he also recorded the symphonic version of Pink Floyd’s ‘Wish you were Here’ album at Abbey Road Studios.

Also known for his work with Sue Perkins, Children In Need Rocks, BBC’s Pitch Battle and Seal, Scull says: "The studio can accommodate all genres, other than perhaps large scale orchestral music. But even then we've had some decent results tracking up parts of the orchestra separately. It does seem to have a rock’n’roll feel to it though and is a very comfortable size and setup for a band".

The other half of the Rosewood team is Sebastian Truman, who studied on the Tonmeister course at the University of Surrey and has worked at the likes of Abbey Road, Tileyard Studios, Spitfire Audio and as engineer/assistant to film/TV composer Christian Henson. He has worked with the likes of Sir Paul McCartney, The Military Wives Choirs, Ella Eyre and The Cribs and has worked on TV shows including Poirot, Inside Number 9, and soundtracks for film including Prometheus, The Avengers, Paranorman and Skyfall. “During my career I have been fortunate to work alongside some of the greatest engineers and producers in the world who taught me a lot about recording but even more so about efficient workflow and proper studio etiquette,” says Truman. “I met Ed who’s exciting plans to build a world class studio were too much to resist. Here at Rosewood the minute you

STUDIO PROFILE

walk through the door we make you feel important and excited to create your vision. Productivity is effortless and technicalities are kept well out the way of the workflow, while the atmosphere is positive and relaxed. It has been my great pleasure to oversee the development of the studio and set the foundations of a long term musical partnership."

close friend of mine. We run it as an in-house service and as we work very closely on projects, we fully understand each others workflow and needs when it comes to track preparation.”

The studio itself is housed alongside Scull's percussion hire company, offering over 20 top of the range drum kits, over 50 snares, a wealth of percussion

“Productivity is effortless and technicalities are kept well out the way of the workflow” Rosewood also offers a mastering service, as Scull explains: “We have a fantastic mastering guy local to us, Maxi Curnow at Horizon Mastering, who is a very

instruments including multiple sets of timps and orchestral bass drums, five octave marimbas, all tuned percussion, full latin and ethnic percussion and

an array of weird and wonderful sound FX including four and a half octaves of nipple gongs. Arguably an incredible resource to have alongside a studio.

Between the studio and the addition of the percussion hire company, Rosewood clearly offers a wide range of services that can accommodate needs above and beyond a basic studio hire. It is also able to offer remote services including overdub sessions through to writing/arranging/recording without clients actually needing to attend the studio if necessary.

From aesthetics to storage solutions to wall artwork, both Scull and Truman have spent a lot of time making the studio feel right, and are now looking forward to welcoming clients both old and new.

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INTERVIEW

SMALL BUT

MIGHTY

Jenny Priestley talks to DPA Microphones about their new Subminiature mics

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t IBC last month DPA Microphones announced the launch of its smallest ever high end pro audio microphone capsule.

The d:screet CORE 6060 and 6061 Subminiature Microphones and the d:fine CORE 6066 Subminiature Headset Microphone are just three millimetres in diameter – two millimetres smaller than DPA’s existing 4000 series of miniature microphone products. All three incorporate the company’s recently launched CORE by DPA microphone technology that reduces distortion and increases dynamic range.

DPA works across multiple genres including music, theatre and events - but it’s arguably broadcast where the new Subminiatures and headset are really going to shine. Several years of research have gone into the development of these new capsules and during that time DPA R&D staff have visited theatres, film sets and television studios to learn first-hand exactly what their customers need from a miniature microphone.

DPA’s head of research and development Ole Moesmann, who has been involved in the development and production of the subminiature, says there was a definite need for a smaller lavalier microphone: “If you’re in the TV or film business you want to be able to hide the microphone on the actor’s clothes. So obviously a smaller microphone will make that much easier. That was why we wanted to make a smaller one.”

CUSTOMERS ARE THE KEY The key part of development for Moesmann has been the initial discussions the DPA team had with users of their products - the new headset in particular has been a customer-driven design. “The process started

out with us interviewing a lot of people working in different areas and we didn’t tell them anything of what we were doing, it was just an open interview,” he explains. “We travelled around the world, visiting TV sets just to see how the headset was working - what were they struggling with? What were their pain points? There are seven new key developments on the headset, and many of them are not requests from the market, we just saw there could be a better workflow for the user by going out and seeing their needs.”

According to DPA’s product manager Rene Moerch, the company thinks the new design for the headset will go down really well with broadcasters because “the smaller you can make it the better.

“Producers hate it when a headset looks really intrusive, so our thinking is that they’re going to be particularly excited about it,” he says. “Some of the broadcasters we work with use two microphones on the anchors in case of emergency, so we think they will really be enthusiastic about how small the Subminiature is as well.”

Why the decision to reduce the microphone’s diameter to just three millimetres? “If you look at our d:screet 4060 microphone, it has a noise floor of 23dB(A),” he says. “I wanted the new microphone to still have the lowest noise floor: the d:screet 6060 lavalier has a noise floor of only 24 dB(A), and the d:screet 6061 lavalier and d:fine 6066 headset have noise floors of only 26 dB(A).

“If we had made it four millimetres, we could probably have made the noise floor even lower, but - and it’s a big but - four millimetres on the diameter is 33% bigger than the three millimetre.

So even changing it by one millimetre is a big change!

What’s important to our customers is the size of the

microphone when you are using it. So from our point of view, we view the full microphone as including the cap so that makes the size 3.4 millimetres.”

Not only are the headset and microphones likely to be popular with news and sports producers, but the 6060 and 6061 will also be a boon to drama and film production crews - particularly in helping sound recordists get the best possible sound on set. “What has happened within the last five to 10 years is that recordists really focus on getting it right the first time because you get the best delivery from the actors,” says Moerch.

Picking it up and doing it right from the start has become the mantra: “That’s where we shine, because the subminiature will reduce the need for ADR in post production,” continues Moerch. “That’s something a lot of people don’t think about, because you have a production crew on set who are delivering what they are supposed to deliver, and then someone else has to work on it in the post stage. If you reduce that circle then you save money. And if you have different crews at different sets around the world, which you typically have on big budget productions, it’s easy to blend it in because it sounds exactly the same.”

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FEATURE: HYBRID AUDIO

BEST OF BOTH Stephen Bennett explores the world of hybrid audio systems and the advantages they bring to recording, mixing and mastering workflows

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FEATURE: HYBRID AUDIO

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s the processing power of computers has increased, so too has the capabilities of the digital tools destined to be used for recording, composition, mixing and mastering. While some professional audio engineers are working completely ‘in the box’— using a computer and plug-ins only—most will use a combination of hardware and software for various processes. This workflow can mean different things to individual audio professionals and the companies that create the tools used in these ‘Hybrid Audio’ systems.

Universal Audio (UA) are a company with a long and important history in the audio industry and it’s rare to find a studio facility that does not contain any of its vintage or contemporary hardware processors.

Harris Barnard, UA’s media relations person, has a clear definition of the company’s vision of the hybrid way of working. “Some people would obviously just look at it as a combination of analogue and digital equipment, 26

November 2018

such as a bunch of outboard gear like our 1176 or LA2A hardware and so on, alongside plug-ins. But for us, a combination of UAD plug-ins and our Apollo interfaces is what hybrid is really all about.”

Barnard says that it is this combination of the analogue side of the Apollo—the onboard preamps— and the digital conversion that is crucial, giving the user access to virtual versions of UA’s world-class processors and beyond. “When I think about a hybrid system I think about integration,” he says. ”With the Apollo, a plug-in is not only processed via our DSP hardware, but it’s also effectively ‘taking over’ the preamps—it’s re-modelling and gain stage matching. So to me, that’s as true and pure a hybrid system that you can have because both analogue and digital sides are talking to each other.”

Harry Lewis, product specialist at Audient, defines a hybrid system as an audio setup that lends itself well to processing the audio in both the analogue and

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digital domains. “This means it is possible—and should be easy—to insert a hardware or plug-in compressor into your signal chain, for example,“ he says. “If you want the characteristics of analogue gear, but don’t have the time to be fiddling with tape machines, then a hybrid system is going to be for you!” Lewis adds that Audient’s iD22 and iD44 interfaces, along with their ASP880 preamp, offer fully balanced inserts and are “arguably the most cost-effective way of working in a hybrid environment if a console is a bit of a stretch on your budget.”

Scott Jarrett’s journey in audio started at age 14 and his career has encompassed life on the road to music director for the final years of the Broadway production of Best Little Whorehouse in Texas. He’s currently exploring the hybrid way of working using Daking consoles. “When we incorporate the best of both hardware and software modalities and equipment, we generate more opportunities to act intuitively in a space

FEATURE: HYBRID AUDIO

while preserving the benefits of the digital world,” he says. “The Daking console lends itself extremely well to this hybridisation in that we can monitor inputs during tracking through the hardware channels on the console.

No mouse-ing around is required or straining of my eyes to find where to click.”

is a UK-based mixer, producer and engineer working out of his Cambridgeshire facility, Studio27A. His broad interpretation of the concept of hybrid audio is a balance of working ‘in the box’ and ‘out of the box’, with hardware. “Even in what I’d call an analogue workflow, Pro Tools could still likely be involved—but I’d imagine

“Improvements in plug-in design has brought the sonic gap between software and hardware closer than ever” Solid State Logic (SSL) has long realised that contemporary customers require more from a console than just a high-quality signal path. “Most of our studio products you could call ‘hybrid’ in that they’re analogue consoles with DAW layers and controls, or they have the capability of interfacing with Dante in the case of things like the Nucleus,” says Paul Mac, the company’s content creator. SSL user James Lewis (pictured above)

the software’s faders would be set to unity and bussed out into a desk,” he says. “I guess if you’re using a desk’s faders as well as the Pro Tools faders, that could be called a hybrid system.”

Daniel Mills, technical support manager at Audient, defines a hybrid audio system as a setup which allows you to process and mix within a Digital Audio Workstation (DAW) or with analogue equipment,

such as outboard gear or a console. “Whilst almost all setups will have aspects of analogue in the workflow— microphones, pre-amps, monitors and so on—a hybrid system really would be defined by giving you the option between working in the analogue or digital domain or anywhere in between. This could be using outboard effects whilst in your DAW, or by running audio out of a DAW session into a console for mixing and summing.”

James Lewis’ workflow includes sending the output from his Avid I/O to either a SSL Sigma Delta or Chandler TG Mini Mixer. These ‘summing mixers’ offer distinct analogue ‘sonic flavours’ and he often routes to both of them in parallel—but they are not the only analogue gear he uses alongside Pro Tools. “My balancing and processing is 100% achieved in the computer,” he says. “But I then buss out stems into the two summing mixers. The output of those is sent to a grey-face SSL G Compressor, the Thermionic Culture Phoenix Compressor valve compressor, GML 8200 EQ and finally November 2018

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FEATURE: HYBRID AUDIO back in to the computer via a Lavry Gold AD122 MKIII.” This setup gives Lewis the option of sending a vocal stem, for example, through a distinctly separate analogueprocessed pathway than the rest of the audio. “I can experiment with each aspect of the mix,” he adds. “That’s really relevant with vocals as I tend to find that you get a sort of sonic ‘free gift’ into the TG, making the vocal sit in a different place to the music—which is sometimes desirable.”

Josh Thomas, general manager and co-founder of Rupert Neve Designs, says that the definition of what constitutes ‘hybrid audio’ is tricky, as any recording usually starts off as analogue with the signal picked up by the transducer in the microphone. “In almost all instances, the audio is, at some point, converted to digital,” he says.

“Then there must then be another conversion back to analogue before it hits the speakers or headphones and we can enjoy the material. I’ve noticed—in both live and studio recording—people using more analogue at various stages to enhance the sound. This includes analogue processing during tracking or capture, as well as using full analogue mixing consoles, such as our 5088, or summing mixers like our 5099/5060.”

For Jarrett, the advantage of a hybrid system is all about the workflow. “The Daking allows me to use EQ and dynamics processing at the front end or during the mix, but all controls during tracking are localised and I can set it up quickly and intuitively,” he says. “My setup is to first ensure that I have my mix output from the DAW set-up, so I can independently control levels in the control room and in the cues.” Jarrett uses UA interfaces to assign these outputs to virtual faders.

“I patch this stereo mix of already recorded tracks to a pair of channels in the console—I use the ones all the way to the right to keep them out of my way. I use a slight variation of the Master Section global switch on the Daking. This was designed to put the console in a ‘tracking’ mode, which sends every channel directly to the software input of the same number—and the console faders get their signal from the monitor inputs, which are the returns from the DAW.” Harry Lewis believes that both analogue and digital have their advantages and disadvantages, and that

having a hybrid system allows you to get the best of both worlds while negating some of the issues you can find with each of them. “Personally, I love how quick and convenient a purely ‘in the box’ workflow can be,” he says. “However, I find when trying to get creative with music making or mixing, being able to come away from a computer screen and get hands on with some gear can allow the creative juices to flow much easier.”

“If you want another representation of the hybrid audio concept, you could look at UA’s OX guitar amptop box,” adds Barnard. This system is specifically designed for players comfortable with traditional guitar amplifiers but allows them to reap the benefits of digital emulation and processing. “It’s a premium reactive-load preamplifier,” he says. “But if you look inside it’s a hybrid audio guitar system—you can turn your rig into whatever you want it to be.”

Mills feels that hardware always allows for a much more organic, natural workflow: “You can look at a

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physical piece of gear, make changes and keep on working with no menu diving,” he says. “Furthermore, the limitations of hardware are often great catalysts for creativity. For example, rather than scrolling through lists of compressor plug-ins, you make do with a handful of outboard gear and learn how to get them to sing the way you want.” Audient’s ASP8024-HE console has an optional Dual Layer Control module for HUI DAW control, but it can also give the user eight channels of fully analogue VCA automation which can be controlled from the DAW using the Audient Faderlink plug-in.

“You can mix in the analogue domain but use your DAW to store volume automation, so you get all the benefits of analogue summing and workflow but the ease of use of running through a DAW,” adds Mills. Meanwhile, Thomas says that Rupert Neve’s new RMP-D8 8-channel class-A mic preamp with custom Rupert Neve Designs audio transformers and Dante connectivity (pictured below, left) is an excellent example of equipment designed for a hybrid workflow. “It’s got all the elements that make the classic analogue gear sound the way it does, married to what we believe to be the most stable, solid, and futureproof networking format available. Our Silk circuitry— essentially, adjustable transformer saturation—and 542 Tape Emulator modules are great for adding vibe back into the more sterile of digital tracks that need a little ‘warming up’, while the Portico II Master Buss Processor is very often the only piece of analogue gear in an entirely digital setup.”

Improvements in plug-in design has brought the sonic-gap between software and hardware closer than ever, but James Lewis believes that there will always be a place for outboard processors. “I’m quite keen to get a vintage compressor and vocal EQ,” he says. “I can imagine having an additional interface and hard-wiring this combination to it as a sort of hardware plug-in!”

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PRODUCT FOCUS CONSOLES

COMPLETE CONTROL Whether it’s for a live, broadcast, or studio setting, choosing the right console for the job can sometimes prove to be a challenge in itself. Here we break down a selection of some of the most feature-packed models available on the market

Allen & Heath SQ-7 SQ-7 is the 33-fader flagship console in the SQ series, powered by Allen & Heath’s 96kHz XCVI FPGA engine. Created to excel in demanding scenarios such as AV, corporate events, live productions and houses of worship, SQ-7 offers high-resolution audio quality and an ultra-low latency of <0.7ms.

The console features 32 onboard mic preamps, plus eight stereo FX engines with dedicated stereo return channels and access to the RackExtra FX library. SQ is a natural choice for in-ear monitor setups, providing 12 stereo mixes (configurable as groups or auxes), whilst Automatic Mic Mixing makes it well-suited for conferences, panel talks and more.

SQ’s DEEP processing architecture lets users hand-pick boutique compressor and preamp emulations to suit their style and needs. DEEP plugins can be embedded directly within the mixer’s inputs and mix channels, all without adding system latency or setup hassles.

With 12 stereo mixes, super-low latency, and both parametric and graphic EQ on every mix, SQ is also well suited for in-ear monitoring setups. With its SLink intelligent port, SQ can also be expanded up to a total of 48 mic inputs via a family of 96kHz and 48kHz rack and stage box expanders (e.g. AB168, AR2412, AR84 and DX168).

Also provided is a built-in 32×32 96kHz audio interface for

Key Features multitrack recording, backing tracks or virtual soundcheck applications.

The interface is Core Audio and ASIOTM compliant and comes complete with MIDI and DAW control capabilities.

n 96kHz FPGA processing n 48 Input Channels n DEEP Processing ready n 33 Faders / 6 Layers n 12 Stereo mixes + LR

SSL System T

Key Features n Fully networked broadcast production environment n SuperAnalogue foundations ensure unlimited headroom n Multi-gesture touch screen technology n Dante AoIP-based Routing & I/O

The first of a new generation of dedicated broadcast audio production systems from Solid State Logic, System T establishes a fully networked production environment that offers new ways to combine multiple control interfaces, Processor Cores and I/O devices, creating custom system configurations.

SSL’s SuperAnalogue foundations combine with 64-bit floating

point processing and mixing to ensure unlimited audio headroom with the power to execute algorithms within a single sample.

Broadcast specific path processing is augmented by an inbuilt comprehensive FX Rack.

The Dante AoIP network integrates the AES67 transport standard, while System T is also SMPTE 2110-30 ready. The system

offers internal routing control of the Dante network from within its range of fixed format and modular control surfaces, which are highly configurable to suit individual preferences. Architectural flexibility enables channel signal flow suited to more sophisticated users that can also be presented straightforwardly to match the skill and workflow of a full range of users.

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PRODUCT FOCUS

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CONSOLES

Yamaha RIVAGE PM10 The RIVAGE PM10 system consists of a control surface, one or two DSP engines, up to eight I/O racks, and RY/HY cards.

The foundation is a newly developed Hybrid Microphone Preamplifier design, while the channel EQ and dynamics have been significantly upgraded, offering expanded capability for expressive sonic control.

In addition to new VCM models of acclaimed EQ and compressor units from the 70’s and 80’s that have been jointly developed with Rupert Neve Designs, Yamaha’s first collaboration with TC Electronic has resulted in the inclusion of two reverb processors, and an Eventide Harmoniser is currently under development. Through collaboration with Dan Dugan Sound Design, renowned Dan Dugan automatic microphone mixing with its advanced algorithm is built into the RIVAGE PM10 system (V1.5 or later).

On the right side of the prominently raised control surface top panel is a Selected Channel interface, allowing all parameters of the channel selected to be directly controlled, while the left side of the panel features two large LCD touch screens that provide logical continuity with the faders below, offering Centralogic style control of a large number of simultaneous channels. In addition to 2-track recording

to a USB flash drive, the RIVAGE PM10 system also supports multitrack recording via an optional Dante audio network.

Key Features n Hybrid Microphone Preamplifiers n VCM Technology Models and SILK Processing by Rupert Neve Designs n Dan Dugan Automatic Mixer Built In n Offers two separate approaches to live recording

AMS Neve Genesys Black Genesys Black combines analogue design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc.

The system offers eight channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring, hands-on DAW control for Pro Tools, Nuendo and more, eight channels of Neve digitally controlled analogue 4-band EQ, eight channels of Neve digitally controlled analogue VCA dynamics and channel A/D/D/A conversion via MADI, AES and FireWire formats.

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Genesys Black is made up of a central touch screen, six auxiliary buses, eight group buses, two main outputs, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback services and an integrated footprint with internal power supply.

Being a modular system means that in its basic 8-channel configuration users get eight channels of mic/line preamps plus 16 channels of DAW control and 16-channel analogue summing at mixdown, along with eight auxiliary buses, eight group buses, and 5.1 monitoring.

Key Features n 8 channels of Neve 1073 mic pre/line amplifiers n 16 channel DAW monitoring n Dedicated DAW control section w/ touch display n 8 channels of Neve 88R-style, 4-band EQ

PRODUCT FOCUS CONSOLES

Audient ASP8024 Heritage Edition To commemorate the achievements of renowned designer David Dearden, Audient has reimagined the classic design of the ASP8024, with all new enhancements and features.

The Heritage Edition utilises Retro Iron, a variable output mix bus with Low Bump and High Lift EQ, adding punch and ‘vibe’ to the consoles mix output.

The Dearden designed EQ offers two fully parametric bands that span from 40Hz to 20kHz, for a powerful and punchy sound. These are flanked by low and high shelving EQ bands (with a minimal signal path) that are ideal for adding weight and air to a source and when combined with the parametric EQ, make for an effective sculpting tool. The EQ can also be split across both the short and long faders.

Bass Expand, a brand new high pass filter in the compressors side chain, tightens up mixes and adds punch without destroying the low end, making it an ideal tool for bass heavy productions.

Key Features n 56 - 152 Inputs n Variable Mix Bus n 4 Band Splittable EQ n Mix Bus Compressor

DiGiCo SD7 Quantum

Key Features n 256 Input Channels n 128 Aux / Sub-Group Busses n LR/LCR/5.1 Master Buss Master Bus n 48 x 48 Full Processing Matrix

The recently released SD7 Quantum boasts a massive 688 processing paths at 96kHz. Standard channel processing, whether inputs or outputs, includes Channel Delay, DiGiTuBe, Single and Multi Channel Presets, Dual insert points, Hi- and Lo-pass filters @ 24dB/octave, four-band parametric EQ (eight on outputs) with band curve selection and Dynamic EQ on each band, DiGiCo’s DYN 1 (Compressor, De-esser or Multi Channel Compressor) and DYN 2 (Gate, Compressor or Ducker).

The master section incorporates 48 gangable 48-band graphic EQs, 48 stereo effects, and 36 control groups (VCAs); and using snapshots, it is now easier for users to switch between complete configurations in any live environment.

New Quantum features include an arm processor, which handles all the communications between the host PC and the FPGA core; it’s the translator that communicates all the work surface flow to the core processor. There are now three fourth-generation SHARCS controlling the interpolation

algorithms in the FPGA to produce a warm analogue feel.

With Nodal Processing, a full complement of processing can be allocated to the send allowing a unique mix tailored for the artist or the audience, while True Solo allows the operator’s monitoring system to replicate almost any section of the console, and how that source is being processed and heard. This saves time and speeds up the process of managing the potentially daunting number of channels and busses available to the user.

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AUDIO-TECHNICA ATH-M60X Alistair McGhee gets his hands on these on-ear monitor headphones from the Japanese manufacturer

HEADPHONES

Key Features n Low-profile closed-back, on-ear design n Proprietary 45mm large-aperture drivers n Clarity throughout an extended frequency range n Low-impedance design for high output level from any headphone output RRP: ÂŁ179 eu.audio-technica.com 32

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hat do you do with a stone cold classic product? Well how about finding a different application for the same technology? Which is what Audio-Technica have done to produce their ATH-M60x headphones.

The M60x builds on the massive success of the M50x monitor headphones, using the same drive units, but packages it in an on-ear rather than an over-ear design, which is a bold move but in some ways very obvious and completely logical. To date, the AudioTechnica ATH-M50x (and the M50 before it) have owned a huge chunk of the ‘monitor’ quality market at an incredibly affordable price and A-T have also successfully landed the higher end M70x which have made a big splash further up the price spectrum. But both the 50 and the 70 are over-ear headphones, so what about an on-ear product using the drivers out of the M50x? Est voila the M60x.

But there is a risk; on-ear is actually quite a difficult trick to pull off in terms of comfort, especially long term comfort. As has been famously said, ‘I’ve never been able to stand wearing on-ears long enough to decide whether I like them or not!’ That’s an exaggeration of course but for on-ears comfort is an issue. However, for location work and other situations where spill is a significant problem, the on-ear approach is long established. The M60x is a well finished product with a single headband (as opposed to long time location favourite the Sennheiser HD25 which features a split headband which adds a bit of security), adjustable metal yokes which give the headphones a very sturdy feel, and some very comfortable memory foam ear pads that are a joy to wear. Both the headband and the ear pads are detachable and designed to be replaceable.

And comfort is a big deal. Location sound work means wearing cans all day long, in all kinds of weather, so comfort allied to durability is paramount. Another key feature is interchangeable cables; when your headphones are an essential part of your daily working kit then being able to easily replace the cable is a big plus. However the connection of cable to headphone is then a potential weakness and in some cases (no names no pack drill) a pain to the point of frustration.

The last thing you need on a shoot is to turn your head and have a dodgy connection ‘unplug’ your cans. Was it the cans, or maybe it was one of your radios dropping out? Arggh! Here A-T look to have done a good job with the same 2.5mm bayonet connector (at the earpiece end) as fitted to the M70x. I haven’t thrashed them in the field yet but the connection feels very solid, inspiring confidence. Audio-Technica supply the M60x with three cable options - 1.2 m - 3.0m coiled, 3.0m straight, and 1.2m straight - which seems very generous really. And now there is even after market ‘upgrade’ cables available if that is your thing.

In terms of sound, the M60x delivers a convincing performance, which is what we would expect given the fact it shares the same drivers as the M50x. Bass in

headphones is a little tricky, not least because there is a mechanical factor and therefore dependent to some degree on your head! As far as the M60x goes the low end has weight and authority, gives away a little in extension but eschews bloom or boom. Probably the greatest strengths are in the mid band where there is a detailed lucidity delivered without forwardness or strain. Dynamics have punch to spare and the top end is smooth enough to listen to all day. With the M60x and the M70x both driven by the excellent Audient iD44, I think the 70 has more top end sparkle but probably the biggest difference is in soundstage. Stereo is always a bit tricky when the drive units are an inch from your ear and I suppose on-ear is going to be that little bit trickier again, in the world of on-ears the M60x is a top performer but the over ear M70x does a better job of getting the soundstage out of your head.

In terms of packing your bags the smaller profile of on-ears like the M60x is very welcome. I wish they

folded like the M70x but if push comes to squash as it often does in your sound bag I’ll take the metal yokes for long term durability. Logically enough the M60x finds a price spot between the 50 and the 70 although the on-ear design makes the purchasing decision a little more complex. If you want monitor accuracy, robust construction and on-ear isolation then you’ll find the ATH-M60x is a belter!

The Reviewer Alistair McGhee began audio life in Hi-Fi before joining the BBC as an audio engineer. After 10 years in radio and TV, he moved to production. When BBC Choice started, he pioneered personal digital production in television.

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PRODUCT REVIEW

SOFTUBE CONSOLE 1 MKII Stephen Bennett gives us a rundown of this overhauled hardware/software controller and hybrid mixing platform

DAW CONTROLLER

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he brilliant thing about software plugins is that they offer a great range of functions and, usually, an awful lot of parameters to play with. For those of us who miss the tactile approach to recording and mixing, this poses somewhat of a problem. There have been many valiant attempts in the past to create physical hardware that can be easily mapped to the parameters of plugins, but they nearly always require some kind of ‘paging’ facility or require you to have to use the mouse for various functions. One of the

companies trying to tackle this conundrum is Softube with their Console 1 hardware controller. Now at the MKII version, it’s a smallish device that’s slightly bigger than a computer keyboard, with a plethora of knobs and switches covering its nice clear front panel.

It appears to be well made and feels weighty, so it won’t get pulled off your desk if you happen to catch the supplied USB cable, which also powers the unit.

Installation is easy—just plug in the hardware, install the software and off you go. The Console 1 surface itself is divided into sections, featuring controls for input gain with LED level meters, track selection, phase, preset/plug-in loading and other housekeeping duties, alongside a metered output section with Solo and Mute buttons that double as OK and Cancel for the selection of plugins and presets. At either end of Console 1 lie the high and low cut filter and drive

Key Features n Compatibility with UAD Powered Plugins n Emulation of SSL’s SL 4000 E console n Quickly switch between tracks and control EQ, compressor, gate and more RRP: $499 www.softube.com and ‘character’ rotaries, while the centre of the panel features the physical controls for adjusting plugins themselves—called Shape (a gate/transient shaper), Equalizer (EQ) and Compressor. These can be placed in any order in the signal chain and all knobs and buttons November 2018

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PRODUCT REVIEW

“I think Softube have got the tactile nature of the system just right ” are mapped to parameters on Softube’s own plugins.

The Compressor section also features a sidechain.

An emulation of the Solid State Logic SL 4000 E channel strip, consisting of the E242 equalizer, the SSL channel compressor, a gate/expander and high and low cut filters, is supplied with the Console 1.

Softube offers further channel strips at extra cost, namely, the American Class A , British Class A, SSL’s XL 9000 K-Series and the Summit Audio Grand Channel.

The included Apollo central feature can be used to control Universal Audio’s range of Apollo interfaces and several of that company’s UAD plugins can also be instanced and controlled by the Console 1, but you need to own a UAD DSP system to use these.

After installation, the onscreen display page appears on the computer, toggled on and off by pressing the Display button on the Console 1. Here you can load your channel strips or the Shape, Equalizer and Compressor plugins separately—it’s easy to produce bespoke processing paths and save these as presets and you can copy parameters between instances of the plugin between tracks.

To use the plugins in your DAW, a Console plugin is instanced on the tracks as required and acts as a kind of conduit to the Console 1 itself. The DAW plugin can be used without the hardware, as all processing is done on the computer—the Console 1 does not contain any DSP itself. The onscreen display shows the parameters for your tracks selected in the DAW or from buttons on the Console 1 and the name of the track will appear on the onscreen display. Not all DAWS support these features, so it’s worth checking on Softube’s website for compatibility. Turning a knob, or pressing a button on the Console 1 itself is reflected in the onscreen display, as are the meters for DAW tracks and input and output levels. The display is clear and crisp even on my ancient Mac Pro and the visual

representations of the compressor, shape and a waveform meter in the EQ section make it, and the hardware, a very nice combination. Because the plugins are developed by Softube, the knobs and buttons match up with their software counterparts.

There’s no paging for parameters or shift-pressing to access hidden features—it’s pretty much a ‘what you see is what you get’ paradigm. What this means in practice is that using the Console 1 feels very much like using hardware-based processors—as long as you’re using the Softube plugins. Loading in some of the compatible UAD ones wasn’t quite as seamless in operation, as not all parameters map onto the controls and the frequency meter you get when using Softube’s plugins is not reproduced— but the ability to create hybrid channel strips that combine Softube and UAD plugins is very useful.

The DAW Console plugin itself also features a visual representation of the Console 1, but its graphical interface isn’t as useful as that on the onscreen display and you also lose the visual representation of EQ curves and compressor/gate thresholds. I found that pressing the Console 1’s display button to bring the onscreen display into the focus was a better way of working, until I realised after a long session I wasn’t using any display at all.

Muscle memory had kicked in and I was adjusting EQ and compressor settings by ear. It felt a very comfortable way to work and I think Softube have got the tactile nature of the system just right. To make the Console 1 part of your regular workflow however, you are really going to have to like Softube’s own emulations. I compared the supplied SSL 4000 channel strip to the UAD and Waves versions and all three were slightly different, albeit with the same sonic ‘flavour’. If I wanted to emulate the sound of SSL’s classic console on a mix, I’d be quite happy using Softube’s plugin. The company kindly supplied their other channel strips for evaluation and I can report that these are of the same quality as the included channel strip and provide

a range of different tonal colours that can be mixed and matched. Sadly, I didn’t have a SSL 4000 series console in the studio, but I did do some mixes using SSL’s X-rack hardware channel EQ and dynamics modules. Predictably perhaps, the hardware still has the sonic edge over the software for me—but of course you only get one of each to use per mix, unless you are very lucky!

The Console 1 MK II reminds me very much of my much-missed Focusrite Liquid mix systems, which also offered a limited series of software emulations alongside dedicated knobbage. Softube’s offering takes this idea and expands upon it, making a decent stab at creating a workable, tactile control surface. I hope the company pursue further DAW integration and partnerships with other plugin developers as well as releasing more of their own channel strip emulations.

The Reviewer Stephen Bennett has been involved in music production for over 30 years. Based in Norwich, he splits his time between writing books and articles on music technology, recording and touring, and lecturing at the UEA. November 2018

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WAVES EMOTION LV1 Simon Allen gets to grips with Waves’ digital mixing software solution

W

hen the LV1 software mixing console was announced from such a well-known and recognised brand, it certainly caught the attention of many professionals. Having been on the market for over a year now, perhaps to some, details still aren’t clear about this new framework, how well it works, and how it compares to other solutions.

Therefore, I jumped at the opportunity to spend some time with Andy Robinson (aka “Baggy”) of Nifty Audio Ltd.; a UK authorised Waves dealer, allowing me to investigate the LV1 more deeply. There still isn’t another solution quite like this on the market yet, but it didn’t take me long to realise the opportunities LV1 presents. Could this be the beginning of the next chapter in digital mixing?

THE DECONSTRUCTED MIXER I find marketing teams can often be quick to use the term ‘revolutionary’, especially when it comes to digital pro-audio products. It’s too early to say whether the 38

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LV1 will prove revolutionary, but this solution for live sound mixing does offer a unique framework upon which you can specify it’s build. Essentially eMotion LV1 is a licensed piece of software that is controlled via a host computer, with all the processing being carried out on a SoundGrid DSP server.

While an LV1 system components may reflect other live sound mixing systems, the secret here is that the purchaser can specify each component independently. For example, the host computer can either be a Windows PC or a Macintosh running bootcamp. While the software can be operated with a keyboard and mouse, it’s been designed around Windows 10 multi-touch touchscreen technology. The software can support up to four touch screens, but it will work just as well with only one. Andy Robinson had two set up for me and I could quickly see how two screens sped up usability whilst also being practical and sufficient. A variety of hardware controllers are also supported, but the touchscreen interface is certainly one of LV1’s party tricks.

MIXER/SOFTWARE

Key Features n 64 stereo/mono input, 36 buss/return channels n Run 8 SoundGrid plug-ins directly on each channel n Channel strip processing with Waves eMo plug-ins RRP: $1699 www.waves.com

There are three tiers of license for LV1, depending on the number of channels you need to process; 16, 32 or 64. There are also three tiers of SoundGrid DSP server available; Impact, Server One and Extreme. Obviously as the size of the server increases, so does the total number of plug-ins you are able to run. While the Impact server could support a compact 16 channel variant of LV1, it is recommended that the Server One or Extreme should be used with the 32 or 64 channel variants.

PRODUCT REVIEW The only other aspects to building an LV1 system that you need are at least one SoundGrid I/O hardware acting as your clock master and a network switch.

When it comes to SoundGrid I/O hardware there is of course a large number of options available, with new options appearing all the time. There are bridges to other AoIP protocols, MADI interfaces as well as dedicated analogue stage boxes. With Andy, we simply used a DiGiGrid headphone amp for monitoring, which in turn demonstrates possibilities whilst on the road.

With this scalable wide selection of hardware that can be used to form an LV1 system, it’s easy to see how compact you could make a system. A very capable system could even be built to go with an engineer on a plane. Not only is that beyond what most 64-channel digital mixers can offer, but whilst the engineer is on the flight or in his hotel room, he or she could even work on the actual mixer ahead of the show.

AT YOUR FINGER TIPS Touch-screen technology has been around a while now and many consoles offer this type of interactivity.

We’ve all become used to working with touch-screens, but many engineers have been keen to have “actual” knobs and faders. A lot of effort has been made by console manufacturers to build surfaces with ergonomic controls, but here we have a console based

appreciate the separate high and low-pass filters from the parametric EQ insert, enabling different signal chains. Obviously this is where Andy Robinson’s experience comes in, and he is clearly a fan of the sonics produced by LV1. He has been particularly impressed with the summing of audio Waves has achieved with LV1, describing it as some of the best digital summing he’s heard.

“It almost feels as though a little part of the analogue era, where engineers created their own magic gear-combs, has returned” almost entirely around touch-screen tech. While mouse & keyboard and hardware controllers can be used in conjunction, it’s apparent how much effort Waves placed upon the user interface to make the most of multi-touch gestures.

The good news is… it works well, really well. Once you get in the habit of touching a channel or a parameter to select it, adjustments are very easy. There’s a school of thought that suggests it’s hard to make fine adjustments on touch screens. Waves have solved this problem by adding a large slider at the bottom of the window that snaps to each control you select. It can’t quite be described as virtual reality of a regular console, but they’re certainly closer than anyone else so far.

The console offers the ability to run up to 8 plug-in inserts per channel, leaving the DSP power from your server as the only limit to processing wishes. While all manner of plug-ins can be run in any order you wish, Waves developed their eMo plug-ins in parallel with LV1. These offer some standard channel strip style processing as default, with minimal draw on DSP power, and therefore latency. I experimented with these plug-ins and was really impressed with their performance and sonic characteristics. I particularly

External I/O is obviously required, but there are a number of interesting options already available.

Third party companies such as Crest Audio and JoeCo are even beginning to join the party, while SoundStudio, DiGiGrid, and DSPro also offer SoundGrid compatible interfaces with preamps, to name a few. Any future success of LV1 will be partly related to the growing ability to hook into local SoundGrid I/O solutions. At the same time, it might be tempting to consider the LV1 software with set hardware packages, but this immediately detracts from the flexibility it offers. It’s not until you start considering the options available for your individual scenario, that will you fully appreciate this offering by Waves.

PIECE BY PIECE

CONCLUSION

I am left with a mild awareness that the attraction of the LV1 could also be it’s own worst enemy. In order to harness the flexibility of a software mixer, you must first understand it, all of its components and how they come together. The LV1 could be an exciting new addition for engineers, production companies or even acts themselves, as well as rental companies.

Once those that are working on the creative aspect of productions realise the extent of the Waves and SoundGrid platform, then the LV1 could prove to be a very powerful tool.

The LV1 isn’t just a live mixing solution, it’s part of an ecosystem which could complete the story for an individual or a group. For example, the use of Waves plug-ins are now established on the stage as well as their original territory in the studio. After all, who doesn’t own a few Waves plug-ins these days? If you haven’t already, add some real-time processing power with a SoundGrid DSP Server to boost your workflow in the studio and on the stage. This then leaves LV1 as the missing piece to the puzzle, enabling your existing investments and hardware to provide you with a mixing console too.

I believe the LV1 is still yet to be proved as ‘revolutionary’, but I certainly buy into the flexibility and customisation on offer here. It almost feels as though a little part of the analogue era, where engineers created their own magic gear-combs, has returned. There isn’t a set way to build an LV1 console and that’s the secret here. Incorporate endless possibilities via the vast array of plug-ins available with all the modern benefits of digital, and the LV1 opens up creative engineering again. I don’t think it’s been fully appreciated or understood by the majority yet, but it might be paving the way for the next era of digital mixing.

The Reviewer Simon Allen is a freelance internationally recognised engineer/ producer and pro audio professional with nearly two decades of experience. Working mostly in music, his reputation as a mix engineer continues to reach new heights.

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DPA 6066 Stephen Bennett puts the Danish microphone manufacturer’s subminiature d:fine headset to the test

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he word on the street has often been that ‘bigger is better’ as far as microphones destined to capture the dulcet tones of the human voice is concerned. For many years, DPA’s mission, duly accepted, has been to break down this paradigm. In certain applications, the requirement to be smaller, lighter and unobtrusive are as essential as audio quality—you can’t strap a U47 to a singer’s head during a performance of Cats, after all. Producing high-quality results from small capsules presents many technical and ergonomic challenges–not least when the system is as compact as the new DPA 6000 series headset system under review.

Based on the company’s CORE by DPA preamp technology and falling under the d:fine range, the DPA 6066 headset breaks new grounds with its 3mm capsule. This is not only the smallest transducer that DPA have designed, but they also believe it is the best miniature microphone they have ever made. The capsule is designed to reduce distortion and expand dynamic range and the company’s enviable reputation in this field should be some indication of how well they have achieved these goals—we are talking about an increase of 14dB in dynamic range here on some variants, but 5dB increase on the 6066 specifically compared to the 4066 Legacy, which should be enough for the loudest singers. The capsules are round and thus appear to be, according to DPA, 60% smaller than the more traditional 5mm design.

This really makes a difference to its visual appearance and should be almost invisible in the kinds of applications it’s going to be used in. The system is beautifully built from stainless steel and I would imagine that it could easily cope with the typical trials and tribulations that headset systems are often subject to. DPA say the cable

MICS

included is extremely durable and features a wire run that keeps it out of the way during use. The microphone’s covering cap can be removed for cleaning—very important when in such close proximity to the mouth— and is coated with a matte finish that should increase durability and reduce visibility. The microphone is available in black and beige so far.

DPA has sensibly concentrated on the security of mounting of the microphone and headset, with a threepoint fixing system that grips the performer’s ear at the top and bottom, but also behind, pushing it into the head.

It’s easy to fit, comfortable in use and should survive even the most athletic of performances. The microphone boom can be adjusted in two directions—length and pivot–from below the ear and I had no problems quickly getting a comfortable and sonically useful position, which can be then locked in place. The headset frame itself is adjusted using a sliding mechanism and is intuitive in use and works well. The system is IP58 rated, meaning that it achieves high levels of waterproofing and dust ingress prevention that should reduce the amount of maintenance required. These systems are used in applications where there can be a lot of airborne particulates and, let’s face it, bodily fluids flying around, so it’s good to see that DPA has taken this aspect of the design seriously. The boom itself can be used on either the left or right of the face which is a welcome addition—I have found that the shape of the head and the way the performer’s mouth works can significantly affect the sound. In all, the system was easy to mount, adjust and stayed in place whatever mechanical shocks I subjected it to—which is precisely what you need in the febrile atmosphere that exists during the type of environments where it is likely to be used.

I put the system to a real-world test with a male dancer and singer as part of a sonic art installation. It was a pretty exhausting physical performance, with a lot of head movement and vocalising and I was keen to see how the system coped. I’ve used DPA systems before, and the 6066 series did not disappoint,

Key Features n 3 mm CORE by DPA capsules technology n 2-way adjustable, non-reflective boom with locking system n 3-point gripping system above, below and behind the ear RRP: £518 ($675) www.dpamicrophones.com

maintaining the quality and sonic isolation I’ve come to expect from the company’s headset microphones.

The capsule is pretty invisible from a distance and we did get a few comments on how good the audio quality was, which is always a good sign. I also used the system to record a female singer/songwriter who likes to move her head (and guitar!) around in the studio to try and capture some of the ‘vibe’ of a live concert.

Again, sound quality was impressive, as was isolation from the acoustic guitar. Both artists felt comfortable wearing the headset and felt it never hindered their performance at all.

DPA has taken their compact capsule design and made it even smaller! I wonder what the ultimate lower size limits for the company’s capsules will be? But for now if you need a durable, unobtrusive headset with extremely high-quality audio, the latest DPA system should be at the top of your list to audition.

The Reviewer Stephen Bennett has been involved in music production for over 30 years. Based in Norwich, he splits his time between writing books and articles on music technology, recording and touring, and lecturing at the UEA. November 2018

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JEREMY MURPHY

PRO SPOTLIGHT In each issue of AMI we feature an audio professional from a range of disciplines to find out how they got started in the industry and what they’ve worked on. This month we speak to Angel Studios’ Jeremy Murphy What do you do?

I’m a recording engineer at Angel Studios, London. I work on large scale projects ranging from TV/film scores, jazz and big band recordings to commercial artists and bands.

How did you get into the industry?

I started with a National Diploma in Music and Music Technology which gave me the base knowledge to expand upon but the real learning happened when I got the position as a runner at CTS/Lansdowne Studios. I was the least experienced candidate at the interview but the chief engineer Chris Dibble wanted someone who he could train from the ground up, like he did himself. I was very keen to learn and hugely enthusiastic and with that was almost immediately offered the position. I was lucky in that both assistants went on quite quickly to other positions in the industry so I was swiftly promoted.

What are some of your credits?

Emeli Sande (album), Sam Smith (album), Mission Impossible Fallout (film), Snow Bears (TV) What is your favourite item of audio gear and why?

There are so many lovely pieces of outboard equipment and microphone options that it would be impossible to choose just one so I think I’ll have to go with Pro Tools... It’s quite boring in itself but with scoring to picture, the speed that it allows us to work is just incredible. The editing and mixing possibilities make it a really powerful tool. I’m often 42

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editing between multiple takes and quite often even more! The other piece of gear I simply have to mention is the Neve 88RS console; the sound and flexibility make it indispensable for what I do daily. I feel that, if you use a great room with great musicians, use great microphones and record through the Neve console, that gives you the highest quality signal chain into the digital domain. I feel a lot more comfortable keeping things inside the box when music is recorded this way.

What are some of the challenges that you face in your job?

In the film and TV world there is usually a huge amount of material to record in very little time so preparation is key on those projects. The sessions need to be prepped ahead of time and the orchestral setup fully checked and ready to go. There simply isn’t time to make microphone changes on the day, so its finding out what the project requires and making decisions based on your experience of what will work.

We tend to work on large channel count projects so I could be using 50-60 microphones on a big project. If I’m lucky I’ll get 10-15 minutes to sound check a drum kit and then a few takes of a piece to get the rest of the rhythm section and orchestra balanced. The other challenges are keeping that many players happy on the headphones which is massively important for them to give their best. I tend to give as many different fold-back mixes as the desk will allow which I set up and alter at my end. It’s a high pressured

environment but it keeps the blood pumping!

What was your favourite project and why?

I love recording an orchestra one day to then reset the room for a full big band project the next. I love the fusion of electronic and orchestral elements in modern film scores but I really enjoy the jazz and big band stuff, the musicianship is at the highest level and I never get used to hearing that! Recently, I’ve been working on a big project with the Heritage Orchestra. The musicians were fantastic and the clients were really fun to work with so I enjoyed that one!

What industry professional inspired you the most to do what you do?

As an assistant engineer I spent many years with Steve Price who taught me a lot of what I know now, not only the techniques and recording knowledge but his work ethics and professionalism that has been deeply ingrained in me to this day.

What’s the best bit of advice that you can give anyone trying to break into the industry?

My advice when trying to get a job in a recording studio is to prepare to be an assistant engineer rather than an engineer to start with. Most of your learning in the real world will come in time and at the studio, so it’s having the enthusiasm and willingness to learn and that is the most important thing to start with. It’s useful to have a good understanding of ProTools and score reading in the film scoring industry.

9000