AMI July/August 2015 Digital by Future PLC

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

July/August 2015

UP IN THE AIR Fifty years after the formation of Associated Independent Recording, we look back at AIR Studios’ past, report on a recent project and ponder the issue surrounding its future p22

FEATURE

Which of the current interface protocols is best? p24

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REVIEW

We test one of A&H’s new Chrome Edition mixers p34

INTERVIEW

AMI chats to producer and engineer David Wrench p42

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07/05/2015 16:16:41 27/05/2015 14:28:01

WELCOME

www.audiomediainternational.com

EDITOR Adam Savage asavage@nbmedia.com

Experts in the issue

SOS: SAVE OUR STUDIO

MANAGING EDITOR Jo Ruddock jruddock@nbmedia.com STAFF WRITER Matt Fellows mfellows@nbmedia.com COMMERCIAL DIRECTOR Darrell Carter dcarter@nbmedia.com ADVERTISING MANAGER Ryan O’Donnell rodonnell@nbmedia.com ACCOUNT MANAGER Rian Zoll-Khan rzoll-kahn@nbmedia.com HEAD OF DESIGN Jat Garcha jgarcha@nbmedia.com DESIGNER Tom Carpenter tcarpenter@nbmedia.com PRODUCTION EXECUTIVE Warren Kelly wkelly@nbmedia.com Press releases to: ukpressreleases@nbmedia.com © NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Audio Media International is published by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. Editorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000

Audio Media International ISSN number: ISSN 2057-5165 (Print) Circulation & Subscription enquiries Tel: +44 (0)1580 883848 email: audiomedia.subscriptions@ccms.com Printed by Pensord Press Ltd 1 Color - 100 White

Front Cover: AIR Studios

Dave Swallow has over 15 years of experience mixing for Basement Jaxx, UB40, The Bloody Beetroots, DJ Fresh, La Roux, Seasick Steve and Amy Winehouse. Jim Evans has been involved in and reported on the professional audio and music industries for more than four decades. Founding editor of AMI sister title Pro Sound News Europe, he has written for Audio Media since its inception 25 years ago. Mike Sessler has more than 25 years of live production experience and currently serves as a Nashville-based project lead for CCI Solutions. He also authors the popular Church Tech Arts blog. Mike Law is managing director of BCD Audio and a specialist in designing digital and analogue audio systems. He is also a member of the IET and AES, and is on the SC-02-02 committee.

t was uplifting to see so many people from across the industry – and further afield – come together last month and get behind what is being widely seen as a very important cause. I’m talking about the almost 8,000 supporters (at the time of writing) who have so far signed the petition against the development work planned to take place next door to London’s AIR Studios. Although it’s not directly a pro-audio topic, I’ve been trying to raise awareness of the decline of the city’s live music scene largely due to the impact of new property builds and how even a handful of complaints from existing neighbours can seal the fate of even the most popular of venues. But even those who are unmoved by this ongoing threat will surely have been shocked by the news that AIR may have to close down for a lengthy period if this work were to go ahead. That would be a huge blow for any commercial recording facility, but when it’s one of just a couple of major orchestral studios in London then the

possible impact this could have on the city’s reputation as a film-scoring centre – among many other things – is quite clear. There’s another reason – well, two actually – why I’m bringing the topic up here in our July/August 2015 issue: 50 years ago this month (August) Associated Independent Recording (London) Limited (AIR for short) was formed by four highly successful producers – a collaboration that “changed the way the music industry worked”, as our man Jim Evans reports on Page 22. So if you want to know more about the studio, and find out why we’re keen to raise awareness of its current predicament, go take a look. And that’s not all – AIR’s Studio One was also where producer Mike Valentine decided to attempt an ambitious directto-disc recording project, a report on which we’ve prepared on Page 28. So all that means we have a nice overview of AIR’s past, present and (potential) future for you this month. Plus, as we’re now in the middle of the live sector’s favourite annual season, we have a delightful opinion piece from engineer Dave Swallow on why the prospect of another festival season is perhaps not as appealing as it once was. And for those of you who will be spending your summer also behind a mixing console but away from the peril of the elements, Andy Coules is fighting the corner of the smaller venue in his latest column.

Adam Savage Editor Audio Media International

July / August 2015

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CONTENTS

NEWS

QSC announces SPA series

Radial releases Decoder interface

Lab.gruppen extends LUCIA range

OPINION: Andy Coules on the benefits of working in small venues

www.audiomediainternational.com

24 22

FEATURES

STUDIO FOCUS: 50 years after the formation of Associated Independent Recording, Jim Evans outlines the history of AIR Studios

PEOPLE

AUDIO INTERFACES: With a number of protocol options now available, including Thunderbolt and now USB 3.0, Stephen Bennett examines their various pros and cons

Mike Law debates the issue of digital clipping

RECORDING FOCUS: Recording a big band direct-to-disc is a challenge not many would be willing to face. Mike Valentine and John Webber tell us how it’s done

Dave Swallow admits he doesn’t always look forward to festival season

12 20

INTERVIEW: We catch up with David Wrench at InMusic 15 to talk gear and the future of mixing

ALSO INSIDE

NEWS ANALYSIS: Specialist VR facility Headspace Studio launches in Canada GEO FOCUS: POLAND Opinion is divided on the state of the Polish market across the sectors, but the future looks bright

34 4

31 32

TECHNOLOGY

EXPERT WITNESS: Sound Hire founder Joe Mitchell offers his advice on how to choose new wireless kit AMI RECOMMENDED: Wireless Systems

32 34 36 38 40

REVIEWS

Allen & Heath GLD-80 Chrome Edition Symetrix SymNet Radius 12x8 EX DPA d:facto Interview Microphone Focusrite Red Plug-in Suite

July / August 2015

04 AMI JulyAug 2015 Contents_Final.indd 1

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PRODUCT NEWS

QSC REVEALS SPA SERIES

QSC has introduced the SPA series, a range of amplifiers designed for boardrooms, conference rooms and other corporate spaces where multiple speakers are in use. The announcement also coincides with the launch of the Q-Sys Core 110f, a smaller addition to QSC’s Q-Sys line-up of network audio solutions built on modern Intel-based technologies and a Linux Real Time Operating System. Joe Pham, QSC president and CEO, said of the SPA line: “We are pleased to answer requests from our loyal customers for an amplifier solution that brings the power and sensation of our live-event amplifiers into the

boardroom. Our SPA amplifier series is Energy Star compliant and offers flexibility to integrators with two amplifier solutions. “The SPA2-60 offers two channels of Low-Z output into 4 ohms or 8 ohms, but it can be bridged to provide 70V or 100V output. The SPA4-60 is similar but offers more channels, enabling elegant solutions like a pair of stereo channels with a single 70V or 100V output, or a sub/ sat combination. This capability minimises the amount of inventory and SKUs our customers need to manage for products that represent the majority of their business.” www.qsc.com

NEW EVID SPEAKERS FROM EV The EVID Compact Sound series speakers from ElectroVoice are now shipping. The range joins the manufacturer’s EVID family of small-format installed audio products – recently extended with a number of in-ceiling options – and promises ‘excellent sound quality’ and ‘next-generation industrial design’. EVID Compact Sound is described as a flexible, scalable background music solution for a wide range of architectural environments including retail spaces, offices and restaurants, and designed to offer ‘an unparalled performance-to-size ratio’. The series consists of five sonically- and aestheticallymatched models that allow complete systems to

be customised ‘more effectively and more economically’ – there is a surface-mount version (pictured), a ceiling option and a pendant speaker. Individual models can be mixed with one another for optimal results according to application. www.electro-voice.com

www.audiomediainternational.com

SENNHEISER PRESENTS SL HEADMIC Sennheiser unveiled its new SL Headmic 1 presenter’s microphone at this year’s InfoComm show. Weighing seven grams, the condenser microphone is designed for talks and presentations, utilising the capsule of the omnidirectional MKE 1 broadcasting microphone while remaining unobtrusive when worn. Alongside speech intelligibility, the SL Headmic 1 is also said to deliver ‘clear and pleasant’ trebles. The microphone can be adapted to the shape of the head, and the boom can be worn either on the left or right. Its modular design means that all components of the SL Headmic 1 can be easily replaced. The mic is designed for the corporate and hospitality sectors, as well as for live shows and broadcasting. It comes with a 3.5mm jack plug cable that connects it to a bodypack transmitter, such as those from Sennheiser’s evolution series. For bodypacks with a three-pin audio socket, such as the SK 5212-II, an adapter is available as an accessory. “The SL Headmic 1 leaves nothing to be desired in terms of audio quality. It ensures excellent voice clarity and

outstanding speech intelligibility right through to the very last row of seats,” explained Kai Tossing, portfolio manager, business communication, Sennheiser. “At the same time, the microphone is almost invisible to the audience – and its weight of just seven grams makes it extremely comfortable for the presenter to wear.” The mic is now available in black or beige. The set includes a windshield, a frequency response cap to raise the trebles when the windshield is being used and a soft case that can also accommodate a bodypack transmitter. www.sennheiser.com

PRESONUS UPDATES UC SURFACE PreSonus has released v1.3 of its UC Surface software for Mac, Windows and iPad, which can now be used to control the company’s StudioLive AIseries Active Integration consoles, as well as the new StudioLive RM-series Active Integration rackmount mixers. To celebrate the launch of the update, PreSonus is giving away a free PRM1 precision reference microphone with any StudioLive AI console or StudioLive RM rackmount mixer purchase until 31 July 2015. “With UC Surface 1.3 we wanted to make the transition between the physical mixer and the software control an intuitive and seamless experience for StudioLive AI console users,” said PreSonus’ Ray Tantzen. “We improved the workflows and made them more flexible in order to support the console mixers and incorporate feedback from RM users.” In addition, UC Surface now includes Rational

Acoustics’ Smaart Measurement Technology audio-analysis software. Previously implemented in the PreSonus VSL-AI control software for StudioLive consoles, Smaart comprises a spectrograph, real-time analyser, and three Smaart System Wizards that allow the user to easily view the frequency response of a venue, quickly calculate and set delay-system timing, as well as verify output connectivity. PreSonus claims to be the only company to integrate Smaart technology into a control application included with its mixers. www.presonus.com

July / August 2015

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ADVERTORIAL

www.audiomediainternational.com

What’s New at PLASA 2015 What is changing at PLASA Show London for 2015? Building on PLASA’s successful ‘Focus’ model, PLASA will host the 5 sector specific areas replicating the highly valued networking atmosphere which has proved so popular at the Focus shows. The five sectors are audio, lighting, AV, staging and, new for 2015, broadcast. With seminar theatres and networking areas in each zone it enables the visitors to easily locate the products, brands and companies and facilitates business opportunities.

What can visitors expect from this year’s show? From the exhibitor viewpoint, PLASA is a truly international event, with a fifth of its visitors travelling from 74 overseas countries; 44% of visitors

haven’t visited any other show, either domestic or international in the past year, and 55% are final decision makers – that means more than 5000 key buyers. As a visitor, you can expect to see some of the world’s top brands using the show as the launch pad for new and innovative products, including live demos. Many of these will be seen in the everimpressive line up of entries into the annual PLASA Innovation Awards. What does PLASA consider to be the hot topics for the industry today? There are several important issues, we believe one of biggest is education. As part of our free to attend educational programme, we will be featuring aspirational sessions from world-class

World renowned business event for the Live Entertainment Technology industry Featuring a brand new format with sector focused hubs for AV, lighting, audio, staging and broadcast; live demonstration zones, new exhibitors and new feature products. All backed up by PLASA’s renowned Professional Development Programme hosting five seminar streams with 150+ industry leading speakers.

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Lighting Designers, audio, video and set-design specialists; panel sessions discussing topics such as the 4K content revolution, digital console architecture, noise issues, ethernet for live sound and lighting, traditional light sources to LED and the future of stage technology; training sessions from industry experts on live sound, projection mapping and lighting in film and television. Additionally the programme will cover general industry issues ranging from the development of apprenticeships for live event technicians and freelancers’ rates of pay, to the impact of arts funding cuts and updates on current legislation such as CDM 2015, as well as sessions from a wide cross-section of industry organisations including BECTU, ASD, ISCE, IPS, Soulsound, ALD, STLD, PSA, ABTT and The Theatres Trust.

What else will visitors get from a content point of view? PLASA’s renowned seminar programme will, as always, cover a broad range of subjects and is completely free to attend. The knowledge that can be gained is considered by many to be an invaluable tool as they progress through their careers.

What other networking opportunities will there be this year? PLASA Show prides itself on being an important business event in the international calendar and to facilitate more networking opportunities we have extended our opening hours to 8pm on Monday 5th October as well as bringing back features like the show bar. Other events include Knights of Illumination on Sunday 4th October, and The Innovation Awards on Monday 4th October.

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02/06/2015 10:57

PRODUCT NEWS

RADIAL RELEASES DECODER INTERFACE Radial Engineering’s new Decoder, a self-contained MS (mid-side) interface, is now shipping. The Decoder ($349.99 MAP) ‘makes it easy to create exceptional stereo imaging’ when combining a stereo mic with a second middle microphone. The Decoder features three XLR inputs with input-1 for a centre mic, input-2 (a) for a single-output figure 8 mic and 2 (b) for those using two cardioid mics. Individual on-off switches and level controls for all three inputs are located on the front panel, while a recessed 48V phantom power switch may be activated to supply DC for condenser microphones. A high-pass filter may also be engaged to eliminate excessive low frequency rumble and improve stereo focus. When using two separate microphones to create a figure 8 pattern, a 180° switch is engaged to reverse the polarity of mic 2B. Top-mounted selector switches enable the Decoder to be used with microphones or line level sources when applying MS imaging to pre-recorded tracks.

As with all Radial products, the Decoder is made from 14-gauge steel to handle the abuse of being on the road. The book-end design provides a protective zone around the front panel switches and potentiometers keeping them safe from overzealous roadies. The internal I-beam construction is rigid, designed to assure the sensitive internal PC board will not torque – thus preventing premature development of cold solder joints. www.radialeng.com

A&H UNVEILS DIGITAL DLIVE MIXER

Allen & Heath has launched its ‘next generation’ dLive digital mixing system. The console promises flexible architecture, a FPGA processing core, a comprehensive array of expansion, control and networking options and a Harmony user interface with gesture control. The dLive is designed for applications from touring and festivals to installation in live venues. dLive offers a distributed system design with separate MixRack and Surface. The dLive processing brain is housed in the MixRack and is available in three sizes – DM32, DM48 and DM64 – and there are three accompanying control surfaces. All MixRacks and Surfaces are mix ’n’ match compatible, with common configuration, set-up and show files. 8

The 96k/96-bit XCVI Core provides capacity for 128 inputs with full processing and 16 dedicated stereo FX returns, offering 160 inputs to mix, plus a fully configurable 64 mix bus architecture, with full processing on all 64 mix channels. dLive incorporates the DEEP processing portfolio of embedded plug-ins, including graphic EQs, compressors, multiband compressors and dynamic EQs, alongside its 16 slot FX racks, featuring Allen & Heath’s range of FX emulations. “We have developed a new Allen & Heath technology base for live mixing. The XCVI Core is designed from the ground up to execute our DEEP Processing algorithms from within the FPGA channel processor core. This architecture allows users to select various embedded processing models on every input and mix channel on the fly, without burning valuable FX slots or adding latency,” said Allen & Heath’s R&D director, Dr Rob Clark. www.allen-heath.com

www.audiomediainternational.com

D&B DEBUTS NEW POWER AMPS d&b audiotechnik introduced its newest four-channel, two RU amplifiers at InfoComm 2015: the 10D and 30D. The first d&b amplifiers tailored for permanent integration, the 10D and 30D deliver 700W and 1,600W per channel respectively, and share the same Digital Signal Processing (DSP) platform and capabilities as the d&b D20 amplifier and flagship D80. These amplifiers all provide ‘comprehensive’ d&b loudspeaker management and switchable filter functions. They incorporate two 16-band equalisers comprising parametric, notch, asymmetric and shelving filters along with up to 10 seconds of delay for each of the four channels. Between them they cover almost all install applications, differing only in output voltage and loudspeaker setups. DSP capabilities are also ready for further expansion via future d&b firmware updates. To ensure integration into existing permanent

installations, the 10D and 30D amplifiers offer five programmable General Purpose Input/Output pins, meaning external devices can be used for control or detection functions. They provide four analogue and four digital AES/EBU inputs, all of which can be summed and routed to any of the four outputs on the amplifier. This extended input matrix also allows all eight inputs to be used simultaneously. In addition, each input features an independent input gain, which means various input sources with different levels can be used without requiring an external mixing device. System status monitoring ensures suitability for sound reinforcement systems for emergency situations. www.dbaudio.com

AUDIX ANNOUNCES HT7 HEADWORN MIC Audix used InfoComm to showcase the HT7, a single-ear headworn miniaturised condenser microphone for vocal applications. The omnidirectional mic features an earpiece that can be worn around either the left or right ear, while the adjustable length boom arm is designed to be easy to position. The modular design of the HT7 allows for replaceable parts when necessary, and the microphone can be used wireless or wired with an optional phantom power adapter. Engineered for use with wireless body pack systems such as the Audix RAD360, the HT7 can be used with other brands of wireless body packs. A selection of adapters is available depending on the input connectors of the body pack. Designed to blend with the skin tone of the wearer, the HT7 is available in three colours – beige, black and coffee. The HT7 microphone comes with a windscreen, adapter and storage pouch.

Audix co-founder and vice president of sales Cliff Castle said: “Primarily designed for use with wireless systems, the HT7 combines the great acoustic sound Audix is known for with an extremely low profile and discreet design, making it an ideal microphone for speech and stage presentations.” With an MSRP of $345, the HT7 is suitable for houses of worship, theatres, corporate and academic presenters. www.audixusa.com

July / August 2015

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PRODUCT NEWS

www.audiomediainternational.com

LAB.GRUPPEN EXTENDS LUCIA RANGE Lab.gruppen has added to its range of power amplifiers with two dedicated 70V output models: LUCIA 120/1-70 and LUCIA 240/1-70. With power ratings of 120W and 240W respectively into a single output, the amplifiers offer AV installers the option of driving 70V distributed loudspeaker systems while retaining the small form factor, input flexibility, build quality and GPIO facilities also featured in the LUCIA low impedance models. “There are many applications – ceiling systems in corridors or meeting rooms, for example – where installing a 70V system is the preferred solution but there is no convenient nearby location for an equipment rack,” noted Klas Dalbjorn of Lab.gruppen. “In these situations, LUCIA’s small footprint, light

weight, multiple mounting options and input flexibility provide installers with a reliable and costeffective solution.” Both new models incorporate dual inputs, which enable mixing of two sources or the selection of either the A or B source for the single mono output. Connectors are both balanced Phoenix type and unbalanced RCA for each input, with a built-in matrix function for mixing the balanced and unbalanced signals with optimised gain structure. www.labgruppen.com

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July / August 2015

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JoeCo has released its latest remote control software update for iPad, JoeCoRemote 3.0, which works with two new hardware interfaces to offer more flexibility for remotely controlling 24-channel and 64-channel BlackBox recorders and players. The update, along with the JoeCo MultiRemote interface, enables up to four BlackBox systems to be simultaneously triggered, monitored and controlled using a single iPad. Users can view input metering on each connected BlackBox and create a real-time monitor mix using expandable channel strips in each of the monitor windows. Multiple fader groups can be created for easier handling. A new player window alters playlist creation and control when the BlackBox Player is used as a multichannel playback device. Changes to the set list can be made on-the-fly and can also be written to both the Main and Backup disks simultaneously, ensuring that a pair of BlackBox systems configured as failover players are fully in sync. This enables the creative decisions of song order to be changed quickly if required. www.joeco.co.uk

YAMAHA ADDS NEW SIGNAL PROCESSORS

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Yamaha launched the MRX7-D open architecture signal processor – designed to complement the MTX series of fixed architecture matrix processors – at InfoComm 2015. The MRX7-D features eight mic/line analogue inputs, eight analogue outputs and two stereo RCA inputs, with an onboard mini-YGDAI card slot allowing local I/O expansion and connection to other digital audio products. Also featured is 16 channels of Yamaha’s proprietary YDIF I/O and 64 channels of Dante I/O. The MRX7-D can feature a total simultaneous I/O count of up to 110 inputs and 104 outputs. YDIF delivers 16 bidirectional channels of audio and word clock transmission via standard Cat5e cable over distances of up to 30m. It allows cascading of multiple MTX processors as well as signal transfer to CIS series XMV power amplifiers via connections that are fast and simple to set up, reducing installation times for contractors. In addition, the inclusion of Dante on the MRX7-D allows integration with a wide range of Danteenabled products in larger system applications. www.yamahacommercialaudio.com

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NEWS ANALYSIS

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WATCH THIS SPACE

Having launched specialist VR studio Headspace in Montreal just last month, president and director of sound Jean-Pascal Beaudoin is brimming with excitement. Matt Fellows talked to the Canadian about his new venture.

ollowing a 10-year career in traditional audio post, Jean-Pascal Beaudoin has seized the chance to create Headspace Studio, a new Canadian facility dedicated to immersive sound. Beaudoin had been working with Montreal-based VR content creation specialist Felix & Paul Studios – recipient of one of the first Oculus Rift headsets, which, it turns out, had opened up a new avenue of opportunities. “Our proof of concept was recording a Canadian artist called Patrick Watson, and it [Oculus] worked even better than we thought it would,” Beaudoin explains. “We got to meet with Oculus in 2014 and when they [his team] saw this thing, they couldn’t believe what they were seeing and hearing.” From there the team found themselves completely devoted to VR work as the offers came in, and the path forward quickly became obvious. “We were into VR 75 hours a week,” Beaudoin laughs. “There’s not a lot of talk about sound in VR, although everyone seems to agree it’s 50% of the experience. To me it was out of the question to just be a part of Felix & Paul Studios and limit myself to those experiences; it’s great to make this technology and knowledge available to other content creators.” Headspace Studio opened its doors in June and is already attracting attention for a VR experience tie-in based on a certain Hollywood blockbuster. “It officially launched with the Jurassic World Apatosaurus,” Beaudoin tells us. “For that piece we collaborated with Skywalker Sound, because when you work on a franchise like this you want to make sure you respect the artistic integrity. At the time they didn’t know much about mixing for VR. They did the sound design for the Apatosaurus and Pteranodon in the VR experience, so I took those assets and mixed them with the location recording we did. “We also released two experiences with 12

Jurassic World’s Apatosaurus was the first challenge for Headspace Cirque du Soleil; the last one is the longest piece we’ve ever done – it’s 10 minutes of VR. I think it’s the longest experience at least in live action. Ten minutes required over two months of work, full-time.”

Virtual Tenacity Beaudoin was clear that Headspace Studio would be a VR-dedicated affair from the start: “You can’t just offer this as a new service. It’s not the same job. If you’re a traditional post sound engineer, you’ll have to learn new skills.” And this makes its work approach an unorthodox one: “It’s different than your normal postproduction sound studio. It’s sort of in between traditional post-production and gaming post-production.” Beaudoin isn’t worried about VR failing to establish itself in the industry: “We’ve already done 10 VR experiences; we’ve delivered them, we’ve got so much knowledge behind us.” However, such an embryonic market doesn’t come without hurdles. “It feels like Hollywood in the ’50s where there are so many possibilities and the workflow is not defined yet,” Beaudoin remarks. “There are no standards.” Additionally, core hardware for the medium is not even commercially available yet, but Headspace has got that potential hiccup covered while the market develops.

“It’s like you can buy this great television, but there are no channels,” Beaudoin explains. “So right now we’re very lucky to be collaborating closely with Oculus; they invest important amounts of money to produce experiences.” And such a unique studio requires an equally unique selection of gear, as Beaudoin outlines: “At the recording stage I use a quad binaural microphone, and we also use an ambisonic mic which is very interesting for VR. As for postproduction, some projects are more documentary-style so mixing is very natural; for this I can manage to do it in Pro Tools, using binaural positioning plugins. And there are various VR platforms; sometimes we have to go through a gaming engine such as Unity or Unreal, or we have our own code.” Beaudoin is also keen to stress the creative potential of the new medium: “It’s not a 2D space you’re sound designing and mixing for; you’re at the centre of a real space. There’s stuff happening all around you; there’s at least 180° you’re not aware of that’s happening behind you. So audio has a very interesting role of directing you to look in a direction without being super-obvious. “When you mix in 5.1 or 7.1 and even with Auro-3D or Dolby Atmos the action is still happening right there on the screen. You can make that plane pass by,

but you don’t actually turn around to see that plane pass. So there’s new ways to explore sound, that’s for sure.”

forward thinking It’s early days for VR, but Beaudoin still has some thoughts on how things may develop: “We’re going to see hardware makers getting into it. I can tell you there’s a lot of people working on hardware for VR. We’re going to see some studios opening up and we’re going to see existing sound studios offering new services. For the coming years it’s more a period where people are going to discover the medium.” As for Headspace, the team has more than a few tricks up its sleeve, but we’ll have to wait to see what they have in store. “We have three projects in post-production at the moment. We’re in post-production for pieces we’ve done in Africa with tribes and it’s going to be, I think, a very deeply emotional and moving experience. There’s another project for a well-known Hollywood franchise we’re working on, and for this we’re going to be doing something that’s not been done before with VR. For the next year I have no stress; projects are lined up and it’s looking very good.” www.headspacestudio.com

July / August 2015

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OPINION

www.audiomediainternational.com

THE BENEFITS OF WORKING IN SMALL VENUES Andy Coules on why those less glamorous gigs should be just as important as large-scale shows to good engineers.

ANDY COULES

ne of the great ironies of live sound is that the job is harder when you first start out and gets gradually easier as you progress up through the industry. This may sound like I’m stating the obvious, as any career path involves a learning curve, but I’m referring more to the conditions you work in. When you first start out you typically work in small venues with equipment that has almost certainly seen better days. The PA was probably quite average when it was installed and it’s been hammered by four bands a night, seven nights a week, 50 weeks a year in the 20 years since. The mixing desk features a series of scrawled annotations explaining which channels don’t work – or exhibit unpredictable behaviour – and a number of knobs and fader caps are bent, missing or clearly from a different desk. The microphones are badly worn and full of a thousand singers’ spit, the DI boxes only work when you give them a kick, the cables have been cut up and repaired so many times that you’ve only got one that will reach the side of the stage furthest from the stage box, but you need to use that for the lead singer who, in his own words, “likes to wander”. On the other hand, if you’re lucky and skilful enough to progress to the upper reaches of arena/stadium level shows then you find a quite different picture. Your PA is the best that money can buy 14

and utilises the latest technology to bathe your audience in a warm shower of perfectly balanced frequencies at precisely the right volume to convey the power and clarity of your mix. Your console is digital and comprises more computing power than NASA, yet still sounds warm and reassuringly analogue. Your microphones are fresh out of the box and still have that new microphone smell, your DI boxes all work perfectly and your cables are neatly coiled and available in any length you might desire. Most of us operate in between these two extremes, but one interesting thing I’ve noticed is that engineers who operate at the higher levels of the industry tend to have a hard time adapting if they’re required to scale down to a small venue. This is something I’ve witnessed as a result of the trend of large acts playing in small venues, either to play an intimate ‘secret’ show or just to re-engage with their audience, and suggests that we tend to lose some of the skills we gain on the way up. The very nature of small venues means that the speakers and the microphones are often in uncomfortably close proximity to each other; add to this the fact that the acoustics were probably not designed for amplified music and

you have a challenging environment to mix sound in. This forces us to develop excellent feedback combating skills, primarily in tuning the system to obviate room modes and standing waves, but also in being able to quickly identify and eliminate unexpected bursts of feedback – which are as often caused by the inexperience of the performers as any iniquities of the system. Thus we have the crucible in which many a great engineer is forged.

Maintaining skills However as we progress through the industry, getting exposed to better sound systems and more agreeable room acoustics, we rely less and less on those skills hard-won in the battle against feedback, and inevitably lose them. This is perfectly logical because any skill not regularly used is gradually lost but is this loss a valid trade-off, and more importantly is there anything we can do to maintain these skills? The simple solution I’ve found is to continue working in small venues. First and foremost it helps keep you grounded as an engineer. There’s no time for pretension or ego when you have to get down to the nitty-gritty of mixing in challenging environments without the

benefit of pre-production or lengthy sound checks. I also find it keeps your ears sharp, not just from chasing the spectre of feedback but also in dealing with a multitude of different instrument tones in a short space of time. It’s also great for honing your speed mixing skills as you invariably have to deal with multiple bands on a nightly basis, none of whom you’ve heard before – a skill which is particularly handy come festival season when you’re confronted with speedy changeovers and the absence of sound checks. We often measure the progress of our careers by the size of venues we work in and not everyone has fond memories of working small venues, but there are definite benefits to be had from putting in the occasional shift at one. It’s never a bad thing to be reminded of where you came from and it’s nice to be able to stay in touch with the grass roots of music – plus there’s always a chance you might bump into the next big stadium band. Andy Coules is a sound engineer and audio educator who has toured the world with a diverse array of acts in a wide range of genres. andycoules.co.uk

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OPINION

www.audiomediainternational.com

21ST CENTURY AUDIO LINKS – THE FUTURE BCD Audio managing director Mike Law on why digital clipping remains an issue despite all the various technological advances, and what the pro-audio industry could be doing to eliminate it.

MIKE LAW

ust when you thought you understood 0dBFS and audio levels, along comes somebody who wants to tear up the rulebook! Actually, I suggest that the rulebook is not so clever, and is not good with some new developments in digital audio. I will explain. Twentieth century audio links are made up of balanced analogue audio, amplified and converted to digital at 24-bit resolution but the converters are more limited in dynamic range. If the analogue signal is amplified too much the signal will clip before the converter, but if too much digital gain is used the signal will be noisy and truncation-type distortion will rise. Early on our industry decided on a conversion standard of 0dBFS = +18dBU, which is a good balance between real signal dynamics and original analogue system levels. This conversion standard is good for ‘controlled sounds’ such as the output of a mixing desk, but variations are also used, with a common theme that 0dBFS is the loudest a signal can reach before clip, as 0dBFS is defined as the loudest digital signal possible. The 16-bit format used by CDs is a good example of a variation. A recording is mixed at higher resolution, and balanced so that the loudest peak does not exceed 0dBFS. A side effect 16

is that all of recorded music will have the same peak level, but the musical dynamic range will depend on the sound balancer’s artistic desire and the content of the music source. The listener or broadcast sound balancer has to reach for the volume control between every track, or we accept that all music of a particular type will tend to sound the same. Back in 24-bit land, +20dBU = 0dBFS is commonly used in the United States, and there are other standards in Europe. +18dBU = 0dBFS does not give enough headroom for ‘uncontrolled’ sounds such as those from a live microphone, so all kinds of alternative headroom settings are used at the inputs of digital mixing desks, with the desire to ensure the signal never clips, but is always loud enough to dominate system noise or truncation distortion.

Processor and Bit width evolution The transition from analogue to digital mixers came at a time when most converters were 16-bit, and 20-bit converters were just becoming possible. DSP processors were mostly 16-bit and newer processors were 24bit. Therefore it was logical to scale the signals as I have described. Today’s converters still have about 20-bit dynamic range really, but the DSPs used are capable of 32-bit or more, or use floating point. Therefore inside a mixer it is possible for a signal to exceed 0dBFS without trouble, provided the signal is mixed for reduced level before passing out of the DSP to a converter or AES3 link. If for some reason the signal still exceeds 0dBFS at this point, it will get clipped at the output.

The future BCD Audio believes that the 24-bit link is now the main bottleneck in the audio path. This 24-bit architecture has been a solid foundation for a long time, and is used in MADI, AES3, Audio Networking and Embedded Audio in SDI video,

so is very established. But given that it is being used to connect together systems capable of better dynamic range, it is worth thinking about solutions. There is a school of thought that the problem can go away by better control of audio levels. We have also experimented with a scaled 20-bit linear signal, with 4-bit scaling, and found that it can give 32bit dynamic range, with good enough accuracy, but can be still transported on existing 24-bit audio links. The idea is to use a simple as possible algorithm to map a 32-bit linear signal into a scaled 24-bit signal, so that it can be transported with existing 24-bit transport links. The receiver translates the 24-bit scaled signal back to a 32-bit linear version, with little loss. At high levels the distortion is 0.00008%, and at lower levels it is better than 24-bit linear PCM. The algorithm used is simple enough to create in hardware or software, and with some ingenuity the receiver can detect whether the signal is scaled or ordinary 24-bit PCM. BCD Audio has created a test box with two channels of AES3 inputs and outputs, with +/-12dB gain in each channel. Each channel can be switched into scaled/linear PCM or automatic mode. We have also updated our AMU

(Audio monitor unit) to pick up the final signal for listening. We can now take a 0dBFS signal, amplify it by 24dB, and bring the signal back to listening levels without distortion. BCD Audio will make this box available for demonstration purposes in the summer of 2015. Where would this be used? The main application would be between an active stage box and a digital mixer, but potentially digital microphones could benefit from these ideas. Will it ever exist? This depends on whether the industry as a whole sees a benefit from the idea. There is a school of thought that any new technology should use new hardware and connections, so there is no danger of consumers confusing the old and new systems. BCD Audio believes it is worth maintaining the existing 24-bit links, and much of the hardware and chip-sets, if it is possible. I hope I have provoked some thought, and look forward to discussing this further. Mike Law is managing director of BCD Audio and a specialist in designing digital and analogue audio systems. He is also a member of the IET and AES, and is on the SC-02-02 committee. www.bcd-audio.co.uk

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OPINION

www.audiomediainternational.com

THE LETHARGIC SLIPPING OF A FESTIVAL GOER Not everybody looks forward to the festival season. Live sound engineer Dave Swallow explains why there’s a high chance not everything will be sunny backstage this summer.

DAVE SWALLOW

mbarrassment wriggled around me like finding a marmoset in the trousers. The view from the front-of-house lean-to filled me with chagrin. You know that sense of sinking disappointment that starts in the cheeks and works its way to the lower intestine? That feeling you get when cracking into an egg to discover it’s over done and the soldiers will go to waste? It’s the same sensation you get when the phone rings and you’re told you’re booked for festival season. Life does have a habit of running amuck when not carefully ordered so I place a lot of effort in pursuing ambition. Small goals. Easily obtainable. Nothing too fancy, I don’t want to over-stretch myself. My latest ambition is to go on tour. Again. This, proving a little more unobtainable than first thought, makes me think of how Napoleon must have felt when he nipped off to Moscow for a spot of empire building. The thought of having some rehearsals, and throwing the odd soundcheck in for good measure, really puts the Tabasco on the eggs, if you know what I mean. Festivals are the sort of thing my 21-year-old self would have felt was a nice change from the monotony of venue/tour life but, as life has been pulled kicking and screaming through the hedge of time, my 34-year-old self gets rather tired of their slapdashed pushiness. You see, music, callously disregarding 18

the fact we’ve been friends since childhood, has made a stinker. The surrounding circs of said stinker have been slowly building for many years, much like a Spanish hotel, so much so that you barely realise anything has happened. Byte by byte we now have a very different appreciation for music than we did 10 years ago. Remember those times when you used to save up for a month just to buy an album? Festivals have become the typical type of production. Rehearsals and six-weeklong tours are fading into the twilight of time and this leaves us audio professionals in the thicket. It’s the punters I feel sorry for. When do they see the band at their very best? The usual state of affairs these days is that the bands are thrown on stage without half the lines working. Is this right? Is this left? What would the marmoset say? So is it any wonder, that at this point in time, the pinnacle of human knowledge and endeavour, we are staring into the cuppa of life only to find the milk is off. Snubbed, that’s how I feel, snubbed! I oozed down behind the FOH console in an attempt to hide my nauseating sense of mortification. Changeover had the distinct performance of a Puccini opera. There were about 40 bohemians on stage creating a massive song and dance, pushing risers from one place to another. Then back again. The Patch Monkey, who hadn’t slept for about three days, was hallucinating and lost the ability to count,

we were due on stage six minutes ago and the stage manager looked as if he’d taken pole position in a beetroot look-a-like contest. In a nutshell, changeover was going better than expected. The band meandered on stage to rapturous applause. It has long been said that anyone or anything that can get through their entire routine without being shown the rotten veg is doing well. The audience, in my view, were slipping. The performance was tepid for the first three songs and rising to a tropical lukewarm by the end of the set. I’m not sure about you, but I have a theory. It’s to do with the amount of waiting around. It gives you the jitters – a kind of anxious hollowness, the sort of feeling you get when you’re dragged to a barn dance. It lasts all day and when you get to the point you have to do something, lethargy has taken its hat and coat off and snuggled down in the wingback by the fire. It’s no good for a performance. ‘The audience enjoyed it’, I find myself saying a lot these days. Is that not what matters most? As the peach-pale sunset spreads its yawning arms across the clearing summer sky I take a little time for myself. With more flavours than Jamie Oliver’s larder, festival food can be a delight – in my eyes the best thing about a festival. But, meanwhile, Fate was delicately placing twigs and leaves across the trapping pit. Casting my Blighty mojito and ham and cheese crepe into the air, for where else

would that combination be acceptable, I stumbled, literally, into one of the little tents by the food concessions. The music was pretty awesome. I’d never seen this band before, but they were really cool and playing their little hearts out. Festivals do make new bands wonderfully discoverable, and make audiences wonderfully discoverable too. I was left pondering the future; do the festivalgoers really worry about the sonic quality? Half of them turn up with earplugs in anyway. Others have apps that ‘correct’ the sound but the majority just want to hear the vocal, or whatever the top line of the song is, and a beat, so why spend the cash on expensive sound systems? Have we had our Concorde moment? I’m not sure it ever existed. The answer is a simple one. Music is about making a connection. Much like the connection you’d make as an earthing rod. The sonic quality, although pleasant to the untrained ear, isn’t just about what you can hear it’s also what you can feel. Without a connection, Music is just an elevator ditty. Dave Swallow has over 15 years of experience mixing for Basement Jaxx, UB40, The Bloody Beetroots, DJ Fresh, La Roux, Seasick Steve and Amy Winehouse. He took home the API Industry Excellence Award for ‘Live Sound Engineer of the Year’ in both 2011 and 2012. www.dave-swallow.com

July / August 2015

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29/05/2015 11:05

GEO FOCUS: POLAND

POLES APART Poland’s place in the European pro-audio puzzle appears to be a microcosm for the puzzle itself; Matt Fellows examines divided professional opinions to get the full picture.

hough it suffers from a few uniform issues, the European pro-audio market is currently a mottled landscape with each country facing its own obstacles. Poland is no exception; it would appear that its position in the pro-audio industry is a complicated one, and also tied very closely to its position in the European Union. This is certainly true for Leszek Polanowski, founder and owner of distributor PolAudio, who finds the outlook to be promising: “We found our national pro-audio market to be rather stable and slowly growing,” he explains. “Since Poland joined the European Union, there are no barriers for Polish entrepreneurs to purchase products and components as well as engineering solutions and know-how from other more developed European countries. “The lower quality products market is still strong due to extremely low prices offered in the majority by Chinese manufacturers. Nonetheless, we noticed that more often both manufacturers and users are looking for best solutions – or products – that will meet not only their needs, but also global standards.” But things aren’t so straightforward. The contentious state of Poland is evidenced by the words of Lukasz Gorycki, owner of audio system designer Gorycki & Sznyterman, who puts it bluntly: “The market is far from healthy. The whole audio distribution [market] was set in the early 1990s and hasn’t really changed much. We have had the

same distributors, with minor changes, over the past 20 years. Technology demands rapid changes and now in 2015 we are entering a new phase, where money from the EU is being distributed according to different patterns. This imposes solutions which bring more benefits to the venue owners and the public. Today, we can create technology which creatively serves communities and brings a lot of learning and teaching possibilities.” Polanowski further exalts the virtues of the EU for those in the proaudio market, but acknowledges that membership is not a straightforwardly beneficial affair; the potentially doubleedged sword comes with pitfalls that threaten to manifest a situation more in line with Gorycki’s estimations. “Being a part of the Union gives producers and customers a chance to use additional funds coming from EU subsidies,” he explains. “Therefore EU grants are effective economic instruments to provide high-quality proaudio products to the market. “On the other hand, we noticed that those additional grants, and also some other factors, run the risk of dumping prices on the rental pro-audio market. Some newly created companies, using subsidies, offer dramatically lower prices. As a result there is a number of rental companies with many years of experience suffering from that kind of dangerous competition and that makes the rental part of pro-audio market quite unhealthy’.”

Population: 38 million

However, focusing on the more positive points of the market, Polanowski attributes his promising predictions to a shift in consumer focus within the manufacturing and distribution sector: “Customers started to pay more attention to aesthetic aspects of speaker cabinets – modern coating like good quality texture paint, polyurea; modern streamlining shapes – as well as practical aspects. They choose smaller products with lower weight, which offer very efficient performance. Neodymium speakers are getting more popular, although their prices are still pretty high in comparison with ceramic speakers.”

New focus Gorycki agrees that customer focus has indeed changed rather than the sectors themselves, but this has presented his company with all new challenges. “The audio distribution market hasn’t changed much; the overall public demands have changed, which is a difficult situation to find oneself in. Our company always tries to introduce a full technology spectrum, ranging from interior acoustics to full interior designs with built-in technology. Depending on the project, we choose the most suitable options for our clients. Almost all of our projects have different brands in them. Our competitors sell single, strong brands with the most attention to sales, not profit.” When asked how Poland compares to the wider global market, Polanowski

How would you say the Polish pro-audio market is currently faring?

n n

”It is small but tight.” ”It offers the highest quality work, using the same tools as all pros around the world. It’s built by people developing their skills on Polish projects which are more and more challenging and also working on international projects. And what is important on international projects, prices in Poland are lower than in the rest of EU, which is important for producers.”

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GEO FOCUS: POLAND

www.audiomediainternational.com

How do you expect your sector of the market to fare in 2015 compared with 2014? Better

What’s having the biggest negative effect on the market at the moment? Economic uncertainty

Worse

Failing budgets

Stay the same

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attests that while the country is guided very strongly by greater international developments, it has a lot of work to do in order to become more competitive on an international level. “The rest of the world is not uniform and internal markets have different characteristics, but there are some strong global trends which determine those markets,” he remarks. “It is noticeable that leading worldwide pro-audio brands more often decide for co-operation to compete with ‘made in PRC’ products. “The results are huge corporations, which offer a very wide range of products, starting with lower quality and low-cost devices and ending with high-quality products. We can see that trend also in Poland and although we found our market to be growing, there’s still a lack of mass-production and developed technological background to compete with worldwide corporations without putting in additional efforts by Polish manufacturers.” One the same page, Marcin Kasiński, sound director and co-owner of post house Dreamsound, agrees that developments in the country are to a large extent homogenous with the wider market, but carry greater risk. “Poland precisely follows the path that is created by foreign industries

although we have to deploy all of the technical innovations very carefully,” he explains. “Most Polish movies have small budgets so we have to always think twice if any technical innovations will work for us – mainly in a financial way.” Gorycki also concurs, but puts forward one key point: “The only uniqueness at this point is that almost everything we have is brand new. We currently have enough infrastructure to fulfill the mission for country development. We have just started putting together technologies that either don’t exist anywhere else, or exceed those in service. A good example is the Grand Theatre and National Opera House in Warsaw. It now has the biggest Yamaha Active Field Control system in the world. We are going strongly into huge developments in the culture building sector.”

A Great Opportunity While there may be dispute on the exact state of the current market, pro-audio professionals seem to be in unanimous agreement when it comes to looking forward to the future, with all agreeing that the market is approaching a time of great potential. “We now face a great opportunity to develop our country according to

new rules, with a lot more knowledge and possibilities,” notes Gorycki. “All around us, we witness amazing growth in investments of the highest technological parameters available, designed in a smart way. We see an amazing future for the Polish audio and musical market. The nearest future seems to be very promising in terms of cutting-edge installations. This country will be a different place in five years.” For Dreamsound, the advent of immersive audio is a real revelation. “The immersive sound formats have opened a new chapter in movie soundtracks,” Kasiński divulges. “It gives unparalleled possibilities. Of course there is an anxiety that immersive sound will be considered as stereoscopy is in the picture field; that it will be treated as an option. But I truly believe that there is no turning back from immersive sound. We only have to wait until DCI or SMPTE establishes an open standard for immersive audio. Finally we will all work in immersive sound formats, and multichannel formats will be considered as options for deliverables.” “The digital era and the rapid development of broadband internet has allowed filmmakers from around the world to co-operate,” he adds. “I think that co-productions and co-operations between different film industries are

the future of the market, especially in Europe.” Aleksy Siewiera, head of marketing at Polish studio equipment manufacturer IGS Audio, believes now that customers have access to a whole new arsenal of tools with which to inform themselves about potential purchases, the key for a successful strategy is to focus on the delivery of quality product which speaks for itself. “There is much more information available now to the typical user; not only forums, but also videos etc,” he says. “The end-user will have more information that they can use to objectively judge for themselves, so brands like ours have a great shot of competing with the established, very expensive brands.” However, Polanowski disagrees, arguing that more is needed: “Offering high-quality products is not enough to compete with worldwide brands. Flexibility and technical support is more needed nowadays.” Ultimately though, while the industry has its fingers crossed, a combination of this very flexibility and the wider market may be the deciding factor, as Polanowski concludes: “I think our market will grow, but it all depends on global trends and Polish manufacturer flexibility.”

July / August 2015

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STUDIO FOCUS

THERE’S SOMETHING IN THE AIR Fifty years ago, a production company was established that would reset the template for the recording business, as Jim Evans reports.

AIR Studios has been based at Lyndhurst Hall since 1992

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n August 1965, four leading record producers made a move that was to change the way the music industry worked. Back then, records were still largely produced ‘in-house’ by the major record companies – in the UK it was EMI, Decca (which famously turned down The Beatles) and Pye. Independent recording studios were only just starting to emerge and producers were salaried employees of the labels who rarely got so much as a sniff of a royalty cheque. In that memorable month, Associated Independent Recording (London) Limited, or AIR for short, was created by George Martin, Ron Richards and John Burgess from EMI, and Peter Sullivan of Decca. Between them, they were responsible for the success of EMI’s and Decca’s top acts, including The Beatles, Tom Jones, Cilla Black, The Hollies and 22

Lulu. Through AIR, they continued to work with these acts – but now with the added benefit of royalty payments. There was no love lost following the four’s split with the record companies. In his autobiography, All You Need Is Ears, George Martin recalls: “Frustration has many fathers, but few children, among them bitterness, anger and resentment. Those had come to be the unhappy ingredients of my feelings towards EMI. By 1959, I had been running Parlophone for four years. My recordings with Peter Sellers, Milligan, Flanders and Swann and the others had started to make the label mean something. Originally a poor cousin, it had become a force to be reckoned with. But I was still only earning something like £2,700 a year.” Martin would later comment: “All in all, it is fair to say that relations between

AIR and EMI have been less than cordial over the years since we first broke free from them. That is, despite the many successful records we have made for them since we went independent, including Sergeant Pepper’s Lonely Hearts Club Band.” Once free from the shackles of the majors, the newly-liberated producers based the nascent AIR in offices on Park Street in London’s West End and bought studio time for their artists in Abbey Road, Chappells, Decca and Morgan and a handful of other commercial studios operating in the capital at the time, such as Advision, Lansdowne and IBC. The plan was to eventually build their own studios and by 1967 the group had earned enough royalties from these new production deals to finance the venture. Eventually, premises were

found in Oxford Street on the fourth floor of the Peter Robinson department store building, which included a large banqueting hall. It would prove to be not the easiest of places to build a recording studio. Being in central London was about all it had going for it. But Martin and team had other ideas. Kenneth Shearer – whose credits include the Royal Albert Hall’s ‘flying saucers’ – was brought in to deal with the considerable acoustic problems. Martin recalls: “The answer to the rumble up through the building from the Underground was drastic, and dramatic. The whole works – studios and control rooms – would be made completely independent of the main building. Essentially, a huge box was to be built inside the banqueting hall, and mounted on acoustic mounts.”

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STUDIO FOCUS

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Up and running at last

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The studios opened for business in October 1970, and in true show business tradition, the occasion was marked by a two-day party during which 400 bottles of Bollinger champagne were consumed. Dave Harries, previously with Abbey Road and now consultant to Mark Knopfler’s British Grove Studios, was one of the first to leave EMI’s employment to join the new venture across town. He would go on to manage the Oxford Street studios for more than two decades. The original four producers were also joined by a host of other top producers and engineers, each bringing in their own work and signings that would add to the success of the studio. These included Chris Thomas, Keith Slaughter, Bill Price, Geoff Emerick, Jon Kelly and John Punter. “It was one of the noisiest places you could choose to build a recording studio,” says Harries. “When Geoff [Emerick] first showed me the pictures at Abbey Road I said that simply can’t work. It will never work. But work it did! It became so successful that George and John who had built it primarily for themselves couldn’t get in there and had to go back to Abbey Road. We were certainly one of the pioneering independent studios – and among the first to go 16-track. When we opened, our studio rates were £35 per hour.”

Key to success So why did AIR Studios take off so spectacularly? “The main studio was actually quite large and had a quite live sound,” Harries continues. “The idea was originally that we would do film scoring in there, with the smaller No. 2 studio which had a much drier sounding aspect and

Noisy Neighbours threaten studio's operation As AMI went to press, AIR Lyndhurst was experiencing neighbour problems. The owners of an adjacent property applied for planning permission for major redevelopment, which involves a substantial basement excavation which could seriously disrupt the studio’s operation. Composer David Arnold, who has written and recorded the music for five Bond films and was music director for the closing ceremonies at the London Olympics, says in his letter to planners: “When I record in the main hall at

was built for pop. They both had basically the same equipment in the control room. “As it turned out, the main room for a number of reasons, including its great drum sound, got booked out by bands. It just worked. Film people couldn’t get in. We had good equipment and good technicians. We were in the right place at the right time. George once again picked out the right thing. Throughout, he had the Midas touch with artists and with studios, as the hits kept coming on both sides of the Atlantic. “I recall one occasion when we had The Rolling Stones, Paul McCartney, Dire Straits and Slade booked into the four studios. I walked into reception to see McCartney, Mark Knopfler, Noddy Holder and Mick Jagger deep in conversation. Sadly, a camera wasn’t to hand. But then, we never really boasted about who was here, we just got on with the business of making good recordings.” Among the sessions at AIR, Harries has fond memories of many – including a

Studio One of the Oxford Street site in 1975

AIR with an orchestra then every extraneous noise can affect the work. If there is a noise beyond a certain level then we can’t work.” He adds: “The studio is home to many film composers who work here and bring in millions of pounds worth of business from abroad. It’s effectively a hugely successful export business. That income goes to London musicians, hotels, catering, transport, music printing and copying, to name but a few. “The type of excavation works

young Kate Bush recording what would become her debut album. “Jon Kelly was the engineer and Andrew Powell was the producer and arranger. They were in Studio 2 next to my office when I heard this wonderful sound. It was Kate doing the guide vocal for Wuthering Heights. My hair stood on end. I said at the time it would be massive – and it was. “Over the years we changed with the times, upgraded the technology as fashion dictated. Despite being ‘lifelong’ Neve supporters, we went with the flow and bought SSL desks. We were at the forefront of digital too.” That brings us nicely onto AIR Studios Montserrat, one of the pioneering ‘destination studios’ where Dire Straits digitally recorded Brothers In Arms, an album that ranks among the biggest sellers of all time and continues to sell steadily. “Once AIR Studios in London became a reality and gained a reputation – its reputation of being the finest recording complex in Europe – my thoughts turned to other ideas,” says Martin. He weighed up the pros and cons of building a studio on a ship – until he discovered Montserrat, a small unassuming island paradise in the Caribbean. In 1977, Sir George fell in love with Montserrat and decided to build the ultimate get-away-from-it-all studio. Opened in 1979, AIR Studios Montserrat offered all of the technical facilities of its London predecessor, but with the advantages of an exotic location. “Dire Straits recorded Brothers in Arms on the island and at The Power

proposed and the drilling involved would render our workplace unusable. It couldn’t function as a recording studio and would send those millions of dollars to other countries, Prague, Berlin etc and possibly even with other composers.” AIR Studios chief executive Paul Woolf adds in his objection: “There is a well-known risk in basement digging… The premises we occupy are Grade II-listed and are of heritage value and nothing should be allowed that may have any risk attached to it.”

Station in New York and then finished the project in London,” recalls Harries. “That was really the first album where a lot of it was recorded digitally on a Sony 3324 machine.”

Trouble in paradise Sadly, through the combined efforts of Hurricane Hugo and the local volcano, the studio was forced to cease operations some 10 years after opening. Back in London, 22 years after the opening of the Oxford Street studios, the lease on the Peter Robinson building expired and the next chapter of AIR’s colourful history began. The studios moved to its present location in the beautiful Lyndhurst Hall in Hampstead, North London. Heavily involved in the design and building of the new studio facility, Sir George Martin opened AIR Lyndhurst in December 1992 with a gala performance of Under Milk Wood in the presence of HRH The Prince of Wales. In February 2006, the Strongroom’s Richard Boote announced the purchase of Sir George Martin’s AIR Studios from Chrysalis Group and Pioneer. Since that date AIR Lyndhurst has continued to be one of Britain’s premier scoring facilities, attracting some of the world’s biggest movie scores, as well as maintaining its popularity with major classical labels, high-profile recording artists and incorporating TV postproduction facilities. www.airstudios.com

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FEATURE: AUDIO INTERFACES

FACE-OFF Thunderbolt is the main protocol for Universal Audio’s Apollo interfaces on Mac

It’s arguably now harder than ever to pick the right audio interface, with USB 2.0, Firewire and now Thunderbolt and USB 3.0 kit all viable options. But which protocol should you pick? Stephen Bennett asks a number of leading manufacturers.

ne of the great advantages of the ‘digitisation’ of the audio industry is that those engineers designing audio hardware can take advantage of the advances in general computer connectivity and data transfer protocols. It wasn’t so long ago that transferring a couple of channels of reasonably high-quality audio were only within the purview of high-cost and bespoke physical interfaces. Today, hot-pluggable interfaces enable the engineer to deal with many channels of high sample rate, 24-bit audio over USB, Firewire, Thunderbolt or Ethernet. But, to paraphrase a great wig, the good thing about interface protocols is that you can’t have too many of them. So is there a requirement for faster and more capable ways of shifting data from microphone to computer and back, or do we already have all the capabilities that we require? 24

For many years, USB 1 and 2 and Firewire 400 and 800 (IEEE 1394) interfaces have been the staple connection protocols of the audio interface sector and there are still many devices that utilise these. The convenience of being able to unplug hardware without powering down and the implementation of bus power has made these types of interfaces popular with engineers, especially those who work with laptops. These protocols’ sustained data transfer rates have provided adequate bandwidth for the most common interface specifications on the market to date – that is up to eight channels of analogue audio input and output, eight channels of ADAT and two channels of digital audio at reasonable latencies. However, with the advent of digital mixing desks capable of shifting hundreds of channels of audio over digital multicores and the need for post studios to channel terabytes of

multichannel audio from workstation to workstation, manufacturers are looking at newer interface protocols to cope with this requirement to handle more data at lower latencies. The latest USB protocol, now at version 3.1, offers a significant upgrade to the data transfer rates of its predecessor, while Apple has championed the PCIe-based Thunderbolt protocol on its Macintosh computers. But, of course, specifications are not the only story, so what do these developments mean for the makers and users of audio interfaces and other digitally connected devices?

STILL GOT IT Wesley Smith, product manager at PreSonus, believes the older protocols still have a use even in a world that is demanding ultra high-speed interfaces. “Because Firewire 800 and 400 are fully compatible with Thunderbolt with just a simple adapter, these transports are still great for OS X users and offer a more

affordable alternative to Thunderbolt interfaces,” he explains. Matthias Carstens , RME’s head of development, says that the company no longer supplies Firewire-based interfaces, but still finds the older USB 2 protocol useful. In fact, he expresses concerns about USB 3 becoming a ‘universal’ interface protocol. “USB 3 is certainly no better than USB 2 for our applications,” he comments. “It is known to have serious performance problems in many ways – there simply is no certification.” He also believes that the USB 3 protocol “makes no sense at all as an audio interface format for the mass market, because the latency is exactly the same as what RME can achieve over USB 2”. According to Carstens, USB 2 is “much cheaper, easily fast enough, and can transfer enough channels – as proven by RME’s units which can transfer up to 70 channels both ways via USB 2”. He continues by saying that the higher data bandwidth allows USB 3

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to transfer more channels, but it does not affect the smallest buffer size and the reliability when using it with Mac or Windows computers. “This is why we have only implemented USB 3 for our 196-input, 198-output MADIface XT interface, designed to be used in specific professional situations,” he adds. Carstens feels that despite all its technical advantages, Thunderbolt hasn’t made as much headway into the Windows world as Intel had hoped, which could limit the faster version 2’s uptake with audio interface manufacturers. Indeed, Intel appears to be championing USB 3 on its new motherboards, much to Carstens‘ concern. ‘As I’ve said, RME offers only one USB 3.0 interface today because we can always guarantee the number of channels required, with the lowest latency figures and the highest reliability – so this means that our interfaces will work equally well on any computer, new or old, Mac or PC. Thunderbolt has only one specific advantage – it offers latency as low as PCI Express, because under the hood it is just PCI Express!” He also predicts that USB 3.1 will offer no advantages over version 3. ‘There’s no change in latency – just the ability to have more channels that no one really needs. I don’t expect any audio interfaces that specifically require USB 3.1 to appear within the next five years – simply put, no one needs it.’

THUNDERSTRUCK Lev Perrey, director of product management at Universal Audio, is a fan of Thunderbolt. “We chose Thunderbolt as our main protocol for our Apollo interfaces on Mac due to the many benefits it provides – most notably high bandwidth, low latency and aggregatibility,” he reveals. “We’re distributing audio, clocking and realtime UAD processing all over a single Thunderbolt cable. Thunderbolt also allows us to chain different Apollo models and allow all of them to work together in a single elegant system.” Smith, however, champions the latest USB protocol, while also pointing out what Thunderbolt offers in comparison. “The biggest advantage of USB 3.0 is that it is virtually ubiquitous across all platforms,” he states. “While Thunderbolt offers some great latency advantages on

FEATURE: AUDIO INTERFACES

OS X, not very many Windows machines provide this connection. USB 3.0 has the speed and stability to support high channel counts at low-latency. It delivers the capabilities we need now to the widest possible user base.” Roger Robindore, director of product evangelism at Apogee Electronics, agrees with the aforementioned advantages of Thunderbolt. “It’s built on a PCIe backbone, and this has always been the best way to connect audio interfaces to computers where high bandwidth and low latency are required. One of the PCIe protocol’s most important features is direct memory access (DMA), a function whereby the PCIe peripheral – in this case, the audio interface – can send and receive data directly with the computer’s memory, with little or no involvement of the computer’s CPU,” he notes. “This direct data connection is one of the primary reasons that Thunderbolt has such low latency and rock solid stability.” And like Carstens, Robindore is of the opinion that USB 3 delivers little more than USB 2 where it counts. “One important thing about USB 3 is that it doesn’t offer a benefit over USB 2 with lower I/O count audio interfaces that are amply served by USB 2 bandwidth. USB 3 does not offer better latency performance than USB 2,” he says. “We use a straightforward airplane analogy to explain this – on the flight between Los Angeles and San Francisco, a larger 747 can carry more passengers than a 727, but it doesn’t get you there any faster.”

Furthermore, Robindore explains that lowly USB 2 maintains some advantages even when compared to Thunderbolt on interfaces with lower channel counts. “It’s significantly less expensive while still offering excellent latency,” he continues. “It also offers the

“I don’t expect any audio interfaces that specifically require USB 3.1 to appear within the next five years – simply put, no one needs it.” Matthias Carstens , RME

possibility to connect to mobile devices like the iPhone and iPad.” He also agrees that Thunderbolt connectivity is not ubiquitous on modern computers – a point that is particularly relevant to Apogee’s new Mac- and Windowscompatible Groove high-performance DAC. It appears that if you currently want cross platform capability, some flavour of USB is going to be the best way to achieve this. Perrey concurs: “Although Thunderbolt is available on Windows, it isn’t integrated the same way as it is on a Mac. USB 3.0 provides native support in Windows OS 8, so we are exploring the benefits of this for Apollo on Windows.” Another of Thunderbolt’s many plus points is that it is fully under Intel’s

control, Carstens says. “It is guaranteed to work,” he proclaims. “On the downside, Thunderbolt is expensive to implement, usually allows only short – and expensive – cables runs and is (mostly) limited to Macs. The big Windows takeover never happened and right now it looks like Thunderbolt only has a little more time before it follows Firewire into obscurity – a situation not helped by Intel’s latest move to add it to a USB 3.1 C-type connector. That’s a pity, in some ways, because it means external PCI Express has never made it outside industrial applications and never gained real plug-and-play behaviour on Windows computers.”

‘ONE CONNECTOR TO RULE THEM ALL?’ In a fast-moving technological world, manufacturers of high-quality audio interfaces are always looking towards future developments and how these might be useful in an audio context, as Robindore explains: “We’re watching the development of the USB Type-C connector, especially with Intel’s recent announcement that Thunderbolt 3 will employ it. This means that the audio industry could finally have ‘one connector to rule them all’ that could eventually be used in anything from mobile devices to high-bandwidth professional systems,” he reveals. “Hopefully users won’t be confused by the fact that protocols with vastly varying performance can run across a Type-C connection.” This convergence of protocols could finally mean that engineers would not have to carry around a case full of leads and converters every time they

Picture: Apogee Electronics July / August 2015

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FEATURE: AUDIO INTERFACES leave the studio, while leaving open opportunities for manufacturers to innovate and create products that would meet the varying requirements of their various customers. One connection protocol that is ubiquitous on both Apple- and Windowsbased machines is Ethernet. Currently mainly in use for distributed audio and large-scale networked systems, the protocol has been championed by Merging Technologies. “There are a number of audio-over-IP protocols now

established in the pro-audio market that use Ethernet as the connection – the main players being Ravenna, Dante and Livewire,” details Paul Mortimer, managing director of Merging’s UK distributor eMerging. “Compatible devices can be connected using a simple point-to-point connection or via an existing standard IT network infrastructure. “The main advantages of Ethernetbased formats are the ability to run

RME’s USB 3 Madiface XT audio interface

much longer distances between devices; being able to take audio signals from one source and route to many destinations; and sample accurate clocking from one master device on the network. Thunderbolt 2 and USB 3 offer the ability to connect to Ethernet, so would also be compatible with networked audio devices. With the introduction of AES67, all of these audio-over-IP formats will talk to each other, so enabling one harmonious compatible format.” PreSonus could also make use of the Ethernet protocol in the future, according to Smith. “Audio networking solutions hold great promise – especially for higher-end products. The ability to connect audio with Cat cables for long runs is a huge advantage for audio transports. Being able to pull any stream off the network to record makes them great for larger installations and super-high channel count situations.”

Perrey says that Universal Audio is also looking ahead. “Thunderbolt 3 was just recently announced, allowing for even more bandwidth over a USB Type-C connector, and it will be backwardscompatible with USB 3.0 as well as Thunderbolt,” he explains. “It feels like the natural progression of the protocol, and reinforces our decision to use it as the connector for our scalable system of Apollo interfaces.” The prospect of a single protocol that provides all the capabilities that engineers might require in their audio interface is a beguiling one, but also one that is unlikely to bring to an end the heated discussions between manufacturers over the best way to implement the emerging underlying technology in future products. www.apogeedigital.com www.merging.com www.presonus.com www.rme-audio.de www.uaudio.com

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139

AUDIO ENGINEERING SOCIETY INTERNATIONAL CONVENTION

New York City, New York J acob J avits C enter Conference: Oct 29 – Nov 1, 2015 Exhibits: Oct 30 – Nov 1, 2015

If It’s About LIVE SOUND, It’s At AES139! LIVE SOUND EXPO comes to New York City this fall at the 139th AES Convention. Whether you are in the hot seat as FOH engineer mixing to a crowd of thousands, in an intimate local club mixing your favorite band, or handling the audio for a house-of-worship facility, the upcoming AES139 Convention in New York City is your one source for all things audio. With three days of exhibits, the Live Sound Track, and the Live Sound Expo, plus four days of workshops, technical papers and program content tailored to the current audio and communications landscape, once again, the AES Convention will be THE audio event of the year and cannot be missed. Our Live Sound Expo at the 139th Convention offers expert advice for the broad spectrum of live sound engineers (some 25% of Convention attendees) with an emphasis on the practical, bringing professionals with decades of experience to the stage to inspire and educate attendees.

AES139 Live Sound Expo itinerary and areas of focus:

• Friday, October 30 – Broadway/Theater • Saturday, October 31 – Worship & Install • Sunday, November 1 – Touring Admission to the Live Sound Expo is included with your FREE Exhibits-Plus advance registration. The Live Sound Expo sponsors are:

For AES sponsor opportunities contact Graham Kirk: graham.kirk@aes.org

If It’s About AUDIO, It’s At AES! For more information visit our website at:

www.aesconvention.com/139

Photo courtesy of Christian Heilman

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RECORDING FOCUS

THE DIRECT APPROACH

There can’t be many producers out there who would attempt to record a swing band playing Glenn Miller hits direct to disc any more, but Mike Valentine is one of them. Adam Savage went down to AIR Studios to see this demanding process in action.

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t’s not hard to see why direct-to-disc has become an increasingly rare method of recording since its peak in the first half of the 20th century. There is virtually no room for error – any mistakes from the musicians or engineers can ruin a session instantly; finding a group of players willing to play under the stress of these conditions is not easy; and there are few places left with the infrastructure in place to host such an activity. London’s AIR Studios, however, is one of them. But even with all the necessary kit to hand, a successful direct-to-disc project requires the right people to be involved too. Producer Mike Valentine had reasons to be confident of a disaster-free day – despite all the potential pitfalls – when he walked through the doors of the Hampstead-based facility in late May 28

to record the acclaimed Sid Lawrence Orchestra – now led by Chris Dean – direct to disc, though. And that’s because he’d done it all before 12 months earlier. “I had recorded a group in Venice [the Interpreti Veneziani] for their own record label in a little monastery there, and made two CDs with them. I then asked them to come to London and we recorded Vivaldi’s Four Seasons, but we did it as a direct cut – a live recording from the outputs of the desk, through the tie lines up to the second floor at AIR Studios, in effect straight onto lathe, and trying to be a bit of a weird purist, I wanted to have as little as possible in terms of compression and digital toys to keep the signal as pure as possible from the mics to the cutting head,” says Valentine. “And the thing is, when we listened back, there seemed to be a genuine live quality

to the sound, and I thought ‘we’ve hit on something here’.’” It turned out to be more than just a personal project for self-confessed “hi-fi nutcase” Valentine, who funded it all himself, as thousands of copies of the album were sold all over the world, which isn’t bad for a piece of vinyl-purist classical music. Due to its success both technologically and commercially, Valentine was soon afterwards eyeing up his next move – another direct cut. All that was needed was a choice of genre. “I thought ‘what are we going to next? How about some big band swing jazz?’” recalls Valentine. “I then listened to quite a few big bands, went to various concerts and came across the Sid Lawrence Orchestra. As a kid working at the BBC as a sound guy in the ‘70s I remember putting

mics in front of Chris [Dean] when he was a trombone player.” The decision to pick these musicians came down to a lot more than just raw ability – the pressure of having to play in an environment where so much can go wrong isn’t for everyone, but Dean’s group were up for the challenge. “When you put those musicians in front of a mic and record them live there are never any fluffs and that’s what we were looking for – people who are used to live performances,” explains Valentine. “I was nervous from a professional point of view what they would think of the idea and the session, and they were nervous because there were playing live, but I think it gave them that extra bit of edge in their performance. “At the end of the day we want the listeners to think that the musicians are

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RECORDING FOCUS The studio’s SX74 cutting head

test cuts, some on the inside diameter to see how it would sound on that part of the record [in terms of inner diameter distortion],” he comments. “I started by cutting a loud section, all guns blazing; this helps me establish a peak cutting level, depth of cut and equalizer settings. “At one point I had filters switched in upstairs and decided I was going to boost the bass by about 1.5dB with a shelving EQ and I boosted around 2k as I felt bringing the mid forward a touch would translate well onto the medium.”

PURE AND SIMPLE

Mike Valentine in discussion with the orchestra

//////////////////////////////////////////////// playing for them. I suppose ultimately what the composer had in mind was to have the music played so it would go straight into the listener’s mind, so if we can take some of the links out then I think that’s a great thing.” “Yes there was going to be the odd hiccup and missed note, but so what? At the end of the day I turned around and looked at the industry professionals who joined us and there were big smiles. These are people who have seen it and done it.” As well as sticking with the triedand-tested location – AIR’s Studio 1 was selected instead of the much more spacious Lyndhurst Hall due to its tighter sound – Valentine was also able to reunite with the engineering crew from last year, which included mastering maestro John Webber and mixing specialist Jake Jackson. They opted to maintain

a remarkably straightforward gear arrangement too. “He [Jackson] gets the balance very quickly, and I love the old Neve desk here – the engineers have really treated it with respect and it offers a beautiful sound. We did end up using 22 mics but very simply – on the drums two overheads, one kick; on the piano two mics and single mics in front of the remaining musicians. “And so we managed to get a relatively straightforward mix – nice wide stereo, very dynamic – straight upstairs to John, who had the technical problem of getting the four tracks per side without the needle flying out the groove.”

MASTER AT WORK So how would Webber describe his role and responsibilities for this particular task? Best to let the man himself do the

explaining: “I don’t affect what goes on down here [the control room]; Jake and Mike make all the recording decisions. I approach it like any other mastering scenario,” states Webber. “It’s my job to translate their sound upstairs, respect and complement their decisions in terms of balance, stereo, level etc, and transfer that onto the disc in the best way possible.” Talking of “other mastering scenarios”, what does Webber consider to be the main difficulties working with vinyl compared to more modern mediums? “Vinyl has its limitations including the space you can fit onto a side, the amount of stereo you can cut without jumps and inner diameter, high frequency distortion,” he continues. “Cutting a record groove is a bit like alchemy I suppose and it shouldn’t really work. You’re just sending voltages into two coils pushing down on a bit of sapphire, cutting into what is effectively paint! It’s amazing how it can sound so great.” This may have been their second time doing it, but Webber found their latest direct-to-disc trickier than with the Interpreti Veneziani. “It was a lot harder to cut this time even though the sides were shorter. My main challenges were the strong vertical signals and avoiding groove crashes while achieving a respectable cutting level,” he says. “Grooves crashing into each other can cause various issues on playback including skipping and increased noise.” And, of course, with there being so many things that could go wrong, preparation was key for Webber. “When we were rehearsing I did various

It’s also worth noting the lack of contemporary audio gadgetry, which Webber feels would’ve gone completely against what they were trying to achieve had they been implemented. “Part of the direct to disc ethos is to make the recording/mastering path as pure as possible, so switching in more electronics seemed a little counterproductive,” he explains. “In terms of the mastering stage the only additional electronics before the cutting amps was our elliptical equalizer.” Valentine adds: “Yes, you can prove with an oscilloscope and all the latest testing gear that there’s more distortion [doing it this way] or it’s not a perfectly flat frequency response, but bollocks to that You show me where the lever is for the smile factor.” Although the team is not the first to consider doing something like this at the studio, Webber reiterates that the primary reason why so few would attempt it is the high possibility of disaster. However, for this engineer the hazards only add to the appeal. “There have been occasions where people tried to get direct-to-disc projects off the ground at AIR and it hasn’t happened for one reason or another; you’ve probably got to be a bit mad to do it. Say there was a problem with the cut that I hadn’t noticed – I can’t visually check the entire lacquer after each take, it’ll take forever,” he says. “So if I miss one thing, or there’s a problem with shipping or the metalwork processing at the plant, then it would all be for nothing. “There are no recuts with direct to disc recording; it’s about as much pressure and excitement a mastering engineer can have in my opinion.” July / August 2015

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Expert Witness

saw an old newsreel just before the general election this year, showing the presenter holding a mic and trailing a cable around the studio. It made me think how our world has changed. My family has a background of acting in professional as well as amateur theatre productions, but I always preferred the technical side. I first used wireless microphones on a production of Oliver in 1985 – I only used two and had to change the batteries at the interval. Back then you couldn’t rack-mount the receivers because to get up to six – as a maximum – operating together you had to spread the receivers around the mixer, keeping each about half a metre apart. By the mid to late ’90s you could get a reasonable number of wireless microphone systems operating together, and you could also rack-mount the receivers together without fear of them interfering with each other. These days you can operate a good number of wireless microphone systems together. Bands can have wireless freedom for instruments and vocals, and theatres can double- or triplemic their actors. Frequency-wise UHF is where the professional systems are, and that’s where we’d like them to stay please, Ofcom. There are several new systems being offered on higher frequencies such as licence-free 2.4GHz, however I really don’t see any serious user considering these. Firstly, these frequencies are shared with Bluetooth devices, smartphones and WiFi just for starters. 2.4GHz and 5GHz devices are licence-free in most parts of the world but if the train has no seats or standing room left, it’s a bit pointless getting on board. We’ve now moved from Channel 69, which was right at the top of the TV band we all share, down the road to Channel 38, and like a new home this has advantages and disadvantages. If we look at the mid-priced wireless microphone systems, you could get 14-16 operating together on Channel 69 alone but that has been reduced to 8-12 on Channel 38. We are now

Sound Hire founder Joe Mitchell on what to look out for when sourcing a new piece of wireless kit.

operating in the middle of the TV bands, so we have to be much more selective about the systems we buy and use. If you require 12-plus wireless microphone systems to operate together, one solution is to use some of the latest wide-band wireless microphone systems covering up to 75MHz of bandwidth. Some even offer 150+MHz bandwidth. There is one manufacturer that now claims one of its systems covers around 400MHz of the UHF spectrum. This being the case then I hope all the major manufacturers follow on.

digging digital Digital is the way forward, the main reason being that mobile phone companies (and others) want more spectrum and they have the money to buy it. Let’s face it; we all use their technology and want better coverage. Mobile phone operators have bought most of the 800MHz band and it looks like they’ll get the 700MHz band in just a few years time, so we need more wireless microphones to operate in a smaller part of the spectrum. Digital systems can do this, and they can be encrypted which can come in handy if you do conference work and the client doesn’t want what’s being said to be broadcast outside the room. Digital systems also don’t use compander circuits, which analogue systems use to reduce noise. There was a time when adverts for wireless microphones claimed them to be as good or better than a cabled microphone. They never were, and possibly never will be. They are more useful than their cabled cousins, and they allow total freedom of movement, but they do have some issues – the compander circuits of analogue systems differ considerably from one manufacturer to another. One of the popular theatre system manufacturers’ companders is truly awful in my personal opinion. If you have good ears, you can hear all compander circuits; even the best is only as good as a mid-priced compressor. Digital systems change the sound slightly, and use limited

data transmission rates. It’s a bit like comparing a CD to a good MP3 recording; the MP3 is acceptable to most, but not 100%.

Personal Choices My favourite two analogue systems are AKG’s WMS470 (I’d have chosen the WMS4500 if it was available on Channel 38) and Sennheiser’s ew500. Sennheiser ew500 systems are excellent all round – probably the best value analogue systems on the market at this time. I’ve chosen the ew500 as it has the most features and isn’t that much more expensive than the ew300 systems. These Sennheiser systems also tune over a wider frequency range than the AKG WMS470 systems. I really like the AKG DMS800 systems due to a very wide frequency tuning range (150MHz) and features such as DBX compression being available. These are good, solid, well-made systems offering great performance, and these latest systems, which have only just come to the market off the back of

the very successful DMS700 systems, now offer interchangeable handheld microphone capsules. My final choice is the Shure QLX-D range. Shure has always been known for its handheld wired microphones, but in the past I wasn’t really a fan of its wireless offering. That’s all changed now. The Shure systems cover only half the frequency bandwidth of the AKG systems and have enormous receiver antenna, however the systems’ performance can only be described as excellent whichever way you look at it.

Expert Witness Joe Mitchell is founder and owner of Yorkshire-based Sound Hire, a specialist in the hire, sale and installation of radio/wireless microphone systems for applications including theatres, conferences and churches. www.soundhire.co.uk July / August 2015

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SYNTH 7 ‘The future of professional wireless.’

FACTS & FIGURES Rugged all-metal construction

amson’s new Synth 7 wireless system sets the standard for premium UHF wireless performance at an extremely attractive price point. Available in five unique configurations (Handheld, Guitar, Headset, Earset, Presentation), the Synth 7 system features rugged all-metal construction, as well as dynamic LCD setup and monitoring options. Together with advanced system features and flawless operation, Synth 7 is the future of professional wireless. Since 1980 when Samson introduced its first wireless system, a key part of its mission has been to take the worry out of wireless. Synth 7 honours that goal with its one-touch auto frequency spectrum analyser. This tool not only selects the optimal operating frequency for a given location, but it provides a full readout of the RF spectrum for a clear picture of your specific wireless environment. In addition, Synth 7’s IR Set allows you to wirelessly sync your transmitter to the receiver’s operating frequency. Synth 7’s UR7 Wireless Receiver was designed with dark stage environments in mind. Unlike hard-to-read dot matrix or simple backlit displays on other wireless 32

receivers, Synth 7 features a bright full-colour LCD that allows you to clearly monitor settings such as transmitter battery life, receiver volume level, RF signal strength and operating channel. The display enables faster setup and allows you to lock your settings to avoid performance interruptions. When using the LCD, you can also manually select from over 100 operating channels, monitor the battery life of your transmitter and set Squelch preferences. Synth 7 provides a best-in-class 300ft wireless range and can support the simultaneous operation of up to 16 systems (region dependent). The Synth 7 Handheld features the all-metal UH7 Handheld Transmitter with a Samson Q8 microphone capsule for incredible sound quality, minimal handling noise and superior feedback rejection. Meanwhile, the all-metal UB7 Beltpack Transmitter comes with the Synth 7 Guitar (with Samson GC32 cable), Headset (with Samson QV headset mic), Earset (with Samson SE10 earset mic) and Presentation (with Samson LM10 lavalier mic) configurations. Both transmitters feature a backlit LCD for monitoring battery life (up to 15 hours on two AA batteries) and one-touch clean Mute control.

Five versions: Handheld, Guitar, Headset, Earset and Presentation Bright full-colour LCD display on the receiver 300ft range One-touch auto frequency spectrum analyser

CONTACTS

Address: Korg UK, 1 Harrison Close, Knowlhill, Milton Keynes, Buckinghamshire, MK5 8PA Tel: +44 (0)1908 304600 Web: www.samsontech.com

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International

WIRELESS SYSTEMS

www.audiomediainternational.com

RØDE

RØDELINK ‘A revolution in wireless audio capabilities’

FACTS & FIGURES Series II 2.4GHz digital transmission

he new RØDELink wireless system utilises next-generation 2.4GHz, 128-bit encrypted digital transmission technology, sent on two channels simultaneously, to provide a highresolution 24-bit/44.1kHz digital audio signal at a range of up to 100 metres. The device automatically selects the strongest signal to ensure the user’s audio is as reliable and secure as a cabled connection. Designed and manufactured at the company’s headquarters in Sydney, Australia, the system consists of various receiver and transmitter options, and is available in a number of kits designed for film, newsgathering, presentation and stage use. The Filmmaker Kit – the first model to be released – consists of a beltpack transmitter, an on-camera or beltpack receiver and RØDE’s broadcast-quality lavalier microphone. The receiver (RX-CAM) features an OLED display with information on level, battery status (receiver and transmitter), mute and channel selection. The unit can be mounted on a standard camera shoe

128-bit encryption mount, 3/8in thread or belt-clip, and for added versatility the shoe mount can be located in one of two positions. The lightweight transmitter (TX-BELT) can be fitted to a belt or clothing and features a 3.5mm input with locking thread – compatible with MiCon-1 – to ensure the microphone connection is as secure as possible. RØDE’s omnidirectional lavalier microphone is included in the kit to provide the highest possible audio reproduction quality. RØDELink comes ready to use straight out of the box, with no channel selection required. Those using multiple units are offered eight discrete channels that can be set up in seconds. “Continuing RØDE’s mission to provide premium performance products at an accessible price, the RØDELink system will be one of the most affordable wireless solutions on the market,” commented Peter Freedman, RØDE’s founder and president at the launch of the system back in January. “Now the time is right for a revolution in wireless audio capabilities, and I believe that RØDELink will become the category leader in a very short space of time.”

Range of up to 100 metres OLED display on receiver RØDE omnidirectional lavalier microphone included

CONTACTS

Address: HHB Communications Ltd., 73-75 Scrubs Lane, London, NW10 6QU, UK Tel: +44 (0)20 8962 5000 Email: sales@hhb.co.uk Web: www.hhb.co.uk

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TECHNOLOGY REVIEW

ALLEN & HEATH GLD-80 CHROME EDITION Key Features n New metallic livery n Sleek black finish for AR84 and AR2412 AudioRacks n DEEP plug-in architecture n Several additions to onboard FX suite, including the Stereo Tap Delay and Bucket Brigade delay n Automatic Mic Mixer (AMM) added RRP: £4,349 / €5,899 www.allen-heath.com

DIGITAL MIXER

Simon Allen takes a look at one of the company’s new-look consoles to see whether it offers more than just a bit of added ‘bling’.

ince the Allen & Heath GLD was released only a few years ago, it has held a very strong position in the market. It seems as though every arts centre or small to mediumsized theatre that I visit has an in-house GLD. This isn’t just down to price either; the GLD offers a lot for the money, flexibility and quality assurance that comes with this respected brand. Although these are ultimately at the lower end of the market, it’s safe to say that it’s a pleasure to find them on a regular basis. This is mostly because they are compact versions of A&H’s mothership iLive system, with very similar audio processing and user interfaces. A&H has continued to update the software and firmware for the GLD 34

range, adding support for remote control, offline editing and other features we’ve come to expect from modern digital consoles. The latest release, (V1.5), brings some exciting additional features to the desk, and to mark this release they have given the desk a slight facelift. Gone are the purple-coloured sections, and upon the smart black finish are shiny chrome faders and rotary encoders. It’s a nice touch, but what about the rest of the new features? I’ve been using a new Chrome Edition GLD to find out.

Overview It is important to note that owners of original GLD consoles can update their firmware to the latest version (1.5) for free. This contains all the features that now come as standard on any new

GLD Chrome. The look of the desk is a celebration of the console’s success, and highlights a new chapter with this significant firmware upgrade. The Allen & Heath GLD system is very compact with all the processing being handled by the surface, unlike the manufacturer’s iLive systems, where the stage racks house the processors. This allows the desk to be used as a standalone with limited I/O, or with quite a wide choice of stage boxes over Cat5 digital snakes. These stage boxes have also been given a facelift, and are among the smartest and lightest stage boxes on the market. I believe the stage boxes have played a part in the GLD’s success story with installs, as it allows venues to distribute I/O points around their performing areas in convenient places.

With a selection of stage boxes, the GLD-80 can provide 48 input processing channels, eight stereo FX returns, 30 configurable busses and 20 mix processing channels. These FX returns, busses and mix channels can be userconfigured to arrange the processing power for different roles such as FOH or monitors. The GLD-112 has the same level of processing power and maximum channel counts, but facilitates a larger footprint. The GLD-80 has 20 fader strips over four layers, while the GLD-112 has 28 fader strips, also over four layers. Besides the GLDs offering a high specification, it is the user interface and flexibility of these desks that sets them apart from much of the competition in this area of the market. The channel strips can be placed anywhere on the console, which includes any channel type. This enables you to highly configure the desk for a fast and efficient workflow for any show or event. Colour coding also plays a key role in allowing the user to build their own mixer. Every channel has all the default processing tools and routing options you would expect from any high-end modern digital console. The audio processing toolset has always been

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excellent, but that has now become even better with this update, as I found out. The single channel strip layout of hardware encoders for the preamp, EQ, dynamics and so on are well presented, but the touchscreen, along with an additional encoder for whichever parameter you have selected, is also surprisingly fast to work with. Menus are simple and most functions can be found reasonably quickly. A&H also has a complete range of remote control accessories, and computer or tablet apps. Personal monitoring systems are available at a fraction of the cost of some thirdparty options, which don’t integrate as well. The tablet app is great for easily walking about the venue and still retaining some control of the desk, but the laptop/desktop application gives you complete control of the desk. The same computer app can also be used to create offline show files, which opens the desk to touring applications.

New Look, New Firmware The shiny new Chrome additions have given the desk some modern ‘bling’, but this doesn’t detract from the professional workspace these desks have to offer. Some of the materials used feel a little ‘plastic’, but for the price and the high durability of the controls, this is easily excused. One new feature which I wasn’t able to test this time round – I was using the desk in live sound scenarios and not conferences – is the AMM (Automatic Mic Mixer). This version of AMM can now work across 44 mic inputs. It has two modes: D-Classic dynamic gain sharing for a simple quick set-up and Number of Open Microphones (NOM) logic gate technology for a more intelligent auto mix.

The Chrome firmware update includes a plug-in architecture called ‘DEEP’ that allows users to quickly select from a number of different processing tools. There are two compressor models: the 16T and 16VU. These new compressors are found in each channel’s processing pages, where there are now six compressor models to choose from. They can be loaded even during a show and without eating into the virtual FX rack slots. Other new firmware features include some more onboard effects, such as a stereo tap delay with independent left and right time base, and comprehensive Tap Tempo functions. There is also a ‘Bucket Brigade’ delay effect. This is an effect Allen & Heath has developed to sound like non-linear solid-state delay units. The name itself comes from a certain analogue delay line comprised of capacitors from the 1970s. The effect emulates the non-linearity and filtering characteristics you would expect from such devices, but with the benefits of the digital domain like delays up to 2.7s and selectable distortion parameters.

In Use I’ve been using the new desk for some shows over the last few weeks, but the most in-depth opportunity was at a technically challenging dance and performing arts show. I installed a Dante card in the option slot of the surface and created a Dante network with a GB/s switch. This enabled me to use a multichannel playback system from one Pro Tools rig, and another Pro Tools rig for multichannel recording of the show, while still having a couple of stage boxes attached from the stage. I also installed a wireless router from

TECHNOLOGY REVIEW

the additional network port to give me wireless control from an iPad and laptop. The whole system worked

“The sonics and features are great considering the very affordable price point. The new look is great but the new firmware tools are a fantastic addition...” Simon Allen

I love the new FX and compressors. I used the 16T compressor from the channel strips regularly, which graphically looks similar to a wellknown pro-audio manufacturer. I found myself making great use of the 16T on vocals and potentially ended up with what ‘looked’ like worrying amounts of GR, which actually sounded great and enabled an easier mix. The choice of effects that are on board are plentiful to the extent that most engineers won’t need any additional outboard. The new delay effects are a great addition to the toy cupboard. I thought the stereo tap delay was easy to use and sounded great.

Conclusion flawlessly and was very reliable. The best part – set-up time at FOH was minimal with only a few Ethernet cables to worry about. For me, this really sums up the whole GLD experience. Once you’ve understood the user interface, which doesn’t take long, you’re away. You’re able to create quite complex and professional set-ups effortlessly, and for a fraction of the cost. Everything behaves as you would want it to and the sound is great. The preamps are clean, as you would expect from A&H, and the digital processing works well, allowing fine movements of EQ curves to be noticeable. The sound quality isn’t going to create something special, but it is very good. You have to keep reminding yourself the total price for a GLD package is only a fraction of some other systems. The sonic output delivers and behaves exactly as you’d expect, I don’t think we can ask for much more than that so I was really pleased.

The Allen & Heath GLD-80 Chrome Edition is a well-equipped mixer that is flexible, reliable and falls in line with modern expectations. The sound from the desk is uncolored and clear, but importantly you get a strong feedback from any processing moves you make, making fine adjustment a pleasure. The sonics and features are excellent considering the very affordable price point. The new look is great, but the new firmware tools are a fantastic addition to a desk that was already a safe buy for many applications.

The Reviewer Simon Allen is a freelance internationally recognised sound engineer and pro audio professional with over a decade of experience. Working mostly in music, his reputation as a mix and FOH engineer continues to reach new heights.

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TECHNOLOGY REVIEW

SYMETRIX SYMNET RADIUS 12X8 EX Already a long-term user of the company’s DSP products, Mike Sessler sees what the latest addition to the Radius range has to offer.

DSP

ymetrix’s SymNet products have long been favourites of many installers. They are solid units, known for sounding good, being easy to use and offering a great feature set at a price that doesn’t blow the budget. In recent years, Symetrix has been busy revamping the line-up, and recently it introduced a product that I was really excited to see, the Radius 12x8 EX. The Radius 12x8 has been around for a while and is a great product. Its Achilles heel was the ‘8’ part of the product name – it only had eight outputs. As modern sound systems grow bigger and require additional processing circuits, eight 36

outputs can be limiting. With the addition of a universal expansion slot, the processor can now become a 12 x 12 or a 16 x 8, depending on what you need.

Flexible Processing Power Like all SymNet products, the 12x8 EX is a building block DSP. That is, you decide how to allocate processing inside the unit. The SymNet Composer 3.0 soft ware makes it easy to design even the most complex processing paths. While Composer is not unique to the 12x8 EX product line, it is one of my favourites. One item in particular stands out in Composer – the ability to build custom parameter pages.

This comes in handy especially when doing things like time-aligning a complex distributed audio system. In most DSP software, you find yourself constantly clicking in and out of processing blocks to set various delay times. With Composer, you can grab all the delay parameters from every output in the system and display them all on one page, with custom labels. A few minutes spent in the office building some custom pages can save you hours in the field.

I/O Options It’s hard to fault Symetrix for the I/O compliment on the Radius 12x8 EX. In addition to the 12 standard mic/line

Key Features n Configurable input/output option card slot n 64 x 64 Dante network audio port n 12 analogue mic/line inputs, eight analogue outputs n Programmed using SymNet Composer open architecture software n Built-in ARC-WEB control RRP: £2,799 (exc VAT) www.symetrix.co inputs, the eight standard line outs and the expansion slot, it also has two 64-channel Dante ports. For the expansion slot, you can add an input or

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output card in four-channel analogue or AES, a four-channel AEC card or a twoline analogue phone card, or two-line VoIP card. Of course, if you need more outputs or processing power, Dante makes it easy to add additional Radius or Edge processors to the system. All of the I/O is presented on installer-friendly Phoenix connectors. I much prefer these to XLRs as they take significantly less time to terminate in the field. Of course, Dante is on RJ45s as you might expect. Speaking of Dante, it is important to note that the default setting for the Dante network is switched. Be sure to change this if you are using redundant mode. Don’t ask me how I know this. Dante routing can be handled through Composer, which really helps simplify setup. In Composer-speak, this

provide for control via Composer. The addition of a second port is a nice touch, especially in multi-processor environments, or if you need to have Ethernet control of an amp in the rack in addition to the DSP. The Ethernet ports are switched, so you can run a single line to your control position and still control multiple items in the rack without the need for an additional switch. Also included is an ARC control port. There are a number of ARC wall plate controls that are well proven in the field. The ARC-2e provides a rich, menu-driven set of controls, the K1e offers simple two-channel volume controls, while the SW4e and EX4e offer four push button controls. All controls are fully assignable and build through the Composer user interface. Like all Symetrix products,

is known as a Dante Flow, and Flows can be inputs or outputs. To keep them manageable, you can specify only the number of channels you need in each Flow. Channel naming and patching is all handled in the Flow dialogue box so you’re up and running with Dante in no time. The latest version of Composer also adds direct support for some Shure Microflex Wireless and AudioTechnica Dante-equipped microphones. This support provides for status monitoring and control, depending on the exact product.

ARC-WEB control is built-in. ARC-WEB lets you build custom control pages that can be accessed by any web browser on the same network as the Radius. Now that everyone carries a browser in their pocket, this opens up all sorts of control possibilities.

Control Options Aside from the aforementioned I/O connectors, the 12x8 EX also has an RS-232 control port on a Phoenix connector. Two Ethernet ports

Status Monitoring The Radius 12x8 EX does a good job of giving you useful information on the front panel without going overboard. There is a two-line, 16-character display that is used for both status and configuration information. Simple configuration settings such as IP address, unit name and the like can be assigned using this display and the four arrow plus enter keys immediately to the right of the display.

TECHNOLOGY REVIEW The central portion of the front panel is arrayed with a series of tricolour LEDs. Logically arranged, these LEDs show signal, high signal and clipping for the 12 inputs, eight outputs and eight optional ports. In the option column, lights will tell you if it’s an input or output card along with other status information. To the far right, system status lights indicate power, the presence of ARC controls, RS-232, Ethernet and Dante Primary and Secondary.

Performance All the features in the world aren’t much use if you can’t use them, or they don’t sound good. In both areas, the Radius shines. As I mentioned, Composer has become a great application for building and managing

DSP control, and the Radius sounds like, well, nothing. That is, it really doesn’t impart any character to the sound unless I want it to, which is prett y much what I want in my DSP. Because the processor is a buildingblock design, you can allocate DSP resources however you want to. There are limits of course, but it’s unlikely that one would hit them in a typical system that utilises the on-board I/O. There are dozens of individual DSP blocks you can add to each signal chain, but most of the time, I find myself using the pre-built loudspeaker processors. These blocks contain pretty much everything you’d need to tune a PA system. Of course, these may be overkill, so if you need to save resources, you can easily build your own.

In Use I recently used a 12x8 EX in a small church setting. We had a simple PA – two mains, with a single delay for the balcony, two subs and two monitor sends. I ran all the audio through the Radius and found it very easy to get the system dialled in. The processor appears to be quite transparent; I didn’t notice any audible sound difference between full bypass and all processing in and flat. The EQs behave as I expect, and it’s easy to dial them in exactly as you want. On another project, we used a Radius in a Dante environment and found it to be extremely easy to integrate and route audio. Again, it was a simple matter to get the PA aligned and sounding good using the loudspeaker DSP modules. Symetrix has been my go-to DSP for

quite some time and with the addition of the 12x8 EX into the line, we will only use more of them. They are workhorses that give us no trouble, are easy to use and configure and offer multiple avenues of control. I’m not sure what else we’d want from our DSP.

The Reviewer Mike Sessler has more than 25 years of live production experience and currently serves as a Nashville-based project lead for CCI Solutions. In addition to his work providing sound, lighting and video, Mike also authors the popular Church Tech Arts blog. July / August 2015

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TECHNOLOGY REVIEW

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DPA D:FACTO INTERVIEW MICROPHONE Key Features MICROPHONE Following his recent article on the rise of smartphones for newsgathering, Jerry Ibbotson was delighted to get his hands on a proper piece of equipment designed for this purpose by “legends of the microphone world”.

h the irony. A couple of months ago I wrote a piece for Audio Media International about the state of play in the world of mobile newsgathering. I talked about equipment that many in pro-audio would deem deeply ‘wrong’ – mobile phones and the like – and how it is now commonplace in both radio and television. The drive today is on collect and forward; not just recording audio but getting the material back to base. At the heart of this is the not-so-humble smartphone. I’m flattered by the response the article received, particularly on social media. A few journalist friends of mine picked up on it and there was a general nod of approval that rippled outwards. The consensus was that this was the way forward. Then just this week I read about one major TV news operation piloting a ‘selfie stick’ project. This is not an April Fools’ joke, it’s the reality of broadcasting in 2015. Contrast that with the zip-up case perched on my knee right now. It contains the DPA d:facto Interview Microphone, pretty much a state-of-theart example of a newsgathering mic in 2015 – designed and built to the highest standards by legends of the microphone world, and it sells for more than the very best top-end smartphone. 38

n n n n n

‘Superior’ suppression of wind and handling noise Provides ‘outstanding’ voice clarity and linearity Compatible with majority of professional wireless systems Built-in three-stage pop protection grid Eliminates need for extra foam windscreens or fur windjammers in most cases

RRP: €740 + VAT. €215 for extra adapters www.dpamicrophones.com

It’s a handheld condenser mic (phantom power will be needed) with an omnidirectional pattern – making it easier for reporters to use without having to point it at the interviewees. It can be operated wired or wireless through an adaptor – I tested it in wired format. The frequency response is 20Hz to 20kHz. It’s a hefty wee beastie with an all-metal construction and a matt black finish. It comes with a metal grille/ windshield, which unscrews. Taking this off reveals the capsule, which itself also unscrews. It also reveals the innards of the grille section, which demonstrates how much thought DPA has put into reducing wind noise with this mic, even before you slip on the included foam windshield. It’s lined with a material that looks like card and is much more than a simple piece of steel. DPA claims that the d:facto has strong wind suppression and low handling noise. The latter is something that I loathe in ‘roving’ mics but the capsule in this mic seems well insulated from handling and general ‘moving about’. The shaft of the mic has a smooth but still grippy surface and is contoured from the capsule down to the lead (or wireless unit). It certainly feels substantial and is easy to grip. My existing news/reporter mic is an AKG D230, which I bought 15 years ago but is still on sale today (at around a sixth of the price of the DPA). It feels decidedly ordinary in the hand compared to the d:facto.

In Use I tested the DPA by simply recording voices – the very thing it’s designed for. I hooked it up to my Roland R25 portable recorder, which I’ve used for a wide range of interview recordings for radio stations from my local – BBC Radio York – to Radio 4. It’s been used everywhere from the pavements of York to the streets of Copenhagen, hooked up to either the AKG or my RØDE NTG3 shotgun. It would give me a solid benchmark as to whether the new boy is any good. I had high hopes, having used a range of DPA gear in the past. I still have a pair of their instrument mics in my arsenal, which I’ve used to record anything from a Ferrari to a Bishop (the latter being a senior clergyman not an exotic sportscar). I know first-hand how brilliantly well-made they are and how this carries across to their sound quality. The d:facto lives up to the high standards of its stablemates. The sound quality is superb and even when monitoring in headphones you can tell just how much better this mic is than some of its rivals. There’s a clarity to the recorded material – a level of detail in the voices – that really stands out. At the same time it’s also natural sounding and free from sibilance. Interview recording (or eng work) is different to studio recording. The subject may well be moving about, so the mic has

to follow. At the same time, it’s unlikely to be mounted on a boom (often hand held by a journalist) so needs qualities that other microphones don’t. The DPA showed few signs of handling noise, even when I was elaborately ducking and weaving to provoke a response. I’ve used mics that rattled and clicked even when I was holding them dead still, but the d:facto Interview Microphone gave me no problems whatsoever. It’s a cracking microphone and severely puts to shame many other mics used in newsgathering and interview scenarios. The audio quality is pristine and the low level of handling noise is superb. But it comes at a price, literally. With budgets only heading in one direction, the question is not whether you sound pick the d:facto but whether you can afford it.

The Reviewer Jerry Ibbotson has worked in pro audio for more than 20 years, first as a BBC radio journalist and then as a sound designer in the games industry. He’s now a freelance audio producer and writer.

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TECHNOLOGY REVIEW

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FOCUSRITE RED PLUG-IN SUITE

PLUG-INS

Rich Tozzoli tries out these new models of the company’s classic Red range of equalizers and compressors.

oading the new Focusrite Red Plug-in Suite was like getting back in touch with a long-lost friend. Using them in a session made the memories even sweeter, especially since these updates have been completely rebuilt and recoded. Modelled after the famous Red range of hardware units, the Focusrite Red Plug-in Suite consists of the Red 2 equalizer (pictured) and Red 3 compressor; they are not available separately. The suite runs mono/stereo as VST, AU and AAX software on Mac OS 10.9 or higher and Windows 7 and 8.1. The Red 2’s analogue circuitry was originally designed for Focusrite’s Forte console and used the ISA 215 EQ circuits. Like the hardware, the EQ software is comprised of three sections: Low and High Pass filter, Low Shelf and High Shelf, and Low Mid and High Mid parametric EQ in the centre. Also available is an Output VU meter and Gain knob (+/-18dB). The centre section has the Low Mid and High Mid with Boost/Cut gain 40

range of +/-16dB, fully variable Q and a sweepable frequency select knob. The Low Mid ranges from 40Hz to 1.2kHz and the High Mid ranges from 600Hz to 18kHz. The Low Shelf and High Shelf also feature Gain control (+/-16dB) and a frequency select knob. Low Shelf ranges from 33Hz to 270Hz and High Shelf ranges from 3.3kHz to 15kHz. The High and Low Pass filters are enabled when turning the knobs past their ‘off’ setting. The High Pass values run from 36Hz to 330Hz and the Low Pass ranges from 3.9kHz to 16kHz. The Red 3 Compressor is based on a VCA design originating in the ISA 130 module. It’s a soft knee design, with limiting following compression. Controls include +/-18dB of input gain and a Ratio knob with a continuous range from 1.5:1 to infinity:1. There’s the usual Attack with Fast and Slow settings, Threshold ranging from -10 to -50dB and Release with settings from 0.1 to 4 seconds. The Auto Release button allows the release curve to be determined by the material on input, changing with the dynamics of the signal. Red 3 also has two level meters: the Input/Output meter with relevant toggle switch on the left and the Gain Reduction meter on the right. Inside the I/O meter, the red needle displays the selected Threshold value, which is pretty cool. Make Up Gain gives you up to 40dB of extra gain when needed.

In Use The Red 2 EQ is a breeze to use. If I were to describe it in one word, it would be

‘clean’. Its filters and curves are smooth as silk. Since I do a lot of cutting in my mixes, the High and Low pass let me quickly eliminate mud and harshness. On acoustic guitars, pushing up a touch of Hi-Shelf brings out just the right amount of pick and string noise – again, in a gentle way. I like the fact that if the shelf is too much, I can simply dial in something similar with the High Mids and sweep it around while widening or tightening the Q. Since the EQ is so transparent, it sounds great in stereo on my master fader, dropping in some High Pass around 50Hz to tighten the bottom while pushing 16kHz to 18kHz with the Q in the middle between tight and wide. Meanwhile, for Red 3, I would describe it as ‘smooth’. It does not step on your elements unless you want it to, and I immediately put it across a Steven Slate kick drum sample that had a lot of tick in it, whereas I wanted more of the mid and bottom. I was able to pull out the initial attack and leave in the beef in a very smooth way. Then I used Make Up Gain and Dry/Wet to dial it in just right, almost like I was using parallel compression. I also like the Red 3 on bass, vocals and even acoustic guitar, but in a specific way. Normally, I don’t compress acoustic, unless I’m going for a tight, clean country sound. Like the tick on the kick, I was able to find the top of the sound where the pick resides, making it even and clean around the 10:1 ratio with Attack in the middle. I dialled it in until it was just a bit too much, then pulled back the Dry/Wet control until it sat

Key Features n n n n n

Modelled after the famous Red range of hardware units Red 2 consists of three sections: Low and High Pass filter, Low Shelf and High Shelf, and Low Mid and High Mid parametric EQ in the centre Output VU meter and Gain knob also available on Red 2 Red 3 is based on a VCA design originating in the ISA 130 module Two level meters with the Red 3: Input/Output and Gain Reduction

RRP: $299 www.focusrite.com perfectly in the mix. Once again, I made a preset and now have a great acoustic guitar compression setting. I’m really glad I have the Red 2 and Red 3 back in my rig. They look great, sound great and are easy to use. Without a doubt, they help me make better-sounding mixes. The Red Plug-in Suite reminds me of what a treat it is when old friends drop in and bring something new to the table.

The Reviewer Rich Tozzoli is a producer, mixer, engineer and musician/composer for TV programmes such as Duck Dynasty, History Channel’s Pawn Stars, Harpo Studios’ 21-Day Meditation Challenge and more.

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www.dbaudio.com

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6/10/2015 10:11:41 AM

INTERVIEW

www.audiomediainternational.com

WRENCH IN THE WORKS

Fresh from his keynote speech at the Innovation in Music event in Cambridge, AMI caught up with producer and sound engineer David Wrench to discover why his unique style is attracting so much praise.

and EQ everything and then find spaces for stuff, and then it’s into finessing, cleaning everything up, checking for clicks and crossfades – the boring bit! Do you have any favourite pieces of gear that you rely on? For mixing, monitors are the most important thing; if you don’t know what you’re hearing then it doesn’t matter what you’re doing. That’s the essential thing to get right, so I use Neumann KH 310s a lot. Adam A7Xs I use, and a tiny pure stereo, and then some beyerdynamic DT-880 headphones.

You have a wide and multi-faceted career, as both a recording engineer and musician. What initially made you go down the mixing path? Some of it was just how it panned out really. I started doing some mixes with Caribou and that track Odessa really took off, and I started getting offered a lot of mixing work on the back of that. I also had a baby around that time and I wanted to not be working production hours. It seemed to go well, it was a good decision to make. Do you think mixing has changed over the course of your career? Yeah, massively. I started out working when it was on tape, so it’s completely different now to how it was 18 or 19 years ago. When I first started out it was four or five people at a desk each with their parts to learn, no automation and you’d sort of do a live mix, and it was a performance, whereas now there’s so much control; the Pro Tools revolution has happened, it’s completely changed it. Do you prefer it that way? I like both. I like new technology and I like trying out new things. I think there was a period where, because you could, everything got really processed and tightened up and overly clean, because it was new and exciting at the time. 42

But then I think people realised that records still need a bit of grit and a bit of character to them, and that sort of crept back in and now that’s perfectly achievable with a Pro Tools workflow. You’re particularly known for three highly acclaimed records from Caribou, FKA twigs and Jungle. How did you approach these? I just tried to work with what was there, and tried to find a working method that was right for each record; not impose myself on it, but also get a sound that was right for each record. Is it challenging not to ‘impose yourself’ on your work? Yeah, it is. Unless they’ve asked specifically ‘just do your own thing’ on it. Even then, it’s about trying to find something unique on that record. I’d get bored if I was just making records that had ‘my sound’ on them. I don’t have a sound. I have things that I like and I probably have frequencies that I like in mixes and frequencies I don’t, and I have certain things that I would gravitate towards. I also try to do mixes that don’t have those things in sometimes; I don’t want to be just in one style. You have been described as having ‘the rare ability to bring discipline to

experimental projects without losing their leftfield qualities’. Do you think this is accurate? Yeah. I like music that challenges me, but I like it to be listenable. I will listen to stuff that’s quite avant-garde and quite hard-going and I like it, but I also realise in a practical world it has to get on the radio, and it has to sound good on headphones, in a car, on a club system. I seem to work a lot with self-producers and I think for a lot of them it’s getting someone technical in who they can talk to in an artistic fashion; it’s the art of it that’s still important but I’ll try to make sure it’s delivered in a technically correct fashion as well, and that their vision will come across on the majority of systems that it’s played on. Could you tell us a little about your method of working? Well it changes from record to record. I try to initially get a really quick balance using only volume, and I’ll run through everything and organise it in a way that I’m used to. Maybe only do EQ if it’s absolutely necessary. I’ll always have their rough monitor mix on a separate pair of faders so I can A/B, and I do that right throughout the mix process to make sure I’m not making it worse or that I’m not losing something that was really good about it. I’ll then go through

Where do you see your profession heading in the next few years? I think it’s becoming more and more crucial, because so many more artists that are getting signed are selfproducing and they’ve maybe come through recording courses or they have the technology. They need someone with some expertise at the end to be able to piece it together in the mix. It’s years of expertise, that’s what you’re getting someone like that for. What’s next for you? Have you got any big projects lined up that you could tell us about? There’s a few things about to come out. There’s an album by a really interesting artist called La Priest. He recorded a lot of it on an 8-track tape and lots of old analogue synths and early digital synths. There’s a really good songwriter/ producer, she goes by the name of Empress Of. I’m working on mixing music for a live performance of ballet – the music is by Jamie XX – and that’s in the Manchester International Festival. That’s in 6.1 surround, so it’s quite a challenge, especially as the Pro Tools panning templates don’t match where the speakers are, so I’m trying to find ways of working around that. I’m mixing it in 7.1 but ignoring the centre speaker; that’s the only way it’ll match up in terms of panning. It’s a bit tricky.

July / August 2015

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