AMI March 2016 Digital Edition by Future PLC

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March 2016

FRONT AND CENTRE How engineers are adapting to the demands of today’s live touring market p22

GEO FOCUS

A look at where the industry is heading in Germany p18

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REVIEW

Exploring the capabilities of the X Series from L-Acoustics p34

INTERVIEW

Skywalker Sound’s Leslie Ann Jones joins us for a chat p42

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WELCOME

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EDITOR Adam Savage asavage@nbmedia.com

Experts in the issue

THE MAGIC HAS GONE

MANAGING EDITOR Jo Ruddock jruddock@nbmedia.com STAFF WRITER Colby Ramsey cramsey@nbmedia.com ADVERTISING MANAGER Ryan O’Donnell rodonnell@nbmedia.com ACCOUNT MANAGER Rian Zoll-Khan rzoll-khan@nbmedia.com HEAD OF DESIGN Jat Garcha jgarcha@nbmedia.com DESIGNER Tom Carpenter tcarpenter@nbmedia.com PRODUCTION ASSISTANT Warren Kelly wkelly@nbmedia.com CONTENT DIRECTOR James McKeown jmckeown@nbmedia.com Press releases to: ukpressreleases@nbmedia.com © NewBay Media 2016. 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@c-cms.com 1 Color - 100 White

Printed by Pensord Press Ltd Front Cover: Mat Acreman

Mike Collins is a studio musician, recording engineer and producer who has worked on music recording, TV and film scoring sessions since 1981, and since 1988 has written more than 2,000 articles and equipment reviews for various magazines. John Delf is a FOH engineer and owner of Edge Recording Studios (www.edgestudio. co.uk), who has worked with artists such as Plan B, Lily Allen and 5 Seconds of Summer, to name a few. Leslie Ann Jones is a four-time Grammy Award-winning engineer, and director of music and scoring at Skywalker Sound

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

was just gathering my thoughts and getting ready to type up another positive introduction to this issue of Audio Media International when I got some very unwelcome news and felt compelled to mention it here. Literally the minute I sat down to write this, the message came through that we’ve lost another big studio – New York’s The Magic Shop, run by Steve Rosenthal. We ourselves spread the news earlier on that the facility had been struggling for a while – and even Dave Grohl, who offered to put forward some serious cash to help them with their troubles, was unable to do anything about it – so perhaps we should have seen this coming, but the most surprising thing about it is the fact that this wasn’t a has-been studio. Not only did it feature prominently in Grohl’s ‘Sonic Highways’ TV series alongside some of the biggest and best spaces in the States; it was also used for the recording of the Foos’ latest album, as well as the last two records

from the late, great David Bowie. Yes, I’m talking about Blackstar, which has been topping charts all over the world since the Starman’s recent passing. It’s so sad to see the demise of a place with such history – recent history, too – and support from some of the biggest names in music so soon after the completion of such high-profile projects, and I can only hope that we don’t see any more similar cases for some time, but I can’t say that with any certainty unfortunately. On the other side of the Atlantic, London-based Grand Central Recording Studios has been having a better time of it lately, as you’ll see once you turn to our Studio Profile this month. They’ve been keen to talk to us for a while about their swanky new studios, and you can find out the reasons for all this excitement over on Page 30. Back in the US, but this time on a lighter note, we were also delighted to get the opportunity to chat to the brilliant Leslie Ann Jones, Skywalker Sound’s director of music and scoring for our back-page Q&A. We caught up with Jones just days after she collected her fourth Grammy, and discovered she has quite the story to tell. There’s also a bit of a live sound feel to this one, with contributions from some well-known engineers throughout, so have a look around and I hope you enjoy.

Adam Savage Editor Audio Media International

March 2016

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CONTENTS

PRODUCT NEWS

We announce our ISE Best of Show winners

New HK Audio Linear loudspeakers launched

‘World’s first AoIP monitor’ from Genelec

Lab.gruppen’s new E Series amps

PEOPLE 12

OPINION John Delf explains why engineers need to have their wits about them when it comes to social media

Mike Collins on the importance of making the recording environment a comfortable one

INTERVIEW We speak to Skywalker Sound’s Leslie Ann Jones about the engineer’s many achievements, including her latest Grammy success

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ALSO INSIDE

GEO FOCUS: GERMANY Colby Ramsey asks a number of key players in the German pro-audio market about the challenges faced there at present

FEATURES 22

TOURING SOUND David Davies interviews several live sound engineers to gather their thoughts on the everchanging touring sector and its effect on them

COMPANY PROFILE: Adam Savage discovers the story behind Studio People, which has been designing and building quality facilities worldwide for more than 20 years.

STUDIO PROFILE: Following a flurry of upgrades at the Soho sound design hub lately, we paid Grand Central Recording Studios a visit to see what’s new

REVIEWS

34 36 38 40

L-Acoustics X Series RME Babyface Pro The Cargo Cult Slapper Shure PGA181

March 2016

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Design for Live The phenomenally powerful XCVI Core puts dLive at the heart of tomorrowâ&#x20AC;&#x2122;s sophisticated live audio systems, while its class-leading user interface keeps the engineer focused on mixing in the moment.

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PRODUCT NEWS

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AMI REVEALS ISE BEST OF SHOW WINNERS Prior to this year’s Amsterdam gathering, companies were invited to nominate new products they were set to showcase at the RAI; those submitting entries were then asked to carry out a demonstration to a member of our judging team during the show, making sure to outline key features and point out any unique selling points. The winning entries – along with comments from the judges – are as follows:

number of levels, particularly ease-ofuse, processing power and general layout. A cleverly-designed system that is sure to appeal to both VENUE veterans and those less familiar with the company’s consoles, across a range of applications.

Thomas Giczy, AKG’s business development manager, installed sound James Baker, Avid live sound specialist (EMEA) Avid – VENUE S6L With a wide array of configurability options, the new S6L delivers on a

AKG – MicroLite The new MicroLite series microphones from AKG may be tiny, but they are built to withstand the daily demands of theatre, broadcast and conference use, while also providing impressive sound. Available in lavalier, ear-hook and

headworn versions and supported by a multitude of accessories for all kinds of situations, these mics are virtually invisible when worn, but ensure the user is heard clearly.

Focusrite’s Simon Short (left) and Sam Hayward Focusrite – RedNet AM2 The AM2 is a flexible headphone and loudspeaker stereo monitoring solution for use in Dante networks. With highquality digital to analogue conversion, independent headphone/line output level controls and the ability to chain it with multiple network units, this is a welcome

addition to the RedNet range. A digital publication featuring all the products nominated across the spectrum of the NewBay Media Best of Show Awards will be available soon.

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ALLEN & HEATH ADDS INSTALL MIXERS Allen & Heath showed two new installation-specific mixers, the GR3 and GR4, for the first time at this year’s ISE. Designed to provide ‘simple yet comprehensive control’ of programme audio and announcements for multiple zones in bars, restaurants, stores and other leisure and retail environments, the GR3 and GR4 are ideally suited to applications requiring multiple input sources and specific priority settings. Both the GR3 and GR4 are 1U rackmounting audio mixers, with features including an easy access mic input on the front panel for announcements and paging; zonal auto-ducking for paging and emergencies and optional wallplates for remote control. The control layout allows system integrators to manage which controls are accessible for everyday use. The GR3 has two mic inputs and two stereo inputs, while the GR4 has four mic inputs and four stereo inputs. Additionally,

the GR4 has a 3.5mm jack on the front to connect portable music sources, such as an iPod. Both units have two stereo zones, and an additional two mono zone outputs are available on the GR4. Another feature is individual mix and selectable control of all inputs to zone 1 and 2, along with multiple options for configuring mix outputs to zones 3 and 4 via internal jumpers. Additionally, gain and two-band EQ is available on all mic inputs with a two-band EQ available on zones 1 and 2 outputs. There is automatic ducking in primary and secondary mic mode, as well as emergency mic mode, and juke box mode as well. www.allen-heath.com

PRODUCT NEWS

HK AUDIO ANNOUNCES NEW LINEAR LOUDSPEAKERS HK Audio debuted its new Linear 5 LTS passive mid/high unit and Linear SUB 4000 subwoofer at ISE 2016. The speakers are designed primarily for small/mid-sized rental companies, as well as installation in a variety of venues. The manufacturer also brought the rest of its install stable to the event, including models from the Elements, Linear 5, Cadis and Vortis lines. In addition, portable PA enthusiasts were able to get hands-on with the new Lucas Nano 608i, described by the firm as the first ever all-in-one-PA with iPad-enabled mixer. Many of the system solutions unveiled at ISE 2015 were also improved and expanded upon for 2016 – making operation simpler and more efficient than ever before, the company says.

Alexander Wollenberg, HK Audio product manager, said: “With our new passive Linear series speakers – especially the LTS Long Throw System which features our revolutionary Multicell Transformer technology – and our upgraded customer-friendly system solutions all ready to go, we’re helping to make the lives of installers across the world easier and acoustically more advanced than ever before.” www.hkaudio.com

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PRODUCT NEWS

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NEW AUDIO-TECHNICA DIGITAL LD SYSTEMS DELIVERS DANTECONFERENCE SYSTEM INTEGRATED POWER AMP Audio-Technica’s ATUC-50 digital conference system made its European debut at the 2016 ISE Show. A ‘new-generation’ conference solution, the ATUC-50 is designed for simple operation and plug-and-play functionality. According to the company, the system’s cost-effective nature belies its power and flexibility, with multi-mode operation, 12-band feedback suppressor, on-board fourchannel recorder and translation channel all featuring in the ATUC50’s specification.

A choice of two gooseneck lengths with the ATUC-M43H (430mm) and ATUCM58H (580mm) microphones also allows for flexibility in terms of positioning. Employing standard Cat5 (and above) cables, up to 150 ATUC-50DU discussion units can be connected in either daisy chain or ring topology (for added redundancy) and controlled from any web browser with no need for additional software installation. Configuration via Web Remote Control is described as simple and quick, with settings able to be stored as presets for easy recall. The user-friendly design of the ATUC-50 and its ‘unrivalled sound quality’ makes it best suited for applications throughout the corporate sector, from boardrooms and meeting rooms to multilingual conference settings, houses of worship and more. www.audio-technica.com

‘WORLD’S FIRST AOIP MONITOR’ FROM GENELEC Genelec showcased the 8430, a brand new addition to its Smart Active Monitor (SAM) range, at ISE. The 8430 is said to be the world’s first commercially-ready AoIP (Audio over Internet Protocol) studio monitor. The 8430 is the culmination of many years of research and development into AoIP by Genelec, and the company believes that the time is now right to launch this solution: “At Genelec we believe that audio-over-IP networking, using systems fully compatible with open and global standards, is the right, reliable and robust way to address the future needs of the audio market. By launching 8430 we are a significant step closer to this reality,” said Siamäk Naghian, managing director at Genelec. The 8430 combines ‘exceptional’ connectivity options – first using

an AES67 signal, the AoIP industry standard, via the XLR-housed RJ45 connector, and second, using a standard analogue signal via a balanced XLR connector. As part of the SAM Series it features Genelec MDE and DCW technologies, a flow optimised reflex port, very low distortion, high SPL and wide uncolored response in a very compact enclosure. www.genelec.com

LD Systems exhibited its DSP 44 K ProAudio power amp, the first product highlighting the new partnership between Adam Hall Group and Audinate, at the RAI. The DSP 44 K power amp was developed in co-operation with Ram Audio, whose products are distributed in many countries by Adam Hall. The German-designed power amp features a fully-integrated Dante network, a high-performance DSP and controllability via USB and Ethernet using external control PC software. The amp can be operated as a two or four-channel device. Four kilowatts provide plenty of power reserves as 4 x 1,000W at 4 or 2 ohms or 2 x 2,000W (bridge mode) at 8 or 4 ohms. The company also guarantees maximum operational reliability at 2 ohms. Safety features permanently protect the power amps while FIR/IIR filtering, EQs and crossovers, as well as delay functions, all form part of the overall technology.

The developers at LD Systems focused on making the DSP 44 K optimally integrable, including when complex requirements exist in relation to the audio and control technology. An extensive preset library is available for LD Systems speakers, ensuring ‘optimum adjustment in line with room acoustics and functionality.’ Tom Mikus, Adam Hall Group global integrated systems director, commented: “With the LD Systems DSP 44 K, Adam Hall Group once again opens a new chapter in audio technology. The partnership with Dante also helps us develop products and solutions for the demanding professional market that are not only increasingly intuitive to use but also more complex.” www.ldsystems.com www.adamhall.com

JÜNGER INTRODUCES C8000 PROCESSING BOARDS Jünger Audio has launched a new range of cards for its modular C8000 audio processing system. The C8000 solution comprises DSP-based audio processing cards together with a wide range of I/O options, allowing customers to choose the precise number and type of input and output interfaces and processing they require for their facility. The C8000 card system, already favoured by many broadcasting facilities around the world, is particularly geared to multichannel sound, with interfaces available for 3G/HD/SD-SDI, MADI, Dante AoIP, as well as AES3 and analogue I/O. C8000 processing also includes options for multichannel loudness control incorporating Jünger Audio’s Level Magic algorithm, automatic surround upmixing, in-built failover and voice-over circuits, multichannel AV compensation delay and direct codec

system support such as Dolby D, D+ and E encoding and/ or decoding. The company says the introduction of new processing boards (C8092, C8492B and C8492) will allow it to deliver improved algorithms to its customers by enabling them to complete the same processing tasks in a much more efficient and cost-efficient way. Also, because of the higher processing density of the C8092 and C8492B boards, it is possible for typical configurations to be created by using less frame space. To coincide with the release of the new boards, Jünger will be phasing out some of its older, obsolete models including the C8086+, the C8087 and some of the Dolby cards. www.jungeraudio.com

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PRODUCT NEWS

SENNHEISER STRENGTHENS TEAMCONNECT RANGE Sennheiser launched TeamConnect Wireless (pictured), its new wireless conferencing solution, in the Netherlands last month. One of two additions to the TeamConnect family, TeamConnect Wireless allows users to connect their own smart device or computer wirelessly via Bluetooth, and permits wired connections via USB or jack cable. The solution supports multiple simultaneous audio channels, allowing users to bring up to 24 additional callers into an ongoing conference by simply connecting another device. Another new product that saw its debut at ISE was TeamConnect Ceiling, a ceiling mounted array microphone for fixed installations which uses beamforming technology to automatically focus on whichever person in the room is speaking, wherever they are sitting or standing, ensuring ‘great sound quality and flexibility.’ Finally, Sennheiser presented the latest developments in its SpeechLine Digital Wireless range. New features include a multi-room functionality, making it possible to adjust the transmission power to address different

scales of installations for simultaneous use of multiple systems on the licensefree 1.9GHz frequency. The range will also be compatible with Audinate’s Dante Network Protocol to support audio-over-IP networks. Andy Niemann, director business communication at Sennheiser, commented: “Whether you are an audio engineer responsible for sound at a major conference, a manager seeking to set up more effective team conferences, or an individual demanding better sound from your business calls – we have an exciting range of solutions that excel through innovative features, unparalleled ease of use and Sennheiser’s characteristic high-quality audio performance.” www.sennheiser.com

NUGEN REVEALS KEY UPDATES Nugen Audio demonstrated the latest updates to its family of postproduction and broadcast audio tools at this year’s BVE Show, taking place at London’s ExCel Centre. The company unveiled several updates for its Loudness Management Batch (LMB) Processor’s extensions, including improved LRA correction speed for the DynApt Extension and wider file format support for the ProRes Extension, which now supports .MOV files using Version 2 descriptors and those with the LPCM format flag. Channel support for the LMB Processor has been increased from 16 to 32 channels when advanced routing is used for both the MXF Extension and ProRes Extension. These updates will be available at no charge to current owners. Nugen also announced Adobe Premiere integration for its LM-Correct 2 loudness quick-fix tool. For the first time, Premiere Pro users will have LM-

Correct at their fingertips to help them adhere to any worldwide loudness standard at up to 100 times faster than real time. Using Adobe’s Common Extensibility Platform (CEP), Nugen has created a fully integrated CEP panel for LM-Correct 2. This means Nugen’s loudness analysis and correction can now be run from a simple panel within Adobe Premiere, without requiring users to leave the editing environment. In addition, the manufacturer introduced a forthcoming 9.1 extension to Halo Upmix, which will provide compatibility with Dolby Atmos bed tracks and is projected for release in Q2 2016. www.nugenaudio.com

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LAB.GRUPPEN EXPANDS E SERIES Lab.gruppen has bolstered its E Series of compact 1U installation amplifiers with the introduction of the first four-channel models in the range, the E 10:4 and E 5:4, as well as the new two-channel E 2:2. Now consisting of six models, the newly expanded E Series marks the tenth anniversary of Lab.gruppen’s first major entry of 2U, eight-channel solutions for the commercial installation market with the C Series in 2006. With the introduction of fourchannel models, the E Series can now offer eight channels configurable as any of 21 different power output and channel combinations in the same rack space as one 2U C Series unit. Options include one-to-one alternatives for the C 20:8X (with two E10:4 in a 2 U space) and the C 10:8X (with two E 5:4 units).

The new flagship model, the E 10:4, provides four discrete inputs and four flexible output channels producing 1,000W of maximum total output at four, eight, 16 ohms or into 70V. Each channel may be individually optimised to drive either a low impedance (4 16 ohms) or a 70V load. The E 10:4 is certified Energy Star 3.0 compliant, and its flexibility allows users to ‘maximise overall system efficiency and inventory utilisation.’ The new E 5:4 also provides four channels of amplification with all the same features as the E 10:4, but with a maximum total output rating of 500W (4 x 125W nominal at 4 16 ohms or 70V), while the new two-channel addition, the E 2:2 (2 x 100W) allows installers a cost-effective option for lower power applications. www.labgruppen.com

MCDSP PREVIEWS 6050 CHANNEL STRIP McDSP has unveiled its upcoming ‘Ultimate Channel Strip’, the 6050. Offering more than 25 modules, including gates, expanders, signal saturators and specialised filters, the 6050 also features all the modules from the 6020 Ultimate EQ and 6030 Ultimate Compressor plug-ins. Each new module draws on a variety of designs over the last four decades. Designed to ensure simple and intuitive operation and available in mono and stereo versions, the 6050 Ultimate Channel Strip has input

and output stages, based around a trio of module bays into which any of the modules can be inserted. They can be dropped in and rearranged in order to affect the signal flow of the channel strip, and a module selector panel allows auditioning of equalisers, compressors and additional effects. Other features include easy drag-and-drop; on-the-fly module auditioning; side chain support; Analog Saturation modelling; double precision processing and ultra low latency. www.mcdsp.com

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OPINION

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SHOULD ROADIES ENGAGE IN SOCIAL MEDIA? FOH engineer John Delf, with his 50,000-plus Twitter followers, discusses the online world’s many pitfalls, which all modern touring professionals should be aware of…

JOHN DELF

n this high-tech era of the music industry, it seems the best way for a new band to break through is on social media. Most of the biggest acts around today were discovered on YouTube, Twitter and Instagram. It all 12

began with the now defunct Myspace – acts like Arctic Monkeys and Lily Allen were discovered. Facebook and Twitter were next, then Instagram became one of the largest social media platforms. Now bands regularly promote themselves using Snapchat and Periscope. The need for musicians both up-and-coming and established to be able to master the art of social media is more important than ever. With the introduction of file sharing and MP3s, the ‘dinosaur’ bands complained about how their revenue was being destroyed by the internet, yet at the same time many new bands saw it as an opportunity, by exploiting the internet, to dominate the world. It completely changed the industry to a point where new income streams had to be found. Everything was turned on its head. In the past, touring was the loss-leading

promotion for the album, now the album is the loss-leading promo for the tour. Social media is a great way for musicians to connect with their fans and make their fanbase feel close to the band. New acts can generate a huge following, numbering into the millions, just by using these free apps. Knowing how to manipulate them can be highly influential in the creation of making a band these days, or should I say ‘brand’. From their rehearsal room or bedroom they can connect with people all over the world in a way previously unthought of. Some bands have YouTube channels that have bigger viewing figures than a lot of TV channels. There is something very personal about being able to tweet directly with the artist that you follow and it makes the fanbase think that the band is talking to them directly rather than through the

mouthpiece of some corporate record company. Even family members of bands are getting substantial followings on these sites as fans try to connect in any way possible.

What about the crew? As crew to these bands, where does that leave us? After speaking with touring personnel, I have come across many different opinions about whether crew should or should not be publicly present on social media. On the one hand why should crew, in an industry built on networking, not be allowed to have Twitter, Instagram etc, just because they work with bands? Showing the world what you do is good for promoting your business and lets others in the industry see what you are up to, right? Do you have a right to self-promote in a hugely competitive market, to help

March 2016

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OPINION give you an edge over the competition? Showing that you are busy and whom you are working for can enhance your reputation and help you get future work.

Drawing the line Or is there a line here that shouldn’t be crossed? How much can a crewmember post about the tour, session or after party that they are involved in? At what point does it become unprofessional? When is it unacceptable to post a picture of the band or performance? Thanks to mobile technology every show is videoed and photographed hundreds, if not thousands of times and uploaded to the internet for the world to see by the audience, so why should we not be allowed to show that from the crew perspective? If a band then reposts a crewmember’s post, is that an endorsement of such behaviour? Or is that exploiting your position? Is it just the band’s privilege to share such experiences? I see fans streaming live sends directly in front of me, FaceTiming their best friend during the show. Bands Snapchat from stage and post Instagram pictures during their performance. So as part of the bigger picture, what stops the crew from doing the same? Doesn’t it all just become another layer in the whole experience for the fan? Or should crew know their place and not be allowed to be part of the show they are helping to create, and instead be invisible shadows in the background quietly getting on with their jobs not worrying about building up their own followings? When does sharing the experience for promotional purposes become bragging? I remember the days when fans were searched for cameras on the way in to gigs and constantly asked to stop taking pictures during the show by big burly security. But how hypocritical would it be today if a band made on social media asked their fans to not take images or recordings during their shows? I once did a corporate event with an artist for Nokia, and during the show, security were trying to stop attendees using their phones to record the event, to which the singer sharply pointed out over the mic that “these guys invented the fucking things and you’re trying to stop them filming the show?” With this freedom for the artist and audience to share the moment as and 14

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when they like, is there a place for crew to be part of that sharing? Or does that affect the control the artists may have over their own image? Even though the show is openly recorded and broadcast, the artist has a control over that performance and while they are on stage they know that they are being filmed and will perform accordingly, yet backstage, should that remain off limits? Shouldn’t this be a safe zone where they should feel free to let their guard down and hope that they can be themselves without the worry that something they do in the privacy of their dressing room will appear on the internet? Would a social stream of a band sound checking damage their reputation? Where is the line drawn? Should a crewmember be able to take a picture of the set they are building and post it online? Is it OK to do this before the first show, letting the cat out the bag of what the stage will look like before the public has seen it? Or is it OK after the first show, once the 20,000 that were in on night one have already shared over YouTube etc? Or is it at no point acceptable to post stage or production shots? Even if it’s taken from your perspective as an engineer or a tech, is the show and all that happens around it, the property of the artist? If you work in an office and take a picture of your PC is that any different to a roadie taking a picture of the stage or an engineer taking a picture of their console? Should you be restricted from sharing more fun things like that festival you are working at or that TV show you are working on?

Get smart I guess, for the moment, we have to make our own rules of self-regulation as to what is and what isn’t acceptable. People have been fired for posting the wrong picture or asking for a selfie with the artist backstage. I have known touring personnel and even support bands post a picture of their AAA pass basically showing the world all you need to do to enable you to get in backstage, so any idiot can print it out and show it to some half-alert security guard and then get in. Common sense would suggest that this is a bad idea but it doesn’t stop the excited inexperienced individual from showing off to their friend what cool access they have yet not realising that the whole world can see it.

Do we need to have guidelines issued at the start of a tour to explain what is and what isn’t acceptable for that tour? As I know from experience, each and every tour has a completely different approach to what access they think is acceptable. For smaller bands any bit of exposure is a benefit yet when they get more successful, the need to control what is out there becomes more and more important. Also what happens when a new band have a crew with a bigger social presence than them? Some bands like to thank their crews on social sites, which raises their profile. Some fans want to connect with crew as they see them as an extension of the experience, and feel that they are just one degree away from their idols.

As there are no real guidelines, it’s probably a good idea to police ourselves as crew and make those moral choices as to what is acceptable and what isn’t. One piece of advice I would give is that if you have even that smallest doubt in your mind that you shouldn’t post something then don’t, as it could cost you your job. You can find me on Twitter at @johndelfsound or Instagram @jdelf.

John Delf is a FOH engineer and owner of Edge Recording Studios (www. edgestudio.co.uk), who has worked with artists such as Plan B, Lily Allen and 5 Seconds of Summer, to name a few.

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01/03/2016 10:22 18.02.16 10:51

OPINION

www.audiomediainternational.com

CREATING A COMFORTABLE RECORDING ENVIRONMENT Engineer and producer Mike Collins on why it’s important to look after yourself – not just the client – when in the studio.

MIKE COLLINS

he ideal recording studio environment should be a healthy place to work creatively. So what’s involved here? Air temperature and quality are crucial – humans need oxygen to keep their brains alert – and appropriate levels of humidity so people can breathe properly and feel comfortable. Attractive decor and appropriate lighting also make a huge difference: to read music or manuals, adjust equipment or instruments, spot lighting can be very effective; creatives usually like dimmer, mood lighting, while technicians always like it bright. Then we must consider the listening environment. The acoustics of the recording spaces and control room are of major importance and will define the character of the studio to a large extent. Having worked in studios that felt very oppressive or claustrophobic – usually with disastrous results – I cannot stress enough what a difference great acoustics can make. Remember also the health and safety risks for studio personnel from high sound pressure levels that can be encountered on the studio floor from loud instruments such as trumpets, drums, or electric guitars – or in the control room from loud monitoring levels. 16

Hear, hear Earplugs can cut damaging decibels while still allowing musical information to be heard. If levels are above 85dB SPL for eight hours, UK law says that hearing protection must be worn. I use a handheld sound level meter to check levels in my studio, and noise ‘dose’ meters are available for studio personnel to clip onto clothing to track daily exposure. The Musicians’ Union and Musician’s Hearing Services jointly offer a hearing scheme for freelance musicians. You can get a hearing test and advice about noise regulations, tinnitus and so forth for a very reasonable price – well worth it for the peace of mind. Now think about all those long hours studio engineers and producers spend sitting at mixing consoles, personal computers or music keyboards. Proper chairs have become essential in the studio these days. Lower back pains, upper limb disorders and painful necks all can be caused by bad posture, slumping in the chair, sitting for too long without breaks, or reaching awkwardly for things. Then it costs you money at the osteopath…

Backbreaking Work I first visited an osteopath in September 1992 after spending five very stressful days recording overdubs and editing tracks for the Shamen who were about to go on tour to promote their Boss Drum album and hit single Ebeneezer Goode – which was at No. 1 in the UK pop charts. The room we worked in had two old office chairs with seats slanted backwards and no adjustment to tilt the seats forwards – and the backs were missing! The room was draughty, the temperature was chilly and the lighting and décor were utterly dismal. To meet the Friday deadline meant working 16-hour days all that week – with very few breaks. And my back was constantly being strained at an awkward

Lansdowne House Studio, now represented by Miloco

angle on those chairs. By the time I showed up on the Friday morning, my back was hurting so much that the band’s roadie laid me on the floor and walked on my back every few hours to try to straighten it out to give me some relief and keep me working! On the Saturday morning, I couldn’t stand up. I was a reasonably fit 42-yearold who had never previously had serious back problems now reduced to crawling along the floor. A friend recommended a local osteopath who quickly sorted out my back – but it took a week or more to fully recover.

Pull Up a Chair… I swore I would never let this happen again and immediately bought an expensive office chair with a range of adjustments. I also re-jigged my home studio so that I could sit with everything at the correct heights and ergonomically arranged. Things improved. But ten years later, ten years older, and much more entrenched in my sedentary lifestyle, I found myself working on my first book about Pro Tools. Now the office chair

was proving to be quite uncomfortable when spending long hours writing about and working with Pro Tools each day. I shopped around, found the Herman Miller Aeron chair, and decided to shell out about £800 to buy one of these – one of the best buys of my life! Each year that passes, I become more conscious of the fact that the sitting I have to do as a consequence of my chosen professions (recording engineer, book author) is actually damaging my body. Even mainstream media is saying things like ‘Sitting is the new smoking!’ To sum up: create a comfortable working environment in your studio and the costs will be repaid many times over when you find yourself making great music and enjoying every moment. Mike Collins is a studio musician, recording engineer and producer who has worked on music recording, TV and film scoring sessions since 1981, and since 1988 has written more than 2,000 articles and equipment reviews for various magazines. www.mikecollinsmusic.com

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GEO FOCUS: GERMANY

MAINTAINING EFFICIENCY

As Europe’s biggest and most highly developed manufacturer and exporter of professional audio products, Germany has witnessed a significant and very noticeable change in technology over the last five to ten years. A number of company representatives spoke to Colby Ramsey about these developments and the potential problems they pose.

he digital transition - driven by law in Germany - has brought with it both a number of challenges and benefits in the way of investment opportunities, while target groups for audio products continue to change and grow larger - almost anyone now can be a DJ, videographer, home producer or blogger, who may use microphones for reviews and podcasts for example. The German market is now facing a situation where, “networks, digital protocols and communication

tools such as Dante, CobraNet, and MediaMatrix to name a few, are becoming essential for any hardware and software environment to provide sound, video or IT signals,” as Bodo Falkenried, head of global business development at Adam Hall Group, explains. It is apparent that this situation is a direct consequence of the merge of various pro technologies into the Pro Audio Visual Multimedia Markets (ProAVM), meaning that as a result, all kinds of participants in the market from installers and system

integrators to broadcasters and retailers will be looking to upgrade their knowledge, skills and supplies in order to meet demand. The needs of all players in this fast-evolving market seem to be witnessing something of a seismic shift. Wolfgang Guse, Sennheiser’s manager sales pro for the AV market, notes that – much like smartphones – the design and functionality of audio products has become an additional sales argument, whereas in the past everything was simply regarded and assumed as a working tool. He says,

“They want to have a product, which is of course reliable, but they don’t spend too much time with the technology itself, so the product has to work as plug-and-play.” When capturing performances for live recording, DIY recording – where almost anyone can record a live performance onto a laptop with only a MADI or network feed – is becoming more prevalent. Peter Brandt, whose company Peter Brandt Remote Recording makes up part of The Remote Recording Network, a global audio and video location recording

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GEO FOCUS: GERMANY

www.audiomediainternational.com

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

Population: 81 million

Economic uncertainty Falling budgets Slow payments Goverment legislation

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

Other

0 n ‘It’s up and running.’ n ‘Running well with less growth than in the years before.’

How do you expect your sector to perform in 2016 compared with 2015? Better

Worse

The same

10% 20% 30% 40% 50% 60% 70% 80%

service, explains: “The technology needed for a standard 48/96k live recording has been reduced to a minimum; this makes big recording trucks obsolete for that application. “Despite that, our larger Remote Recording Network mobiles are still an important part of our live transmission business where instant mixes and perfect live sound are required for high-end output. We still handle live recordings, and mix and master tracks, but generally using analogue and digital equipment that is 96k and higher.”

According to specialist cable and connector technology manufacturer, Sommer Cable, A/D conversion has meant that cabling and connection management has changed significantly, causing digital recording and mixing consoles to become more and more affordable, while Guse notes that when we take a closer look at the digital dividend, there have been a lot of challenges associated with this changeover. As in many other European countries, old microphone frequencies are now used for LTE and mobile phones as a result.

“We had to help a lot of customers (B2B and B2C) find the best solution for them. The market was doubtful, but we invested a lot in sales, service and marketing-activities to reassure them and it worked very well,” comments Guse.

International demand As part of the European Commission, the ProAVM business in Germany also continues to face ongoing competition from member countries, as European regulations and bureaucracy from Brussels thwart profit and growth

margins, according to some. Falkenried says that since Germany is renowned for its export strength, manufacturers like the Adam Hall Group need to follow the special requirements in foreign markets, “whether they are showing technical and licensing aspects or customs and logistic handling.” Despite the need to follow special European regulations, Guse maintains that whether it’s a product for a stage or an installation, German customers have their needs when it comes to technology, “so it’s important to have

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GEO FOCUS: GERMANY stress-free products, easy-to-use and redundant technology.” Brandt describes this as a “global development”; smart controls grow increasingly important in processing and development while audio transfer over Dante, Ravenna and other networks gain more popularity. Falkenried adds that the musical instrument retail business is also undergoing significant changes as online shops and platform trading affect the intelligibility and capability of supply chains: “Many dealers are suffering from competition and not everybody is able to provide efficiency as the markets requires,” he says. “The ProAVM business is dependent on industrial and consumer behaviour, which includes the fields of leisure, events and entertainment technologies, as well as general construction (building technology). This is all based on investments and public budgets so if the economical situation is stable and promising like currently, one can assume ‘healthy conditions’, at least for a bit of time. We need to watch this ‘health’ closely, always being prepared to reassess our strategies and conducts.” When it comes to consumer behaviour, Sennheiser is currently seeing a lot of customers asking about digital wireless and wired microphones, as well as digital solutions for installations. Guse believes that while digital is vital for the industry, analogue technology is still working very well and it is important to decide in each case what the best solution is for the customer. “From a design perspective, it is more and more important to develop a product in a very ‘smart’ way, especially for meeting solutions but also for stage and other applications,” he argues. “The product has to fit into the environment and we invest in a lot of engineering to provide digital products, especially our Digital 9000 for Broadcast, D1 for musicians and Speechline Digital Wireless for speech and presentations.” In the recording industry, demands continue to ebb and flow. Companies are looking at – on one hand – “budget productions with no focus on sonic quality, while on the other there are high-end recordings at 96k and upwards 20

using valuable analogue front-end gear with a maximum focus on audio quality,” according to Brandt. “Fortunately there are still a lot of artists who know what they want and will get fair rates that keep us alive and let us reinvest in our high-end gear,” he says.

Rolling with the Punches Despite Germany’s key role and experience in the global markets, its long awaited return to the top of the global tech leader pile still seems just out of reach. All sectors appear dedicated to getting closer to this perpetual aim, and are looking towards staying resilient to international competition from the APAC area and the US. It is also worth noting that some believe Germany has been heavily hit by the challenging refugee crises in Europe and rapidly developing demands in the Middle-East, as Fakenried explains: “For a domestic and globally active group it is a real challenge to keep and improve our direct relationship to the clientele. This strategy is part of our ‘DNA’ apart from all R&D, product management and sales operation.” He adds that Big Data will change the entire economy and the corporate structures in Germany and will not leave the ProAVM industry and retail business unconsidered. “Most of all we have to make up for lost time to be competitive with the “Big Data” rulers of the world, while Germany still is bound in some kind of ‘old economy, old industry’, in which hardware and physical marketplaces seem to be more important than digital soft skills,” he says. “This digital provocation has already knocked on our doors and is one of the big challenges we are facing from now on, unfortunately unseen by many.” On the rather more tangible live recording side, Brandt believes that the era of big audio trucks will eventually come to an end, and actually took the first step towards this five years ago by installing high-end recording equipment into a black London cab – a ‘RemoteTaxi’ – which has an impressive green factor and is said to be more costeffective while maintaining a very high sonic quality. “The next step will be genuine remote recording using RemoteTaxi or our

RemoteTaxi flightpack on location whilst being remote-controlled from our studios at home,” he comments. “This will produce even better sonic quality, will be greener and cost-effective for the client. “We will hit the road with this in summer 2016. We’re very aware that you have to regularly reinvent yourself, but the developments and improvements in the communications industry are definitely in our favour.” With regards to the future of the industry, German market leaders will be looking to get fast, get digital, and build strong customer relationships, or risk losing their place in the market. Guse notes that due to the constantly evolving nature of the professional audio industry, it is difficult to predict exactly where the market is heading: “The prosumer range will certainly grow and audio products will still have to be of a high quality and easy to use,” he says. “We will certainly have

a lot to do with changes in the digital dividend in future.” Sommer Cable insists that while the last few years have been successful for Germany, it is important to maintain good overseas relationships and comfortable levels of consumer confidence. On the whole, the German pro-audio market looks bolstered and ready to deal with the impending challenges. Companies across all sectors of the industry will surely be keeping a close eye on demand in order to tailor the efficiency of their offering to meet the technological needs of international customers. Brandt concludes that while all big players in the market will continue to feel these repercussions, the future will be bright – and so as long as they stay one step ahead of the curve, Germany’s return to the top as global technology leader may not be such a distant reality after all.

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01/03/2016 10:24 15.02.16 11:42

FEATURE: TOURING SOUND

NOTES FROM THE FRONT (OF HOUSE) LINE

////////////////////////////////////////////////////////////////////////////////////////////// With the number of events continuing to rise, the essential health of the live touring market isn’t in any question. But, as David Davies discovers, reduced budgets and evermore-rapid turnarounds mean that the lot of the roadhardened engineer isn’t getting any easier...

s press releases containing details of this or that major tour or summer festival continue to hit the inbox, it seems fair to surmise that 2016 is destined to be another blockbuster year for live touring. And while the smaller event circuit has been hit by a number of 22

closures, multi-arts spaces and dynamic promoters are helping to keep things busy in the mid to lower reaches of the touring market. All of which would seem to be good news for touring sound engineers – and indeed many of those who spoke to Audio Media International indicated that their schedules for 2016 are looking

decidedly busy. But what is perhaps less obvious on the surface is the increased pressures that now face many touring engineers – from unforgivingly short turnarounds to budget issues that mean they must frequently rely on in-house systems. In which context, the equipment they do take on the road – for example, specific microphones and

tried-and-trusted outboard – is perhaps more highly prized than ever. But while there are other, longer-term concerns about the live music sector – notably a feeling that too many of the larger, pop-oriented tours are relying on non-live elements – there is generally a sense of optimism and satisfaction that this market remains so buoyant more

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www.audiomediainternational.com

The Pistoia Blues festival is held annually in Tuscany, Italy (picture: Gabriele Acerboni)

//////////////////////////////////////////////// than 10 years after the latest live music boom began. For now, at least, this road has no end in sight…

Touring ‘essentials’? If there is one recurring theme of the interviews conducted for this feature it is that tour budgets are evermore finely tuned and allow no capacity for waste whatsoever. Accordingly, many engineers are being obliged to work with in-house systems wherever possible. While some on larger tours

are able to take their console of choice with them, many others are having to adjust to what they are given on a nightly basis. In such cases, the audio touring inventory may only stretch to a generous selection of microphones and some favourite outboard. Rob Sadler has been working as front-of-house engineer for fastrising singer-songwriter James Bay since January 2015. “Other than UK and European headline tours I have been using in-house consoles,” he

FEATURE: TOURING SOUND says. “But we do have some favourite microphones, and Audio-Technica mics have proven to be ideal for this artist; we’re using AE3300 vocal mics on everyone, AE3000 on all guitars, AT4050 on drum overheads and so on. I have also been making the most of three Empirical Labs Distressors [compressors], which I have really enjoyed working with.” In an ideal world where budgets were no longer an issue, he admits he would love to take a Digico SD9 and an L-Acoustics rig to every show. “We used a K2 on the last UK run and it sounded fantastic,” he recalls. Jamie Harley – who is currently in the midst of extensive touring with Hot Chip, and has also lately been out on the road with pioneering electronic duo Autechre – notes that with Hot Chip, “we have a ‘requested rig’ of d&b and an Avid Profile desk that I inherited from the band’s previous engineer four or five years ago. But otherwise we hire in everything as we go, apart from microphones, where the selection includes DPA 4061s, Røde mics and Shure SM58s for vocals.” A willingness to help keep overloads low by minimising freighting costs is now an integral part of the touring experience. “There is generally no money coming from record companies for touring, or if there is it has to be paid back very soon,” says Harley. “This means that bands are reliant on merchandising, selling for syncs and general income from touring – hence why the [whole operation] has to be very cost-effective.” While the amount of additional equipment being taken on tours with lower- to medium-level acts seems to be diminishing, some engineers are still keen to use a fair chunk of their favourite outboard. Mathew Acreman – currently touring with alt-rock band Drenge – is a case in point. “For several years, I toured with a Soundcraft Vi6 console and still have a lot of time for that board,” he says. “For me it was the first digi console that bridged the gap between analogue and digital. It felt great to use and has nice, natural-sounding preamps. Due to space and weight limitations, I have since moved to the Midas PRO2. It’s a

Midas and sounds like a Midas. When touring the PRO2, I tend to carry my own FX unit, consisting of a couple of Lexicon reverbs and a TC Electronic D-Two. Some of the on-board FX aren’t to my taste, so I use most of my FX externally.” But while many engineers still have their favourite systems, most would concur with the sentiments of Paolo ‘Red’ Talami, whose FOH mixing credits include the 1st of May Music and Pistoia Blues festivals, both of which take place in Italy. “I don’t feel really ‘loyal’ to specific brands, although I must say that I have worked mainly with brands like Martin Audio, Clair Brothers and Turbosound. [Instead] as a freelancer, I think that an engineer can’t be ‘loyal’ to a brand but rather be prepared to work with all of them,” he says.

“While all touring engineers need to be up to speed on the latest console and networking systems, this should never detract from the core role we have – the ability to mix audio for the masses.” Marc Graham

Time is the enemy While engineers generally show no resistance to working with a wide variety of different console and speaker systems, there is a greater sense of reservation about the increasingly hectic nature of tour schedules. As managers and promoters work to maximise revenue, days off are increasingly few and far between; while during festival season, turnaround times of less than an hour between acts are not unknown. Acreman relates an episode that is by no means untypical. “I’m not one to moan (cough) – ask anyone who has worked with me! – but the stress of constant touring with minimal turnaround time can have a massive negative effect on the performance of both the artist and crew,” he believes. “I can remember one particular American March 2016

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FEATURE: TOURING SOUND tour where we were finishing a show at around 11pm, checking into the hotel by midnight then awoken by a 3am alarm, at which point we’d get up and fly to the next show. Although we joked about this for the first few days, the novelty wore off fairly quickly and both the band and crew began to function [on] empty. By the third week, I was starting to ask myself some serious questions. Things are generally pretty good though, and although there’s the odd occasion of sleep deprivation it’s all pretty civilised.” Sadler suggests the tight turnarounds are particularly acute during festival season. “You might struggle [to do all the line checks etc.] in the very small windows during the first two weeks of festival season, but you quickly get to the point where it becomes like clockwork,” he says.

Changing expectations While there is a general consensus about the current state of play, opinion is more divided about the long-term outlook for live touring. Most felt confident about activity levels staying strong in 2016, although Talami believes that the market in Italy “has already slowed down… In the future – as has been the case for some years now – I think there will be a greater number of ‘big events’ and fewer tours.” Almost everyone agrees, however, that increased integration of AV and

Marc Graham, production manager and audio engineer for James Bay. (picture: Alex Alevroyiannis) 24

All-round sound Although the need to work effectively with multiple systems is now part and parcel of the touring sound engineer’s daily life, many PA companies are seeking to ease their passage by providing complete, easy-to-deploy rigs for a variety of touring applications. UK-based Capital Sound is a case in point, having recently added a substantial high-powered line array sound system based around Outline GTO long-throw high-SPL line array cabinets to its inventory. The total system comprises 48 GTO IT systems will necessitate significant additions to the average engineer’s skill-set. In part this will be dictated by the multi-system familiarity required by today’s touring set-ups; but also playing a role will be the tendency of more venues to move towards a unified networking infrastructure. Marc Graham – who is currently touring with James Bay, alongside Rob Sadler, in the capacity of production manager and audio engineer – puts some of these developments in context. “In any other industry one would be expected to become an expert in a particular field, using a particular piece of equipment,” he says. “By contrast touring engineers need to become

C-12 large format line arrays, four GTO-DF (downfill), 24 GTO-SUB (subwoofers) and eight GTO-FF (frontfill), driven by a total of 24 Powersoft X8 Series amplifiers. The X8s support Dante media networking and continue a general shift by Capital Sound towards Dante-based live implementations. “It is really reflecting the way that people want to run their systems in terms of reducing the amount of copper and the noise-floor in their PA systems. Even when we started running [Martin Audio MLA] fluent ‘experts’ in a vast variety of audio consoles – all with different GUI and operating systems, [and] all with different methods of processing audio. “This trend – along with the industry-wide implementation of Dante networking and fibre systems, etc. – means that an audio engineer’s job is moving into the realms of computer engineering [and no longer just involves] the art of mixing. But while all touring engineers need to be up to speed on the latest console and networking systems, this should never detract from the core role we have – the ability to mix audio for the masses. I must say that I admire those engineers who embrace audio quality rather than technology, and for

systems with Dante, there was an amazing difference in the noise floor,” says Capital Sound project manager Robin Conway. Going forward, Capital Sound will continue to build “modular systems that are capable of driving every system… So there won’t be a need to rework the entire system for each new job.” Of the Outline PA – a first for Capital Sound – Conway remarks that it is “a phenomenal sounding box… Put it together with the Powersoft X8s and you have a pretty stonking combination.” example tour Midas Heritage consoles and hardware outboard.” As far as Talami is concerned: “I expect the role of the sound engineer will be more and more often a programmer role of some kind. And because of that, there will be an increasing need for qualified personnel who are there to manage an audio system.” Changing expectations of the front-of-house engineer will mean that education for those coming into the industry will need to be increasingly responsive. Harley, for one, would like there to be more emphasis placed on core mixing skills – and the fact that these should never be allowed to become subservient to the technology at engineers’ disposal. “There is a danger that one can rely on the technology too much. [Newer systems offer the] opportunity to save a lot of space and money, but they still need to be set up and used correctly and imaginatively – or they risk turning people into automatons. Quite a few people coming into the business are very good at setting up the gear, but they can’t actually mix. Whereas to me, mixing is everything.” While the tendency towards overly safe, pre-formatted shows is definitely something to kick against, the general mood among engineers interviewed for this piece is buoyant – enthusiastic even. And although the need to restrain overheads is only likely to intensify, for those who have chosen this way of earning a living, the road is really the only place to be.

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MI-909

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COMPANY PROFILE

PEOPLE POWER

(L-R): Studio People’s Kymberley Harley, Peter Keeling, Joe Keeling, John Holmes, Jamie Keeling, Chris Smout and Lewis Gray

Studio design is big business, and we’re always hearing about the latest major projects and the gear selected in each case, but what about those doing all the hard work? Adam Savage speaks to the man in charge at Studio People, a true specialist in this field, about its many strengths.

’m going to start this with a bit of a confession. We in the pro-audio press are perhaps guilty of focusing too much of our attention on the actual equipment when it comes to studio builds and refurbishments that we often forget about some of the great work that goes on behind the scenes with these projects. I’m talking about studio design companies – the guys who do all the hard work setting everything up and putting the foundations in place before the gear manufacturers get involved, seeing their consoles placed on the ready-made work surfaces and their monitors performing in line with the finely-tuned acoustics before, let’s be honest, taking much of the credit. So we’re putting that right this month by shining our spotlight on a company that for the past 20-plus years has assembled some remarkable facilities all over the world virtually singlehandedly, but has done so with next to no fanfare or self-promotion. 26

Now based just outside the town of Welshpool in Powys, Wales, since making the move from a rented premises to its own HQ recently – an old communications building that served an important purpose in World War Two – Studio People is one of the UK’s leading specialists in studio design and construction. Headed up by Peter Keeling, and with three members of his immediate family also in key positions – his two sons Jamie (contracts director) and Joe (manufacturing manager) along with wife Wendi (financial controller), the firm has been in the studio building game since 1993, but originally stemmed from Keeling’s earlier audio electronics business he founded in Shropshire in the late ’70s, which was when he developed the ‘one-stop shop’ mentality the company still lives by today. “During those early years we designed 2in 24-track machines, large consoles and a whole host of audio electronic gear. The philosophy I had from the start was doing as much as possible in-house with

our people and facilities,” Keeling recalls. “That meant doing our own metalwork, powder coating, spraying, circuit boards and obviously the electronics assembly side of it – even the wooden end cheeks for the desks. “We started doing studios in the early ’90s, and the first gig we got was for Nick Murphy from The Bassheads – a private studio for him in his garage – and we just built a name for ourselves really. Looking back at that long list of projects that we’ve done, there are quite a lot of different projects. It amazes me sometimes, and I look back and go ‘did we really do that?’”

A bit of everything What makes Studio People different from other studio designers is the sheer variety and completeness of services offered. The team can take care of acoustic treatment, the making of all the furniture and surfaces, the wiring, the construction, even the air conditioning – everything apart from

the actual equipment itself, although Keeling jokes that “if I could make that then I probably would!” Instead of having to put in numerous calls to get these jobs done on a build, Keeling’s clients only need to make one, and according to the owner, they can be confident of quality as well as convenience. That’s because they also don’t have to rely on outsiders to make the workstations, treatment products or even doors and booths – that’s all done in the workshop at their new home. “When you’re on site and there are limited timeframes and critical end dates you’ve got to be able to push buttons and make things happen quickly. You can do that if you have your own facilities, but if you haven’t, you’re going to be going down into what other people’s idea of quality and service are like, and that’s not something we want to consider,” Keeling explains. Studio People’s own catalogue of products is varied enough to suit projects of all sizes and kinds, but even

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COMPANY PROFILE if there isn’t something on the list that fits the bill, they’re more than happy to accommodate. “All of our products are what we already use on projects, but we extend that by saying to people ‘if you want something different, just tell us’. We’re actually better at customising than we are doing standard products. The reason for that is the whole existence of our joinery shop and the investment that we’ve made in that is to serve the studio projects that we do on site. We don’t want to buy doors from somebody else, we don’t want to get others to do the furniture or skirting, we want to do it all in-house because then we can react quickly, and I think that’s key. “We’re not making 100 doors at a time – it’s not that kind of production process – every door and workspace we make is hand built by joiners; it’s not a big machine that churns them out every ten seconds. It doesn’t work like that in this business.” Another thing that sets the company apart is its geographical reach. Whereas other design houses may be reluctant to travel too far for logistical reasons, nowhere is too far away for Keeling and his crew. Although most of the work takes place in the UK, roughly divided between education (40%) – including the stunning new studio facilities at the University of Westminster (see our November 2015 issue for the full report) commercial (40%) and private (20%), they have also been successful in places such as France, Germany, Switzerland – three major builds took place there – Malta and… Gabon. No, that’s not a typo, and it’s just one example of a case where Keeling was called out of the blue by a potential client far from home thanks to a good word put in by a happy former customer. Furthermore, it wasn’t just for anyone; this had to be a studio fit for a president. “When the guy phoned me up, he said ‘how much would it cost for the best studio in the world?’ That’s quite a difficult question to answer and they ended up spending three times what I quoted them on the phone,” Keeling reports. “It wasn’t about the money though; it was the location, the people and how the whole thing came about.” “As we started to do studio builds we’ve been very lucky to pick up projects that are not in the UK. We’ve done stuff 28

Studio People’s new facility is home to a workshop where doors, furniture, acoustic panels and more are made on site

over in Libya – we did a big project for a company in Tripoli – and that was actually during the international flight embargo so you couldn’t actually get there by plane; we had to get a taxi across the desert, and that all interjected with what we were doing in the UK.”

“We’re not just confined to doing studios for people. We want to do a lot more large spaces and theatres and a lot more for main contractors by providing them with solutions.” Peter Keeling

To the ends of the world Despite the obstacles they face on each occasion, the Studio People have left behind quality facilities wherever they’ve gone, and they’re not done yet finding new territories. Keeling has identified the US as a target, but there are more regions on his radar, and he’s also aware that they might not be able to deliver the full package wherever they go, even if they’re capable of doing so.

“The Middle East is a big market, and we know quite a few people out there now, so that’s an area we’d like to get into on the projects side,” he comments. “There’s the whole world really isn’t there! At the end of the day there’s logistical issues with travelling too far, but there’s partnerships to be made and that’s the point. If we just end up doing consultancy and design on a project on the other side of the world then that’s fine – that’s what we enjoy doing anyway and it doesn’t necessarily have to involve putting guys on site.” The progress the firm has made over the past two decades wouldn’t have been possible without a great deal of ambition, and Keeling remains full of that. With a new base to work from and a growing reputation both in the UK and abroad, the MD has plans to take the business further still. “[We’re looking to] continue to develop the business but at a much more accelerated rate; doubling our business over the next 12 months is one specific thing we’re looking to do, and alongside that, to expand the people that we actually want to reach to,” he notes. “We’re not just confined to doing studios for people. We want to do a lot more large spaces and theatres and a lot

more for main contractors by providing them with solutions, such as customised acoustic products and other things they would use on projects. Acoustics are becoming more and more important in the building world and that’s something we want to capitalise on – we know about acoustics and we have the flexibility here to be able to do that. “For me, I’ve never been frightened of getting out of my comfort zone, and getting in my car, or my plane for that matter [Keeling is also an avid flyer and often uses it for quick site visits] and seeing a client a long way away. I think there are a lot of people in the business who aren’t keen on leaving the M25 or travelling too far as there are a lot of logistical issues with doing remote jobs but our team over the years have got used to working away from home – that’s all we pretty much ever do and so for us it’s the norm really. “You’ve got to want to do this stuff, and that’s where we come from. We get excited about doing a new project, entering a new area, dealing with a different type of client, or working in another country, especially if it’s on a beach somewhere warm!” www.studiopeople.com

March 2016

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STUDIO PROFILE

GRAND DESIGNS The new premier recording suite at Grand Central Recording Studios is not quite what you’d expect. Colby Ramsey paid GCRS a visit to find out about its ‘revolutionary’ speaker system and the overall vision for the facility going forward.

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or any creative sound design and audio post facility in the heart of London’s Soho, competition is persistently white hot. Grand Central Recording Studios is not just any studio, however. For over 20 years, its well-established roster of sound designers have been responsible for the production of a diverse range of commercials, leading brand campaigns and innovative Foley sound mixes spanning the entire length and width of the film and television industry, including the UK’s first ever commercial in Dolby Atmos – BMW ‘Wolf’. Transforming a top floor apartment into two new state-of-the-art studios was always going to have its difficulties, but that is exactly what GCRS has done with The Lofts. For a start, during its construction, two inches had to be taken off the floor concrete due to the lack of headroom. 30

“Less is more” Upon entering The Lofts, it has an unmistakeable feel of a very nontraditional space in terms of its design. The amount of light in the room is maximised by perspex diffusers fitted to a wide panoramic window along the far wall, which opens out onto a rooftop terrace. “There’s so much light and space up here, and there’s no other studios we’re aware of where you can walk outside onto your own private terrace,” says Ivor Taylor, Grand Central’s technical and finance director. “It makes it a nice relaxing environment to work in.” Along with Taylor, The Lofts’ interior design and combined vision was that of Carole Humphrey, managing director of GCRS for over 25 years, who selected the furniture and modern, fresh colour scheme, and long-term partner Derek Samuel, who was responsible for all of the graphical and typography work in

achieving the desired layout and overall feel of the studios. Taylor explains that what they have learnt over time is that less is more; when planning a studio one tends to put in more than is needed but it is important to remember that these details can always be added in afterwards: “You have to be prepared to take input from other design disciplines but you also have to stand your own ground – it’s about trying to find that balance,” he says. Finding that balance when creating the studio was not without its physical challenges, especially in terms of sightlines. With floor-to-ceiling glass on the voiceover booth, which Taylor explains was very tricky to get in place, the room feels even bigger and it enables those sitting behind the mixing desk and on sofas to see the whole body of the actor. The acoustic isolation in all of Grand Central’s studios was designed

by David Bell of Whitemark, and The Lofts were no exception.

The Right Tools Being what Taylor describes as a ‘DFC house’ since 1996, it was the natural choice for Grand Central to equip studios Three and Four in The Lofts with AMS Neve DFC Gemini consoles. Yet making the decision of which console to install was not completely plain sailing, as Taylor explains: “Downstairs we’ve got four DFCs and two Avid Icons, so there was an argument as to whether we should upgrade the Icons to the S6 and put one up here, or stick with the DFCs, which the sound designers had very strong feelings about.” But why DFCs? Taylor explains that on a technical front, they felt like the consoles had the necessary weight with their clients: “You sit there and there’s no question you’re using one of the best products available.”

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STUDIO PROFILE

Sound designer Miles Kempton elaborates, and says that with the DFCs the volumes and controls are on a separate automated system, so to copy versions across when doing multi-track projects on a timeline becomes slightly more fiddly. “The Icons serve their purpose for quick in-and-out jobs doing multiple versions, but you’re getting more bang for your buck in terms of compression and EQs with the DFC,” he explains. Taylor considers the argument that what the DFC offers with regards to compression and equalisation and the overall setup, has been perfected to such a point over a period of time that it has a particular sound, and produces a quality of final mix that people simply prefer. “The DFCs are like using a very refined set of tools – like you’ve got a very sharp knife that works in a very precise way”, he describes. “Somewhere in the midst of that is the reason why the engineers – and Carole and I – wanted DFCs up here in The Lofts, our premier studios for working in stereo.” Assuming it’s in stereo, the DFCs are capable of taking any mix from any of Grand Central’s other studios. “You can’t play 5.1 or 7.1 up here at the moment, and that’s very much because of the kind of work we believe should be done up here,” adds Taylor. 32

Both studios are running Pro Tools 11, going on 12. The choice to make the switch from Audiophile to Pro Tools was made around Christmas 2010, although Taylor insists that this would not have been feasible much earlier in Grand Central’s life: “Back then Pro Tools wasn’t ready to do the kind of work we do, which is very full-on. It can be a very high-pressure situation when there’s a highly talented person sitting in there wanting their money’s worth.” Neumann U87s and Sennheiser Shotguns and lapel mics are used throughout GC’s sound booths, not excluding that of The Lofts. The nearfield loudspeakers providing playback are Fostex 6301NDs, and Taylor explains that they try to keep this equipment the same throughout the facility, and for good reason. “You’re always trying to go for consistency because every engineer needs to be able to work in every studio. It is one of our principle things,” he says. This is very much a commercial decision due to the fact that clients often want to work with a particular sound designer, and if that sound designer is restricted to a certain studio, then the ability to provide that service to the client is greatly reduced. From a business perspective, it also means that Grand Central is not likely to end up with customised studios for particular

sound designers. “We don’t worship technology, but if an engineer says I want a new plug-in for this, then we will go with it,” Taylor adds.

Sweet Spot For monitoring, The Lofts are equipped with a pair of wide-dispersion custom Exigy nAxial speakers, which are arguably the centrepiece of the facility and are designed to produce minimal lobing, minimal variation in sound response, and much less of a sweet spot from the engineering area to the listening area. The indisputable laws of physics mean that in normal speakers, acoustic lobing in the dispersion response and bumpy crossover frequencies – affecting the tonality and clarity of the sound – are in many cases unavoidable when the speakers are not in the same physical location. Taylor explains that the only way to improve this is to “get the transducers as close together as possible, time aligned as much as possible, and to make sure you’re sitting in the right place. “You can be sitting anywhere in the room and they sound pretty balanced all the time – performing very much like a coaxial speaker,” he comments. “Here we record and listen to the human voice, and these speakers are very true to that.”

Kempton continues: “Most clients want to hear playback through TV or on mobile devices now because that’s what it’s eventually going to be reviewed on, but we always make sure we playback through the monitors to judge the mixes.” Taylor goes on to say that GC’s main prerogative is serving its clients, who should be able to make a subconscious assumption about the technical side of the job: “What matters to us is that clients walk in, they sit down and are happy, and then walk away with work that they feel is creatively the best.” In terms of the future, Grand Central has plans to make one of its existing studios Dolby Atmos-ready, based on the same concept as The Lofts’ Exigy speakers in order to achieve this minimal lobing in an Atmos environment. “Here at GC we’ve got a lot of depth and there’s very few things that phase us – we now do a lot of ADR work downstairs, the planning levels required of which are very complex and we’ve had very good feedback on that,” Taylor concludes. “The most important asset we have is our staff and I think that our absolute belief in them is what sets us apart. With The Lofts, I think we’ve got a look and feel that is classic, and will last.” www.grand-central-studios.com

March 2016

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TECHNOLOGY REVIEW

L-ACOUSTICS X SERIES LOUDSPEAKERS

Andy Coules travels to SSE Audio Group’s newly refurbed Park Royal facility in London, where the French manufacturer’s new coaxial collection has been kindly set up for his perusal…

-Acoustics is well known as a pioneer of the modern line array, thanks to the development of its seminal V-DOSC system in 1994. Since then, led by Christian Heil, the manufacturer has continued to develop and innovate line source solutions such as ARCS, dV-DOSC, Kudo, Kiva, K1, Kara, ARCS II and K2 – all of which are common sights at concerts and festivals around the world. But L-Acoustics has also been involved in the development of point source solutions; as a matter of fact the very first product it launched, back in 1989, was a coaxial point source speaker system called the MTD115/LLC and it’s this tradition that it has carried forward with the new X Series. The X Series comprises four models, the 5XT, X8, X12 and X15 HiQ (pictured from left to right) and offers a variety of different sized speaker enclosures with differing characteristics. They’ve been designed to satisfy a wide variety of roles in both the install and rental markets and are equally at home being deployed as fills to complement a main PA system in large venues, as the main PA system in smaller venues, or as 34

monitors. The smallest model, the 5XT, was launched back in 2013 so for the sake of this review I’m going to focus on the three newer models. The X Series benefits directly from the experience gained in designing the flagship K2 variable curvature line source speaker system, which in itself is a rescaling of the K1 into a more compact format – the result being an optimised design, improved ergonomics and better acoustical performance while still being relatively light. Just to illustrate the attention to detail applied to the design they actually modelled the interior of the cabinets and were able to identify where the wood was needed and where it had no effect on the performance of the speaker and thus were able to sculpt out any excess. All of the speakers in the range are two-way coaxial and the only active model is the X15 HiQ; the numbers in the name of each model denote the size (in inches) of the low-frequency transducer. The compression driver is mounted directly onto the low-frequency transducer in a bass-reflex tuned enclosure – the compression driver in the X8 is 1.5in in diameter while the

X12 and X15 HiQ both have 3in drivers. The obvious advantage of a coaxial design is much better off-axis response consistency in both the vertical and lateral planes resulting in a more even sound field and the elimination of the minimum listening distance inherent in vertically- or horizontally-stacked driver designs, the trade-off typically being the possibility of greater intermodulation distortion as a result of the two drivers interacting. The dispersion patterns differ for each model, getting tighter as you go up the range; the X8 is 100º (conical), the X12 is 60º x 90º and the X15 HiQ is 40º x 60º – the latter two achieving their tighter patterns as a result of a brand new ellipsoid waveguide. All three models also feature laminar vented ports, which reduce the turbulence and port noise at high levels thus increasing low frequency efficiency. All of them are lighter than previous models and there are a number of neat features that are worthy of note. They’re all designed to be used either horizontally or vertically; the larger two models also have a wedge-like shape, which enables easy floor deployment.

Key Features n High-excursion neodymium drivers n Ellipsoid directivity n Laminar vented ports n Low-latency monitor presets n Range of flexible rigging accessories RRP: £1,265 (X8) - £2,615 (X15 HiQ) www.l-acoustics.com The logos even rotate 90º so that they can be the right way round regardless of orientation, something which will make obsessive-compulsive installers very happy. The pole mounts on the X12 and X15 HiQ are designed in such a way as to guide the pole into the hole as you lower the speaker onto the pole, which should avoid those awkward moments of holding the speakers aloft with tired arms trying to slot them in. The handles are also now much more ergonomic with a pleasing curve to the inside of the grip which makes them much easier to lift and move about without cutting off the blood supply to your fingers.

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www.audiomediainternational.com

There are a bewilderingly wide range of mounting options, which should accommodate just about any positioning imaginable. These include pole mounts, clamps, wall brackets and U brackets, all of which enable precise and rigid mounting to ensure they stay where you put them and continue to address the precise region you decide. The X12 and X15 HiQ also include integral risers, which hinge out such that when they’re deployed on the floor their angle, with respect to the vertical, can be changed from 35º to 55º. All models are designed to be run via the LA4X or LA8 amplified controllers, both of which contain presets for each model, including three low-latency presets for monitoring.

In Use In listening tests all models displayed a clear and concise sound with a tight bottom-end. The difference in sound between them is reasonably subtle but quite discernable; the top-end and mid-range was pretty consistent through the three models I tested – the main difference was in the lower mids and the bottom-end. According to the specifications the difference between the lowest frequency the X8 and X15

HiQ can handle is just 5Hz (the X8 being 55Hz and the X15 HiQ 60Hz) but there is a noticeable difference in the clarity and roundness of the bottom-end. The X8 is lighter with a less well-defined lower mid range and bottom-end but this is perfectly understandable for a speaker of this size. The X12, as its name suggests, sits in between the two with slightly more clarity in the top-end, which makes it sound more like the X15 HiQ than the X8, and a firmer bottomend although not quite as fully rounded as the X15 HiQ. You can, of course, extend the bottom-end of any of the models with the addition of an SB15m or SB18 subwoofer. All models generate impressive SPLs for their size, thanks to neodymium magnets, ranging from 127dB in the X8 to 134dB in the X12 and 136dB in the X15 HiQ (when using the appropriate presets in the amplified controllers). As the level increases they maintain an impressively consistent sound well into almost uncomfortably loud levels and I felt no need to try to push them to their limit. It’s good to know you can get the levels you require without having to run them flat out; in my experience it’s always better to run any speaker system

TECHNOLOGY REVIEW

at about 80% of it’s capacity to ensure a consistent, distortion-free sound while also ensuring longevity of use. Typically, when dual-purpose (i.e. floor- and stand-mounted) speakers are used as floor wedges the proximity of the floor boundary causes reflections, which can enhance the bottom-end in an uneven and unpredictable way. Thankfully, in this instance, the monitorspecific presets in the LA4X and LA8 amplified controllers take care of this by applying an EQ curve, which subtly deals with this potential problem. The coaxial design also means that if you plan to pair them up you don’t have to worry about creating matched pairs with complementary tweeter orientations and the improvement in the off-axis frequency response should help reduce the risk of unpredictable bursts of feedback. As a front-of-house engineer who occasionally dabbles in monitors I’m clearly more drawn to the larger X12 and X15 HiQ models as they are immediately more relevant to my daily life. However, the X8 is a really handy size for lip fills on wide stages or as subtle delays in odd-shaped or balconied venues and I can see them providing an above-

average listening experience in bars and restaurants or any venue that requires good quality background music. Anyone who has used any of the previous point source coaxial speakers from L-Acoustics will be familiar with the sound of these; they’re not groundbreakingly different – they don’t really need to be – but they do provide an evolutionary refinement based on newer technology and techniques. The attention to detail in design and usage is impressively high – you can clearly tell that they’ve talked a lot to end users and worked really hard to include the range of features that people want but aren’t always given. As such they proudly uphold the tradition established back in 1989 and prove to be fitting successors to an impressive lineage.

The Reviewer 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

March 2016

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TECHNOLOGY REVIEW

www.audiomediainternational.com

RME BABYFACE PRO AUDIO INTERFACE

With the original model held in high regard by many, how does the successor hold up? Simon Allen is tasked with finding out…

Key Features

he original Babyface interface by RME was arguably one of the best portable desktop interfaces available. It offered one of the most impressive feature sets and probably had the cleanest sound around. It might not have been the best looking, but it was a professional unit considering it’s an entry-level device. For many, it was the reliability across different systems that won their investment. How then, has RME updated such an important piece of hardware, and is it any better?

n Supports recording rates up to 192 kHz n 12 input and 12 output channels n Optical port supports ADAT and optical SPDIF via Toslink n USB 3.0 compatible n Comes with RME’s TotalMix FX for Windows and Mac OS X RRP: £670 www.rme-audio.de

First impressions When the Babyface Pro arrived I was pleased to see that it comes with a hard plastic carry case. It isn’t the smartest thing you’ve seen and doesn’t even have a handle, but several interfaces come without anything at all. It is meant to be a portable device for professional use after all, and this is a great addition. The unit is machined from a block of aluminium, which is very strong and has a refined feel about it. In fact the whole unit is of very high quality and has a nice size and shape to use. It doesn’t have a particularly striking look and I don’t think photographs do it any justice, as it feels very solid and professional in reality. The onboard display metering works well, but nothing mind blowing. Again the rotary encoder and push buttons are of good quality and better than the original Babyface, but nothing out of the ordinary. It’s clear that the design is focused on being professional with good functionality and sound quality, rather than anything that could have been classified as a gimmick.

Connectivity Looking at the connections, we find the first big piece of news – no breakout cable. Both the original Babyface and its main competitor the [Apogee] Duet have breakout cables and although they are fine, they’re not professional. Having all 36

the audio I/O now directly on the device has made it slightly larger, but because of its new sleek shape it will still fit in most laptop cases where necessary. The built-in XLR connections have been incorporated into the unit’s housing in a new and unique, but tidy fashion. The I/O for the Babyface Pro is still 12 in and out as it was on the original, but along with ‘proper’ connections there is better use of this I/O. There are two XLR mic preamps, two 0.25in jack inputs for instrument and line level inputs, ADAT optical in and output ports, two XLR line outs and two headphone outputs. The differences are with the headphone amps and the optical port. The optical port now supports ADAT and optical SPDIF via Toslink; the two headphone ports receive the same mix but have independent amplifier stages; the smaller 3.5mm jack socket is for low-impedance headphones, while the 0.25in socket is for professional highimpedance headphones.

In Control The converters are RME’s latest generation A-D/D-A’s with SteadyClock technology, which are among some of the highest regarded converters around. With these new converters and the ability to run on USB 3.0 or USB 2.0, the Babyface Pro offers very low round-

trip latency. The USB connectivity has also been designed to work with mobile devices. As the interface is bus powered, this means you can record anywhere with this device and an iPad alone. The device operates on all host systems with RME’s TotalMix FX software. This is one of the most comprehensive and best interface mix applications there is. It will allow you to create any distribution of audio for monitoring and recording, in a clear but detailed form. The Babyface Pro comes with some onboard DSP for EQ, reverb and delay effects to help provide the right sound in your headphones when tracking. The only element they’ve had to omit for cost reasons, apparently, is any compression. This is a shame, but certainly not a deal breaker for this size of interface.

The Sound Well, as you would expect from RME, the audio quality of the Babyface Pro is very much in line with high-end interfaces, and mostly with those that are typically twice the footprint. There aren’t many, if any at all, compact desktop interfaces that sound this clear. The sound is very clean, neutral and uncolored as it should be for an interface of this calibre. Even the mic preamps are squeaky clean. There’s plenty of gain available in this new model with up to 70dB on

tap in 1dB steps, which provides a lot of gain for even the lowest output level microphones. There is very little in the way of noise too, and with supported recording rates of up to 192kHz, this is a very professional product. If you’re looking for some color from your mic preamps then the onboard pres aren’t for you. You will need to ‘warm’ up your incoming signal on the way in with some additional hardware. The Babyface Pro and all of RME’s interfaces are aimed at being transparent in your signal path.

Conclusion The original Babyface Pro was a huge success. This new ‘re-engineered’ version is on true RME form. It provides accurate and clear mic pres and converters that cannot be faulted. I like the design of the device a lot, with its thoughtful layout and proper onboard connections. This is a seriously professional product, which is the result of a company that has spent years working on the details, making this a slightly more expensive option than the competition, but a solid investment.

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

March 2016

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TECHNOLOGY REVIEW

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THE CARGO CULT SLAPPER PLUG-IN

Although not sure what to make of yet another new delay plug-in at first, Ryan McCambridge finds there’s plenty to set this latest release from the New Zealand-based company apart from the rest…

outique audio soft ware developer The Cargo Cult’s latest release signifies a new direction in delay plug-ins. Slapper is a multi-tap, surround delay that has been re-envisioned to support creativity and manageability of complex delay combinations. The foundation of this is the rethinking of what a delay interface should be. In an effort to create something tactile that gives more visual feedback, this shift in design allows users to construct overwhelmingly complex delays with ease. One of the most notable outcomes of such an elaborate delay is its capacity to create realistic spaces without relying on reverbs, which can sometimes cloud a mix. With most delays, space is more implied than actually represented, but the realism of space that can be achieved with Slapper is the direct result of its eight fully independent delays, each offering enough flexibility and character to sculpt a space from nothing. Having eight delays in one plug-in could be overwhelming if it weren’t for Slapper’s object-oriented interface. Two X-Y graphs are at the basis of what makes Slapper unique. The first graph represents delay time on the X-axis and level on the Y-axis. A series of nodes, each with a different colour, represents the eight delays. This gives you a graphical overview of where each of the delays is placed in time and their relative gain to each other. The actual maximum delay time of Slapper varies depending on the mode and your host’s tempo, though I can’t really see users often needing more than what is provided. Intuitively, each delay node is desaturated in colour when it’s turned off. The feedback setting of each delay is shown though a series of rings around the nodes, the number of rings increasing as the feedback increases. All of the parameters in this first graph are also controllable by a series of large 38

Key Features n Eight fully independent delay taps n Object-oriented interface n Multiple filtering options n Available in Stereo version (ST) n Currently only available for Pro Tools RRP: $399 (Standard Version) /$249 (ST Version) www.thecargocult.nz

sliders at the bottom of the interface, including a damping control for each delay, which is graphically represented in the desaturation of the feedback rings in the graph. According to The Cargo Cult, the damp parameter controls both a high and a low filter, resulting in a bandpass filter that “gradually pushes the signal further and further into the distance as it feeds back”. Some might want more control over each filter but I think it’s an elegant way of streamlining an already complex plug-in. Additionally, there are independently controllable high and low filters on the main output, which are 12dB IIR filters and affect the eight delays as a whole. The second of the two graphs is an X-Y panner. Again, the coloured delay nodes are represented in the space, where X is left/right and Y is front/back. Logically, the same display information is shown here, with feedback rings, desaturated damping, and so on.

In Use Slapper is beautifully interactive and a pleasure to use. Enabling Tape Mode mimics a tape machine for varispeed effects, which reacts instantaneously as the delay time is adjusted. The objectoriented nature of Slapper allows for

responsive, creative effects, which are enhanced by the simplicity of design. The attention put on the tactility of Slapper also shows in its console integration. Anyone using an Avid console will benefit from the wellthought out layouts, which map the plug-in across the controller to reflect the UI of the plug-in. There are also plans for an iPad app to control Slapper. In the meantime, keyboard shortcuts for the plug-in are listed in the interface, which I think is a nice touch. Couple this with the ability to select and adjust multiple nodes at once and you start to see the potential of Slapper. In Sync Mode, Slapper conforms to divisions of musical timing, based on the host’s tempo, which are selectable from a 32nd note to a half note, with triplet and dotted options. In this mode, vertical lines are placed in the delay time graph to show musical timing references, and if Snap is enabled, the nodes will conform to the tempo. There are some creative, rhythmic possibilities here, especially when you consider that all of Slapper’s parameters are automatable, which includes movement in the surround field. Slapper ST is the stereo version of Slapper and is identical to its surround counterpart, save the fact that, as its

name implies, it only operates in stereo. Slapper ST still has an X-Y panner though, so it’s interchangeable with Slapper and offers the graphical display elements of surround. Unfortunately, Slapper is currently only available for Pro Tools, but the firm is in the process of rebuilding it for various other platforms. Some might also take issue with Slapper’s lack of character parameters, like modulation and distortion. However, I think that’s missing the intention of the plug-in. Slapper is a space-designer, and though it’s capable of creative and musical feats, it’s better seen for its intuitive approach to complexity. I have to admit that going in I didn’t think much about reviewing a new delay plug-in, but Slapper has made me realise the potential of what a delay can be. It’s taken a lot of the guesswork away from making complex spaces and rhythms, while providing an interface that’s incredibly inspiring to use.

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

March 2016

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TECHNOLOGY REVIEW

www.audiomediainternational.com

SHURE PGA181 MICROPHONE

hure’s PG Alta Series of microphones was designed to bring proquality sound down to reasonable price points. The Alta line comprises a variety of vocal and instrument microphones, the PGA181 being one of the more recent introductions. A side-address, cardioid condenser microphone, the PGA181 was designed for use on acoustic instruments and vocals, as well as amplified instruments. The PGA181 is a very unassuming microphone – all black with a lollipoptype head mounted atop a sturdy, castzinc conical body. Construction feels solid and inspires confidence. Included with the mic are a stand holder, a soft carry case and an instruction booklet. The PGA181’s element is an electret condenser requiring 48V phantom power. Frequency response is specified as 50Hz to 20,000Hz (±5dB), and the capsule is rated to handle SPLs up to 138dB. Setting up the PGA181 was about as easy as you can get, but I’ll get my one gripe out of the way now: because the PGA181 is side-address, its front is indicated with a cardioid graphic that is nearly impossible to see under normal lighting. I found it easier to remember that the side of the grille with the screws was the front. I used the PGA181s live and in the studio for a wide variety of instruments and vocals. To get a feel for the sonic signature of the PGA181s, I started by connecting them to a Grace 201 preamplifier, a preamp that I know well for its transparency and extended frequency response at both ends of the spectrum. I placed the PGA181s in a spaced pair roughly 4ft apart, 6ft high over a drum kit.

Versatile Operator While auditioning the PGA181s on drums, I also tried them close-up on the 40

Steve La Cerra takes a look at this entry-level all-rounder from the mic giant, putting it to the test in a number of different situations. kick, snare and toms. The microphone easily handled the SPL when placed in front of a kick drum, but the resultant sound was a bit on the rubbery side. As an ‘out’ kick mic, the PGA181 fared a bit better, reducing the rubbery-ness of the close position and delivering more smack in the upper midrange – but let’s say that kick is not a great strength of this mic, nor was it meant to be. When used close-up on toms, the PGA181s absolutely slammed. Rack and floor toms had just the right amount of attack on the head to give them presence, plus a fat, round bottom end and a really nice ‘doooom’ on the decay. Close-up on a snare drum, the PGA181 avoided the usual splashy condenser mic leakage from the hi-hat, behaving more like a dynamic mic and sounding a hair thinner than, say, a Shure SM57 or Audix i5. Used on a session for electric guitar, the PGA181 excelled. The guitarist was playing a Fender Strat through an old Acoustic G120 solid-state guitar amplifier. I placed the PGA181 4in from the grille, halfway between the dust cap and the edge of one of the 12in speakers, about 30º off-axis. The guitar player set the amp for just a bit of crunch when he played louder passages, which the PGA181 translated very well without harshness. Low notes were round and full without sounding sloppy, and on a few sections when he played a slide, the recording sounded beautiful. I’m not a big fan of condenser mics on guitar amps, but this was a welcome exception. I then tried the PGA181 on a Taylor acoustic guitar with the same Avalon AD2022 mic preamp. The AD2022 has a switch that changes the input impedance between several values as a means of matching impedance to the microphone, and also as a way to color the response. Tonal differences between the impedance settings were subtle, but I felt that the PGA181 sounded best for acoustic guitar on the ‘Mic’ setting. Signal level differences were more pronounced,

Key Features n Tailored microphone cartridge design n Condenser with cardioid polar pattern n Frequency response: 50 Hz–20 kHz n Black metallic finish and grille n 138dB max SPL RRP: £89 www.shure.com flattering microphone for male vocals, especially when used at a distance of more than a foot. Proximity effect is subtle and ‘blooms’ when the singer moved to within about 4in of the mic, but even at that distance the proximity effect is not overbearing. The singer didn’t love the way his voice sounded (how unusual). He felt that there was a bit of a peak in the midrange that made him sound nasal, but I felt that same characteristic helped his lead vocal track easily sit in front of a very busy mix. It also helped the vocal track stand up to some fairly aggressive compression that was added during both the tracking and mixing processes.

Conclusion with the PGA181’s level varying roughly 6dB to 8dB across the range of input impedance settings – the lowest output level resulting when the AD2022 was set to 50 ohms, and the highest output when set to ‘Mic’. Because the timbre of the mic remained fairly consistent regardless of preamp impedance, I think it’s safe to say that the PGA181’s character will remain consistent when used with a variety of mic preamps. When the guitar was fingerpicked very softly, the PGA181 delivered crystal clear reproduction of fingernails on strings, though it lacked that sense of ‘air’ produced by more expensive condenser microphones. Recording male lead vocals on a rock song with the Shure PGA181 proved interesting. It might not be the most

One of the questions I hear most frequently from my audio students is: “I’m on a tight budget, and I need a pair of condenser microphones. What should I buy?” Given the general sound quality level (or lack thereof) exhibited by most inexpensive condenser mics, my response is often: “Don’t waste your money buying something that’s going in the garbage in a few years. Save up for a good pair.” Now I have a more realistic answer for them: “Get a pair of Shure PGA181s. You won’t regret it.”

The Reviewer Steve La Cerra is a New York-based recording and live sound engineer.

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INTERVIEW

www.audiomediainternational.com

SKY HIGH

Now with a fourth Grammy to her name, Skywalker Sound’s director of music and scoring Leslie Ann Jones has had quite the career so far – one that stretches back more than 40 years. Adam Savage caught up with the experienced engineer after this latest awards triumph… (L-R): Leslie Ann Jones, Laura Karpman and composer Nora Kroll-Rosenbaum at Skywalker Sound

I suppose a career in music for you was inevitable (her father was renowned musician and bandleader Spike Jones) but how did you end up as an engineer? I was playing in bands when I was a teenager and with one of the bands I did a lot of recording. Later on I joined a rock band and toured with them. I bought the PA system for the band and when they broke up I got the system back and just started doing the sound for other people. I was at a stage in my guitar-playing career where I was selftaught and I knew without having taken proper lessons and music education that I wouldn’t be able to be as good as I wanted to be and so I decided to do sound and really liked it. I enjoyed being able to contribute to somebody’s performance by mixing. Your first career job was at ABC Studios, where you became their first female engineer. Was that a challenge for you, and what are your thoughts on the fact that more women are following in your footsteps? I’m very happy that there are more [women getting into engineering], but to be honest when I started I tried not to think about it too much [being the only 42

woman]. I always grew up as a tomboy hanging out with my brother and his friends and so I was kind of just used to being the only girl. The man that hired me at ABC said ‘I’d be glad to take you on, but we’ll have to see how people feel in the studio about having a woman in the control room’. I was always aware of it but it didn’t run my life; what did run my life was trying to learn as much as I could, not make mistakes and try and work whatever hours I needed to get my job done. What advice then do you have for young people today – women and men – looking to make it in the business? It really is about hard work. One of the biggest problems is there’s so much you can learn on your own and technology is so accessible and yet I meet so many people who push buttons because they can, and don’t really know why they’re doing it. We have this saying with my generation of engineers, which is ‘just because you can add a bunch of compression doesn’t mean you should’. Taking workshops, learning from other people, asking questions, joining organisations like the AES – you have to decide that this is what you want to

learn about, because it’s not going to just happen to you. One thing that’s just happened to you is a Grammy (Best Engineered Album, Classical) for your contribution to Laura Karpman’s Ask Your Mama, which required complex live and studio work. Can you tell us a bit about that? It started out as a live show performed at Carnegie Hall and then the Hollywood Bowl and Apollo Theater in Harlem. The composer [Karpman] really wanted to make a CD to memorialise the whole project and I was involved from the very beginning. Laura and I have worked together on many different projects so about seven years ago she asked me if I wanted to be the sound designer and mixer on it. To be able to hear the music in a recording studio and not just a live environment was just beautiful. I’m so happy that people recognise what an incredible project it was, and from an engineering standpoint, because there were so many different elements to it. You spend much of your time behind Skywalker’s Neve 88R. What do you like about the console?

I think we’ve had it for maybe 13 years now. It’s very well suited to my kind of recording style because it has such a wonderful sound and it’s a very flexible console in terms of being able to use it in many different ways. It’s very rare that I’m stumped when I use that console. I spend most of my time working on acoustic music – orchestras, string quartets, jazz, big band, things like that – so fidelity is very important to me, and everything goes through the console first and then into Pro Tools; I almost never go into Pro Tools first. I really couldn’t imagine using any other console. Any other kinds of audio equipment that you’ve started using more recently? Some mics, perhaps? I use all different kinds of microphones and we have a wonderful collection at Skywalker. I’ve been using Neumann and Sennheiser digital mics more now than I have in the past and I’m enjoying being able to use those, particularly when I’m doing live remote recordings, and I tend to do a couple of those a year. Royer makes a mic called the SF-2 and they’re just fantastic too. Over the last decade you’ve also branched out into video game scores for franchises including Star Wars, Gears of War and Dead Space. That’s got to be a lot of fun too? That’s something I really enjoy. I think part of it was that Lucasfilm had a video game company at the time, Lucasarts, and so I started doing games for them. Scoring video games is a little bit different to scoring films. With film there’s usually one composer, a director, there’s a whole slew of people; with video games it’s a very collaborative experience. I’ve worked on games where there have been several composers because there’s so much music. Everybody feels so lucky to be there recording an orchestra and I think that’s something people never get tired of. www.skysound.com

March 2016

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