PSNE April 2014 digital edition

PSNEUROPE APRIL 2014

Here’s Gérard! p19

www.psneurope.com

THE BUSINESS OF PROFESSIONAL AUDIO

Ciao, Sochi!

Agorà sprinkles Italian flair on the Winter Games

p36

NAB 2014 round-up

RCF mixer move

at PL+S p5

Bruce Swedien at 80 p58

p24

Give theatre

a hand!

p50

www.psneurope.com

April 2014 l 03

welcome Photo: Jake Young

EDITOR’S COMMENT

“John Penn wrote to remind me of how our industry had often worked ‘behind the lines’, spreading messages of liberty without being overtly political”

SOME WEEKS AGO, in an editorial I composed as part of the weekly Tuesday newsletter, I posed a question along the lines of: ‘With the seemingly outrageous political posturing going on between Russia and Ukraine, should we cover the Winter Olympics, or should we let it pass?’

I was playing devil’s advocate, I should add. But I was impressed by the response. SSE’s John Penn wrote to remind me of how the pro-audio industry had often worked “behind the lines” in places like Berlin, Beijing and Moscow, spreading messages of liberty without being overtly political, but just by being there.

“Of course, all the techs and firms that produced the events at Sochi need credit for a job well done, and you should definitely write about it – that’s a key freedom we have that some places don't for a start,” emailed Penn. “But on the larger stage Russia should not be allowed to stage any more international sporting events until it embraces the spirit that drives them.

Starting with the World Cup.” Sometime contributor Simon Duff wrote: “Publish Sochi. Great sound, great pictures. A PSNEurope historical record needed despite imminent violence.”

And while ASAP Europe’s Alan Stewart pondered the whole historical circumstances of Crimea (“Good luck to the Ukrainians who wish to look west, and equally good luck to those who wish to look east”), Merging’s Chris Hollebone’s put it this way: “Any of these big gigs features interesting technology, even if the leader of the country is a complete megalomaniac nutter.”

On p36, then, Mike Clark’s piece on the Sochi Ceremonies. Who knew it was all so Italian?

Dave Robinson (twitter: @psneurope)

IN THIS ISSUE...

NEWS (FEATURING PL+S) GiVa Audiovisual revives Apex line RCF launches Mixer Division Powersoft X Series amps will “work everywhere” Coda Audio TiRAY Celestion honours long service staff Industry appointments Events and expos Pro Sound Awards 2014 – first look

4 5 6 8 10 12 14 15

STUDIO Eurocam reborn as AED Studios New distribution for PreSonus Wisseloord opens “vintage room”

16 19 20

BROADCAST Calrec Audio acquired by Electra Radio 5 live celebrates 20 years on air

22 23

NAB Las Vegas Round-up

p24

LIVE Satis&Fy invests in Nexo STM Anthony Taylor steps down from Martin Audio Ampco takes aim at future Agorà astounds at Sochi Feature: Italian pro-audio perseverance

26 27 28 36 40

INSTALL 46 Fraser heads new UK APG office 48 Funktion-One rocks Ghent 50 Feature: Modern theatre trends BACK PAGES 57 Hither & Dither: PL+S special 58 Industry talk: Bruce Swedien

04 l April 2014

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For the latest news www.psneurope.com

news BELGIUM

GiVa Audiovisual revives Apex line Apex Audio’s Paul van Hees is back in business but will concentrate only on manufacturing, not on distribution, he assures Dave Robinson PAUL VAN HEES, former director and founder of Apex Audio NV, has joined forces with Hendrik-Jan Gielis, an electronics engineer (and formerly in charge of hardware at Apex), to create GiVa Audiovisual Technologies BVBA. The new company has purchased all the assets and IP rights of the Apex brand as well as the production facilities and all

the stock. GiVa has already started shipping product.

Van Hees has made a cast-iron guarantee that his plans are for manufacturing and developing the Apex legacy, and not to build another distribution business.

“We created GiVa with the sole intention of continuing the Apex brand,” says Van Hees. “Whilst the collapse of Apex as a

distribution/integration company was a devastating time for us all, it was no reflection on the Apex product line itself, and I wanted to find a way to save the brand.”

Apex Audio NV filed for bankruptcy with the Hasselt Court on 17 October last year.

The company was origimally formed by van Hees and Eddy Bergers in 1991, supplying

Hendrik-Jan Gielis (left) and Paul van Hees digital outboard units (equalisers, system controllers and signal processors) to the live and installation markets. At the time of the bankruptcy filing, Apex was a fully-fledged manufacturing, distribution and solutions business, with a large portfolio of brands spanning several sectors, including DHD, AVT, Coda, DiGiCo, Genelec, Mogami, Riedel and Sonifex.

The recent Prolight + Sound show in Frankfurt proved to be decisive, says van Hees. “I was

EUROPE

NST Audio marks return for XTA/MC2 stalwarts

By Dave Robinson AFTER AN absence from the industry of three years, Ian McCarthy, former managing director of MC Audio and latterly of XTA Electronics, has joined forces with long-time audio software and design engineer, Dan Cartman, and XTA founder Andrew Grayland, to form NST Audio Ltd. Speaking to PSNEurope at PL+S time, McCarthy revealed 2

Dan Cartman (left) is joining Ian McCarthy (right) and Andrew Grayland in the new venture that NST – the initials have no significance – has been formed by the trio in order to design and

supply own-brand, OEM and licensed DSP-based software and hardware. “Primarily software,” notes McCarthy, “though there will be a hardware component.

“Definitely not amplifiers though!” he emphasises.

As managing director, McCarthy says he is looking forward to returning to the industry through the challenge of being part of a ‘start-up’: “Dan and Andy approached me with the project, which I could see has

a lot of potential and, having known them both for many years, I was fully aware of their undoubted talent and expertise, so I was delighted to be invited to join them.”

“With Dan as technical director and with the advantage of access to Andy’s extensive technical knowledge, I believe we are a strong team and I have every confidence that NST Audio will be a success.”

Andrew Grayland has spent the

able to meet with most of our distributors, and almost all of them want to continue with the [Apex] brand. Some had even continued to market it during our absence from the market in the firm conviction that a solution would be found sooner or later.

I’m glad to say that we have found a solution and we will be able to repay their confidence.”

Van Hees is clear about GiVa’s intentions. “We have very ambitious plans for the Apex brand. We will continue to maintain and develop the current product range and our dedication to the live market, but our plans for the future include a new range of digital products for the fixed installation market as well. Our projects are purely those of a manufacturer. GiVa is neither a distributor nor an integration company, nor will it be.”

GiVa is headquartered in the former Apex premises. I www.apex-audio.eu last few years involved in the sharp end of pro audio, hiring out PA and sound engineering, particularly on the festival circuit.

“It is a pleasure to be back putting some of the knowledge I have gained into the development of new products,” he says.

The first fruits of the 18-month collaboration are expected in around six months, suggests McCarthy, and further hints that the product will have a link with ‘audio networking’, and will be licensed to third-party manufacturers. “We want to offer something that other people don’t.”

A website, nstaudio.com, is currently under construction. I

April 2014 l 05

www.psneurope.com

news ITALY

RCF reveals Mixer Division Renowned Italian loudspeaker makes cunning bid for new sector, writes Dave Robinson RCF, THE renowned Italian manufacturer of loudspeaker systems and components, has created a new division dedicated to the manufacture of consoles. The RCF Mixer Division represents “an

important strategic move” for the 65-year-old brand, and his headed by design expert Umberto Zanghieri of ZP Engineering.

RCF chairman Arturo Vicari told press and guests in Frankfurt:

L-PAD16CX, analogue console with onboard effects

“For many years we’ve had requests from our distributors, why don’t you do mixers?”

Vicari suggested the company had been biding its time until it could work with the right partner.

“Why now?” he continued.

“Because we can work with Umberto – to start the division, we needed to make analogue and digital mixers, and [ZP Engineering] are some of the best in the world [at designing them].”

Although Zanghieri was wary of naming specific brands, his consultancy claims to have had input into most major digital console brands over the last 15 years, including work with DSP and FPGA technologies, and USB and FireWire (IEEE-1394) connectivity. The engineer is also an active member of the Audio Engineering Society.

ZP Engineering was one of two third-party partners

Umberto Zanghieri (left) and RCF chairman Arturo Vicari at the Frankfurt announcement who signed up to produce SuperMAC and HyperMAC technology (aka AES50) for Midas Klark Teknik in 2008.

The company now becomes part of the RCF Group and is based in Rome.

The first releases for the RCF Mixer Division are nine analogue mixers, from the small six channel L-PAD6 to the

EUROPE

PSNEurope welcomes new duo PSNEUROPE REACHES the dizzy heights of three – count ’em – three full-time writers this month, for the first time in its long history. Following the February departure of the much-admired Erica Basnicki into the perilous world of freelance writing, Murray Stassen and Jon Chapple have since joined the team.

South African-born Murray joined PSNEurope as staff writer in January. Stassen comes from a strong journalistic background, with writing published in VICE, The New Economy and World Finance prior to his appointment.

In addition to his love of writing, Stassen is also a keen

guitar player and amateur recording enthusiast.

Jon Chapple joined PSNEurope as deputy editor in March. Chapple has a range of experience in both consumer and trade publishing, most recently serving as a junior editor at Titan Publishing Group, where he worked on

L-R: Jon Chapple and Murray Stassen licences including Star Wars, Batman, Superman, Arrow and Transformers. Prior to this, he spent a year as an editorial assistant at Mulberry

24-channel L-PAD24CX (‘X’ denoting onboard effects). The L-PAD16CX is shown here.

“Now we can supply a complete system to the market,” said Vicari, emphasising that digital consoles will follow.

“In a year we can become one of the players in this market,” he noted. I www.rcf.it

Publications in Colchester, Essex. Chapple is also a published music critic (PopMatters, The Line of Best Fit, MusicOMH ) with a BA (Hons) degree in music journalism.

“Rian Zoll-Khan joined Ryan O’Donnell on the sales side at the end of last year, so now, with Murray and Jon onboard, we have a formidable team. Thrilling stuff!” says editor Dave Robinson.” I www.psneurope.com

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frankfurtnews SOUNDBITES DirectOut showcased a new MADI (AES10) to audio-over-IP bridge. Montone.42 has been released in response to the demand for Ethernet-based transmissions in professional audio environments. The new unit allows for the integration of network audio with existing infrastructures. It is based on the Ravenna network standard and MADI (AES10) and serves as a versatile link for broadcast, livesound and studio applications.

Equipped with four MADI and two gigabit network ports, up to eight streams can be assembled with an individual number of audio channels from the MADI inputs. www.directout.eu Berlin-based Eve Audio’s new SC3010 and SC3012 studio monitors made their debut at the show. The SC3010 features a 10-inch low frequency driver and the SC3012 houses a 12-inch version.

Both models are equipped with a 5-inch Rohacel sandwich diaphragm woofer, designed to reproduce mids “as clearly as possible”. Eve’s monitors are the only units to feature the new RS6 Air Motion Transformer. Products will ship in September 2014. www.eve-audio.com DPA unveiled new additions to its body worn d:fine Headset and d:screet Miniature Microphone ranges. The d:fine 66 and 88 headset microphones are intended for use by actors, musicians and singers who need to move freely on stage. CEO of DPA Christian Poulsen, says: “The expansion of the d:screet Miniature Microphones series is important for us to meet the ever more demanding needs from the market for a solid workhorse that delivers superb sound under challenging conditions.” www.dpamicrophones.com British-based manufacturer DiGiCo previewed its new D2-Rack. The device is designed to support and expand DiGiCo’s SD Range’s higher sample rate I/O solutions. It comes with either BNC or Cat-5 MADI connections, allowing it to be used with a number of DiGiCo consoles.

DiGiCo managing director, James Gordon says: “The D2-Rack means we are able to open up the full 96kHz potential of the SD8, SD9 and SD11 with this next generation of I/O conversion is an impressive upgrade.” www.digico.org

EUROPE

Powersoft X Series amps will “work everywhere” Dave Robinson was at major launch, and prelaunch, for the confident Italian amplifier maker FOUR YEARS in development and promising “unmatched levels of versatility, flexibility and power”, the Powersoft X Series power amplifiers made their debut at Frankfurt.

Under the slogan ‘Everything evolves from the source’, the X Series represents “a system tool that integrates a large amount of functionality, generally only found in separate outboard units,” says Powersoft. “This includes an innovative system of channel routing, a truly universal power supply and a revolutionary fully-featured DSP.” This power supply has worldwide AC acceptance and allows direct connection to any regional power line configuration: it can handle Single Phase, Bi-Phase or Three

X-series amps, launch in Frankfurt

The distinctive front-panel lights of the X4 (top) and X8 power amplifiers Phase operation from 85V AC up to 440V AC without the need for manual selection.

Put in a more practical way by the Powersoft team in its X Series preview presentation, held for 80 dealers and distributors at the company’s Scandicci HQ two days before Prolight + Sound: “It Works Everywhere”.

There are two models at launch time: the X8 sports eight channels in a 2U chassis, while the 1U X4 features four channels. Both amps share the same power density,

being capable of delivering up to a reported 5,200W @ 2 ohms per channel.

“There is nothing at this level with this power, on all channels and per channel – nothing,” stated Luca Giorgi, pro-audio business unit director at the presentation.

The X Series natively supports AES3, two redundant Dante digital streams, and analogue inputs, providing up to four different selectable input sources per channel.

GERMANY

Yamaha alive and kicking with QL consoles

By Murray Stassen At a packed launch event at Prolight + Sound, Yamaha launched its latest line of digital consoles: the QL Series.

There are two models in the range, the QL1 and QL5. The QL1 features 16 inputs and eight outputs in a 468mm wide chassis, with the QL5 carrying 32 ins and 16 outs, at around twice the width.

The new consoles have the same processing power of Yamaha’s renowned CL series consoles – however, with fewer outputs and less matrix capability, they have been designed for small to medium scale operations.

CL Series consoles can be integrated with QL consoles

via the company’s new Port-toPort functionality.

The QL series also features the Dan Dugan-designed auto-mixing capability, which automatically manages input and output levels of live mics in environments where dialogue may be unpredictable. This feature makes the series ideal for speech events or broadcast environments (such as TV chat shows).

On-board audio processing comes in the form of the QL Effects Rack and the Premium Rack, which includes renowned effects such as the Rupert Neve Portico 5033 EQ and 5043 Compressor as standard.

Although the QL consoles are suitable for small-to-medium sized productions on their own,

Andy Cooper, newly appointed to position of manager for commercial audio products, with the QL1 on-board Dante networking allows them to be integrated into bigger systems with Yamaha’s R-series I/O units and CL Series consoles.

Up to eight R-series units can be controlled simultaneously with a QL console, offering as many as 256 input sources.

While the strikingly stylish design – a symmetrical of LED lights on an elliptical fascia plate – suggests fixed installations only, Powersoft says the X8 and X4 are built for concert touring too, and for both low and high impedance applications. Set-up parameters for the X Series are fully integrated into Armonía Pro Audio Suite for comprehensive control and parameter adjustment. An integrated WiFi connection will permit the amps to be accessed and managed via any smartphone or tablet through a user interface currently being developed.

“Our sights have been fixed firmly on the future during the design of the X Series,” states Claudio Lastrucci, Powersoft R&D director, “We looked at what we believe amplifiers will require for the next 10 years and made a platform capable of meeting these needs as well as building in a certain level of ‘future proof’ expandability.”

The X8 will ship in May 2014, with the X4 the following month.

In 2015, Powersoft X Series will celebrate the 20th anniversary of the creation of the keystone K Series amplifiers, which introduced Power Factor Correction (PFC) and switchmode amplification to the professional audio industry. I www.powersoft-audio.com

High quality, multi-track live recording can be achieved with an on-board two-track recording and playback function. The QL series is also fully compatible with Dante Virtual Soundcard and Steinberg Nuendo Live software.

Yamaha would not confirm availability for the QL Series, but PSNEurope was advised it the desks were “in production” and shipping would be in “weeks as opposed to months”.

Also at the press launch, the Japanese technology giant announced that Version 2.0 software for the CL range would be available via the Yamaha website in May 2014. With mix-minus capability for the broadcast market, discovery and head amp control for the QL consoles and more, Yamaha’s Nils-Peter Keller, director of the pro music and pro audio division, said the update gave CL desks “the functionality of the PM5D”. I www.yamahacommercialaudio.com

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frankfurtnews EUROPE

Optocore, Clear-Com, DiGiCo three-way!

Three leading brands demonstrate video and audio streaming technology in Frankfurt, reports Murray Stassen OPTOCORE, DIGICO and Clear-Com demonstrated the power of their networking technology collaboration in Frankfurt with two press conferences that combined the ‘actual’ with the ‘virtual’ by implementation of audio/video streaming.

DiGiCo MD James Gordon kicked off the four-day expo on his own booth, with marketing director Dave Webster speaking remotely from the Optocore booth.

Later in the morning, Simon Browne anchored the press call on the Clear-Com stand, with MD Bob Boster beaming in from Optocore’s booth once more.

The three locations were linked via a single-mode fibre and the latest DiGiCo-Optocore integration.

Speaking at his own press conference later, Optocore founder Marc Brunke,

explains: “We are now completely compatible with DiGiCo – DiGiCo consoles can now not only exchange audio with Optocore boxes, but they can also be controlled from DiGiCo.” Visitors were able to see the remote X6R mic preamp on the Optocore booth being controlled from the console on DiGiCo’s booth.

“By adding a simple Optocore 16-channel X6R-FX interface to the DiGiCo network extra I/O connectivity can be achieved together with Ethernet and RS485/422,” adds Brunke.

“They can also use Optocore’s cost efficient DD2FR-FX and DD4MR-FX MADI interfaces to increase the number of MADI ports available on the console.”

Although Optocore partners with several console manufacturers, DiGiCo is

DiGiCo marketing director Dave Webster, addressing the press via video streaming the only one that is running the native 2.21 Optocore protocol. “This is the first console manufacturer to implement this protocol, so this is pretty new for us and very powerful,” says Brunke.

Clear-Com showcased its new Pro-Grid device, which is also based on Optocore technology. “Basically, they now have an audio network to offer and also an intercom network and a data network, and Optocore powers this.

More people will use the Optocore technology and this is very good for us,” adds Brunke.

In addition to the network demonstration, Brunke also discussed his new AES approved ‘MADI over Cat-5’ standard. “Up to now MADI has been too

expensive for low channel devices, but this is no longer the case. Also, because the new version makes MADI compatible with IEEE802.3, it can now be used in combination with other recent network standards like AES-X210/AES-67 or older proprietary Ethernet implementations.”

Optocore marketing director Tine Helmle, comments: “This was unquestionably our most successful trade show participation ever. The network created a real buzz as a result of which we received many new enquiries as well as being able to forge closer links with our existing global reseller network.” I www.optocore.com www.digico.biz www.clearcom.com

UNITED KINGDOM

Coda conjures TiRAY CODA AUDIO showcased the latest addition to its ViRAY family in Frankfurt, the TiRAY line array module for small-tomedium sized applications.

TiRAY features two 5-inch ultra-low distortion cone speakers and a 5-inch Coda Audio associate Mick Anderson with the TiRAY line array neodymium planar wave driver, a built-in passive crossover and an integrated rigging In other news, Coda Audio equipment is about to be rolled out for system, tried and tested with ViRAY. The Hanover-headquartered company a huge musical show called 14-18, being staged in Mechelen, Belgium and set also launched the TiLOW bass extension designed to complement TiRAY. The against the backdrop of the Great 1914-1918 War. I new system can also be integrated with www.codaaudio.com Coda Linus amplifiers.

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frankfurtnews EUROPE

Celestion honours long service staff at PL+S “IT’S AMAZING that a speaker company has come right through to 2014 and is still very successful,” said Celestion managing director Nigel Wood at a presentation honouring two of its key staff on the second day of the Frankfurt show. The Ipswich-based loudspeaker manufacturer was celebrating the occasion of its 90th anniversary of building components at Prolight + Sound.

Consulting engineer Ian White was presented with a 30 years’ long service award by Ian Doggett (MD, Vox Amplification).

“Ian has been one of the most influential speaker designers of the last generation, certainly for all of us as customers or suppliers,” said Doggett.

“I can’t say it feels like 30 years, but to some at Celestion it certainly does!” joked White in reply. “In the last decade, the company is more focused than it’s ever been, and that’s down to the current team, and to Nigel, so we look forward to a great future.”

Receiving an even more impressive award – for 40 years of service – was Dee Potter.

Wood revealed that, since the days she started with the

company on 6 February 1974, Potter had built, or supervised the building of, over eight million speakers. Jon Ellery, MD of Marshall Amplification, presented the award to the production manager, who was visiting PL+S for the first time ever. “Eight million speakers?

Nigel, I want 50p for every one…” she announced to cheers from the assembled guests.

Potter went on to cut a cake specially baked in the shape of a subwoofer.

At Prolight + Sound, Celestion unveiled the FTX range of coaxial loudspeakers, as well as the new CDX14-3030 ¼-inch

Ian White has been there 30 years...

..but Dee won the cake-cutting honours

ferrite compression driver. Early speaker designs from the company’s long history were on display, too.

John Paice, marketing/artist relations for the company, said

Celestion was currently selling around “1,000 compression drivers a day”, with the target for the year 2014-2015 set at “half a million”. I celestion.com

April 2014 l 11

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frankfurtnews GERMANY

One bright Idea Spain-based manufacturer Idea Pro Audio, made its industry debut at PL+S 2014, reports Murray Stassen NEWLY FORMED loudspeaker company, Idea, made its pro-audio market debut at Prolight + Sound in Frankfurt this year. The fledgling manufacturer is based in the Galicia region of Spain, where it has been working on minor OEM projects for nearly two years prior to the development of the Idea brand.

Audio technical director Santiago Alcalá explains that the concept for the Idea brand was developed because the company was presented with “logistical advantages’ as well as an excellent “quality-to-cost ratio,” for its manufacturing operations.

The products on display at Prolight + Sound included modular loudspeakers and amplification systems for live, touring and installation applications. “The key to the

Marketing and communications coordinator Richi Rozas, in front of an Idea loudspeaker at Prolight + Sound in Frankfurt design of most Idea products is always function. Idea products are built like racecars – for their purpose,” asserts Alcalá.

“We are going to be offering our loudspeakers as complete systems with amplification and DSP,” he continues. “We will be introducing the different members of the TEO family, which will allow the users to create their own configurations of passive, active or selfpowered loudspeaker solutions.”

The company’s products are the result of a multinational collaboration between technical teams from Spain, Denmark,

the Netherlands, Switzerland and Germany.

“In terms of passive crossovers, we have a close collaboration with Swiss manufacturer SpeakLab, which we are very lucky to be partnering with,” says Alcalá.

“For the transducers in all the cabinets, we have the privilege of working very closely with the R&D department of Beyma, who are supplying special customisations for

Idea based on some of their best products.”

Idea’s technical team found that horns made from wood had a lower resonance frequency band than prototypes made from aluminium-moulded, plastic-injected or fibreglassmoulded prototypes, and as a result, recycled wood is now used for the horns in Idea loudspeakers. “With our own manufacturing process we control the production of each waveguide and we can easily make modifications or develop different models with the same technique,” explains Alcalá.

Alcalá tells PSNEurope that Idea currently has a total of eight distributors across America and Europe, with the majority of these distributors based in the US.

IDEA VOA line array “In the following weeks we will confirm new distribution deals as soon they are finally closed.

But we can let you know that we have a fantastic selection of enthusiastic, knowledgeable and experienced distributors in some key markets that we are very interested in being part of.” I www.ideaproaudio.com

And from around the show...

A familiar face in German pro-audio returned, as Wolfgang Garçon presented his United B distribution operation in Frankfurt, filling the booth space vacated by Atlantic Audio (see page 30). www.united-b.com

Midas, part of the Music Group, previewed the PRO X console featuring the company’s latest ‘Neutron’ engine. The console, due at the end of 2014, offers 168 inputs and 99 mix or 103 output channels. www.midasconsoles.com

Dynaudio’s Fred Speecken introduced MkIII versions of the BM studio monitors. In a tie-in with Canada’s IsoAcoustics, the speakers will ship with ISO-L8R acoustic isolation stands as standard. www.dynaudioprofessional. com/bm-series

Stagetec’s Juergen Malleck unveiled the company’s new scalable and upgradable Polaris evolution mixing console, consisting of three parts; the primary control surface, audio processor and touch-screen upgrade. www.stagetec.com

SOUNDBITES Inspired Audio showcased its new eFlex D2.5 amplifier and the first products from the new mFlex MQ & iQ ranges at Prolight + Sound.

The mFlex iQ range combines installation-specific products with adapted versions of products from the MQ range. The company also introduced the reFlex DR115 bass cabinet and DR118 sub-bass cabinet. www.inspired-audio.co.uk d&b audiotechnik introduced the D80 amplifier, featuring four channels and 4,000w power per channel. The company also displayed the xC-Series column loudspeakers, launched just one month earlier. ArrayCalc V7.6.11 was also revealed at the d&b stand, demonstrating the new venue editor, which enables users to create a representation of audience listening areas. www.dbaudio.com Solid State Logic released new V2 software for the SSL Live, the company’s first ever dedicated live sound console, at Prolight + Sound.

The new V2 software introduces a substantial collection of new features, including enhancements to the output matrix, effects rack, user interface, routing, solo system and focus channel and the introduction of a comprehensive offline setup application. The new software is due for public release in April 2014. www.solid-state-logic.com Amadeusannounced the release of its new four-inch PMX 4 miniature loudspeaker at Prolight + Sound. The PMX 4 is available in several different standard colours and can be ordered in a ‘made-to-measure’ finish. Amadeus lead designer Michel Deluc says: “We had to create a product matching the Amadeus sonic philosophy, starting from the PMX 5 format and trying to reduce its size by 50% without making any sonic compromise.” www.amadeusaudio.fr Audio-Technicare-introduced its AT4060a tube microphone at Prolight + Sound 2014. The re-issued mic was originally released in the late ’90’s and features a hand-selected, individually tested and aged Sovtek 6922 tube. It also includes an AT8560 power supply, rack mount adaptors for the power supply, AT8447 shock mount, 10m cable with 6-pin XLR-type connectors and a protective carrying case.

The AT4060 is available in Europe from April 2014. www.eu.audio-technica.com

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industrymovers

Industry movers is sponsored by

Spyros Lazaris Audio Precision

Alex Jann Audio-Technica

Spyros Lazaris has been appointed as vice president of sales and marketing for Audio Precision. Lazaris’ previous role was Americas director of marketing and sales for Tektronix. President of Audio Precision David Schmoldt says: “He brings commercial test and measurement experience to the Audio Precision leadership team.” www.ap.com

Hawley directs focus on global sales Focusrite Audio Engineering Ltd has named Damian Hawley as director of global marketing and sales DAMIEN HAWLEY joined Focusrite in 2004, progressing to sales director by 2009. He will manage the merged marketing and sales departments for the Focusrite, Novation and RedNet brands worldwide including Focusrite Novation, Inc. (the US based wholly-owned subsidiary).

“The Focusrite and Novation brands have seen significant growth over the last five years and I now look forward to the

privilege of leading our newly combined team of highly talented marketing and sales professionals,” says Hawley.

Managing director Dave Froker, comments: “Following a period of strong company performance we have decided to bring marketing and sales together as a single organisation to position the business for it’s next phase of growth.” www.focusrite.com

Audio-Technica has appointed Alex Jann as a UK product and training specialist. Jann will be responsible for DJ and recording-related products from A-T and Allen & Heath. “I am looking forward to working with the dealer network to help them get the most from the products,” says Jann. www.audio-technica.com Avid Technology has appointed Andreas Rimroth as principal customer support engineer for EMEA, concentrating on live sound and large format consoles. He joins the company from Audio Technica where he was product specialist for Allen & Heath and APG. “With the groundbreaking S6 digital console just launched I am delighted to join Avid at this point. Being a consoles guy through and through I am looking forward to working with

Andreas Rimroth EMEA

Rob Hughes Cadac

the many users who use Avid products for mixing both in the studio and live.” www.avid.com Cadac has appointed Rob Hughes as UK sales manager. Speaking at the event, Hughes says: “I am especially proud to be joining a fantastic

Lawrence Kendrick Jungle

Calum Simpson Jungle

Andrew Richardson FaitalPRO

Soho-based Jungle has appointed Athene Parker as new business consultant and Lawrence Kendrick, Culum Simpson and Alex Wilson-Thame will all be taking on the role of sound design engineers for the postproduction house. “The level of talent and expertise under

Alex Wilson-Thame Jungle

Robin Dibble Martin Audio

team of people at the company, and am confident of their taking it forward and regaining its rightful place at the very top of the market.” www.cadac-sound.com

Jungle’s roof, along with the company ethos and the way they encourage their staff made it a no-brainer when they approached me,” says Parker. www.thejunglegroup.co.uk

FaitalPRO has appointed Andrew Richardson to manage OEM and area sales in UK and India. Pro-audio division manager of FaitalPRO, Flavio Naggi, comments: “Andrew’s strong commercial and technical expertise will complement our current skill set especially as we expand our influence in the OEM markets bringing his valuable experience in any branch of proaudio and beyond.” www.faitalpro.com

Martin Audio has recruited Robin Dibble to the new position of applications engineer. Sales director Simon Bull says: “This appointment reflects the growth of the company and recognises the need to bring in additional expertise to drive our installation business.” Dibble adds: “While the MLA range is a real ‘game changer’, there are also fantastic new products in the pipeline.” www.martin-audio.com

Uniting the audience Speech and music that stir the soul.

From the thrill of theatre to the celebration of worship to the inspiration of the auditorium.

It’s all about consistent audience coverage, front to back, whatever the acoustic challenges.

A shared experience they will never forget.

That’s the Martin Audio Experience.

Unite your audience at www.martin-audio.com

14 l April 2014

www.psneurope.com

For more events news visit www.psneurope.com/events

expos&events

EDITORIAL PLANNER

SPOTLIGHT PLASA FOCUS 29-30 April Leeds, UK www.plasafocus.com

MAY f The Radio Studio

LEEDS ENTERTAINMENT technology showcase PLASA Focus kicks off at the end of April with a ton of new products making their UK debuts following international launches at Prolight + Sound and ISE. In addition to the 130 brands exhibiting, PLASA has announced the new-for-2014 Professional Development Programme, which provides visitors with free access to over 20 seminars and demonstrations delivered by some of the sector’s leading experts, including speakers from Funktion One, Soulsound and Shure UK. PLASA director of events Chris Toulmin comments: “[T]he Professional

New technologies available to superstar DJs (=presenters) f Business in BRIC regions How to make the most of these emerging markets f AES Berlin preview Development Programme… provides visitors with more sessions to choose from than ever before, all delivered by respected industry figures.”

Free registration for tickets is still open at the PLASA Focus website.

Who’ll be peddling their wares in Berlin Deadline: 16 April Distribution: 1 May

EVENTS Your complete calendar of expos and conferences for the months ahead

PSNLIVE

NAB 5-10 April Las Vegas, US www.nabshow.com

PEVE Digital Entertainment 10-11 June London, UK www.screendigest.com/events/peve

Glastonbury 25-29 June Pilton, UK www.glastonburyfestivals.co.uk

PALME Middle East 15-17 April Dubai, UAE www.palme-middleeast.com

ABTT 11-12 June London, UK www.abttheatreshow.co.uk

Roskilde Festival 28 June-6 July Roskilde, Denmark www.roskilde-festival.dk

Isle of Wight Festival 12-15 June Isle of Wight, UK www.isleofwightfestival.com

Love Supreme Jazz Festival 4-6 July Sussex, UK www.lovesupremefestival.com

136th AES Convention 26-29 April Berlin, Germany www.aeg.org

Molly SmittenDownes: She’ll settle for anything but nul points

f The annual report will be redesigned and published two months earlier this year!

JUNE f World Cup/Sound for Stadiums f Widgets and Essential Kit f On the Road (diary) f ABTT + InfoComm previews Deadline: 21 May Distribution: 4 June

The Great Escape 8-10 May Brighton, UK www.escapegreat.com

Eurovision Song Contest Grand Final 10 May, Copenhagen, Denmark www.eurovision.tv

Download Festival 13-15 June Donington Park, UK www.downloadfestival.co.uk

Montreux Jazz Festival 4-19 July Montreux, Switzerland www.montreuxjazz.com

Rock im Park 6-9 June Nürnberg, Germany www.rock-im-park.com

Pinkpop 7-9 June Landgraaf, Netherlands www.pinkpop.nl

InfoComm 2014 14-20 June Las Vegas, US www.infocommshow.org

IT Broadcast Workflow 8 July London, UK www.broadcastworkflow.com

JULY f The Modern Conference f Commonwealth Games preview Deadline: 27 June Distribution: 10 July

April 2014 l 15

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PROSOUND PROSOUND OUND DA AWARDS WA ARDS S

news

TThursday 25th Sep Thursday, September ptember 2014 Ministry Of Sound, London

EUROPE

Pro Sound Awards – they’re coming FOLLOWING THE overwhelmingly positive response to last year’s inaugural Pro Sound Awards, PSNEurope and other participating Intent Media titles are thrilled to announce a bigger and better event for 2014.

The Pro Sound Awards 2014 will be held on 25 September (save the date!) at the world-famous Ministry of Sound nightclub in London, with no less than 17 accolades, including two brand-new categories, handed out during the evening. Also back for more is the complimentary drinks reception and afterparty, which many would argue was the highlight of PSA 2013. (We can’t remember.)

The PSA celebrates excellence in live and touring, studio, installed and broadcast audio, and is supported by PSNEurope and our sister titles Installation, Audio Pro International, Audio Media, MI Pro and Music Week.

New for 2014 is the PSA ‘Pre-Roll’, which will be held in the late afternoon and early evening of the 25th and “segue seamlessly in the awards proper,” according to PSNEurope’s Dave Robinson. He continues: “The Pre-Roll will feature two sessions where we’ll be getting up-close and personal with some big names from pro audio circles. We don’t want to disclose too much right now, but we promise you something entertaining, enlightening and, hopefully, a little bit out of the ordinary.”

As with last year, a number of partnership opportunities are available. To find out more, contact: Ryan O’Donnell (ryan.odonnell@intentmedia. co.uk) or Rian Zoll-Khan (rian.zoll-khan@intentmedia. co.uk), or alternatively call them on +44 (0)20 7354 6000. I www.prosoundawards.com Tickets are now available at a special early bird price of £79 (full price £99). For more information, please visit www.prosoundawards.com.

LOBBYING – HOW IT WORKS

AWARD CATEGORIES G

G

G

LIVE/TOURING SOUND G Engineer of the Year G Tour Sound Production G Best Theatre Sound STUDIO G Engineer of the Year G Best Recording Production G Best Studio G Best Sound in Post-Production INSTALLATION G Team of the Year G Best Permanent Installation Project

G G

G

G G G

Best Temporary Installation Project BROADCAST AUDIO G Team of the Year G Broadcast Event of the Year G Best Facility MARKETING INITIATIVE/CAMPAIGN OF THE YEAR RISING STAR LIFETIME ACHIEVEMENT GRAND PRIX

The process will be familiar to all those who took part in 2013’s show, but for all you Pro Sound Awards newcomers here’s a handy lowdown as to how the lobbying process works.

The lobbying period will open on 15 April – the first day, entirely coincidentally, of PALME Middle East – and from this point, all companies, services and individuals with an interest in the pro audio industry are invited to nominate themselves, a supplier, an event or a client whom they regard as worthy of receiving wider recognition. The lobbying period will stay open until Friday 30 May – more details of how to submit your nominations will be in Tuesday 8 April’s PSN-e weekly newsletter (sign up at www.psneurope.com).

Based on the email nominations, the team behind the Pro Sound Awards will create a list of finalists for each category. This process involves looking at the performance of those nominated companies over the past year, plus the information provided by the lobbying emails. We don’t base finalist positions on the number of emails we receive about a particular company.

The finalists for each category will be presented to panel of independent judges from across the entire pro audio industry, who will ultimately choose the winners of each Pro Sound Award (with the exception of the Grand Prix, Rising Star and Lifetime Achievement prizes).

16 l April 2014

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Studio SOUNDBITES Edge Studios, home of recent projects by Plan B, The Script and New Order, has installed a Solid State Logic AWS 924 hybrid console/controller as its studio centerpiece. Edge says that since the console’s installation, the studio has been “booked solid”.

John Delf, Edge Studios owner and studio manager, comments: “It’s the right size for us, it has a very sophisticated DAW interface – the best in the industry – and it has that magic SSL name on it.” www.solidstatelogic.com The new album from Mercury Prizewinning alt rockers Elbow, The Take Off and Landing of Everything, was mixed and mastered using PMC loudspeakers. Written and recorded at Blueprint Studios in Salford and Peter Gabriel’s Real World Studios, the mixing was achieved using PMC’s IB2S three-way monitors and the new Active twotwo.6 nearfields, which the band recently installed at their facility. Mastering duties were handled by Tim Young at Metropolis Mastering in London, who used PMC BB5 XBD-A large-scale monitors. www.pmc-speakers.com Following a successful Musikmesse, speaker manufacturer Lipinski Sound has announced that German-based Digital Audio Service will distribute its products in Germany, Austria and Switzerland. The US-based analogue specialist, founded in 2003, celebrated its 10th anniversary at the 135th AES Convention in New York last October. www.digitalaudioservice.de The Studio People Ltdhas completed five new Sound Design Studios featuring 7.1 mixing capability, Foley pits and variable acoustic panels for Microsoft’s Lionhead Studios in Guildford.

The Studio People Ltd was principal contractor and undertook all aspects of construction, also all mechanical and electrical work. The expansion follows the success of the FABLE games and the release of the Xbox One console, prompting Lionhead’s Steve Brown to create new facilities to house a larger audio team. www.thestudiopeople.com

For the latest studio news www.psneurope.com/studio

BELGIUM

Eurocam reborn as AED Studios On 27 February, some five months after the AED group’s acquisition of the vast former Alfacam production site, the newly christened AED Studios opened its doors. Marc Maes reports IN AUGUST last year, the Eurocam Media Center – formerly known, pre-messy bankruptcy, as the home of audiovisual titan Alfacam – changed ownership after its acquisition by Glenn Roggeman’s AED group. Two months later, the CEO and his team started the renovation and refurbishment of the studio facilities, and on 27 February, the ink on the contract barely dry, AED Studios swung open its doors for the first time.

AED is clearly eyeing the lucrative corporate and event market, positioning itself to move beyond traditional production and recording – and on its grand opening, Roggeman made time to guide his guests through the new studios, production areas, guest rooms and offices.

“Today, less than half a year since we bought the real estate, we have upgraded most of the studios,” Roggeman explains. “Seven studios are equipped with a full technical ceiling – trussing, hoists and controllers – four are ‘black box’, to be used and adapted for specific production assignments; and five others have been fully fitted with the most recent sound, lighting and video equipment.”

AED is currently overhauling and renovating the mains supply network and heating. “We’ve also adapted the emergency evacuation plans and placed over 280 units of emergency lighting,” says Roggeman.

“The whole site will have LED lighting by June.”

One of the new multiplex’s most impressive studio spaces is the 3,000sqm Studio 12, the home of Europe’s largest indoor underwater film stage. “In addition to the 1,500sqm pool area, which has a depth of

Green inside and out: The all-new eco-friendly AED Studios 3.8m, Studio 2 also caters for pre-production, rehearsals, arena stage test-builds and exclusive events,” Roggeman says.

In Studio 11, known as Barco Virtual World after the video tech company of the same name, up to 400 seated visitors can enjoy 360°, digital cinema-quality projection in a fully equipped studio with lighting, quadraphonic sound and a stage integrated into the video screen.

Studio 54 has a capacity of 1,200 and is kitted out with a “back to the past” lighting set and high-quality concert sound system, and features multiple bars, wardrobes and a separate VIP bar on the first floor.

“Both Studio 54 and Studio 14, an 800-capacity event hall, have a Midas XL4 or Heritage 4000 on board,” says Koen Conaerts, sound department manager at AED. “Studios 11, 14 and 54 are each equipped with 12 JBL VerTec VT4889 line array speakers, four VTX Series S28 subwoofer cabinets and a

B2B bookings for AED Studios will be handled by Antwerp-based Music Hall, whose managing director, Geert Allaert, is pictured (left) with AED CEO Glenn Roggeman Shure ULX-D wireless system, controlled by a Shure SCM820 Intellimix mixer.”

In addition to the 11,000capacity production studios and event venues, AED Studios offers a dedicated backstage area with production rooms, dressing rooms and catering areas; a wide range of offices; 42 bedrooms and 17 apartments; and “flex rooms” which can be used for seminars, meetings, press conferences or as green rooms.

“Studio 6 is our on-site restaurant, and is a perfect venue for corporate presentations, parties and events and the production of TV talk shows,” Roggeman comments. “All this

was designed and conceived in the spirit of ‘ecology meets economy’ … the AED group is a pioneer when it comes to sustainability, environment and social responsibility.”

“We particularly appreciate Glenn’s approach and ambition,” says Wim Buyens, senior vice president of Barco’s entertainment division.

“We [already] enjoy a positive partnership in the Virtual World studio, but with AED looking to Europe and playing a leading role in several territories we consider both this facility and the AED Group as being important for Barco.” I www.aedgroup.eu

Date: Tuesday, June 3rd 2014 Venue: BAFTA, 195 Piccadilly, London Formidable line-up of speakers will include:

PROGRAMME & FIRST SPEAKERS ANNOUNCED For details visit www.beyondhdmasters.com

John Ive Director of business development and technology for the IABM

David Wood Chairman of the World Broadcasting Unions Technical Committee, Consultant, Technology and Innovation at European Broadcasting Union

Simon Gauntlett Technology Director of the DTG

Stephan Heimbecher Head of innovations and standards at Sky Deutschland

WHO SHOULD ATTEND Directors of Technology, Heads of Production at independent production companies, Directors of equipment rental or hire, Heads of Outside Broadcasts, Production Managers, Senior Directors, Heads of Cameras, Chief Engineers, Programme Operations Managers, Stereographers, Producers, Directors of Broadcasting, Studio Directors, Technical Consultants, Research Engineers

SAVE £1g 0th0e !

by bookin y bird rate incredible earl

£149

WHY ATTEND? plus VAT Discover the media eco-chain for ultra-HD Hear from the world standardisation leaders Case studies from high-profile production trials Find out the future for 3D TV in Europe Tech insights into frame rates, codecs, formats Meet the key market influencers and vendors Network with technology & production colleagues Know what the Beyond HD roadmap looks like PREVIOUS ATTENDEES INCLUDE Orange, ITV, Sony Pictures, Arqiva, 20th Century Fox, Telenor, Panavision Europe, BBC, S4C, Discovery Networks Europe, Sky, Pro TV, Siemens, MTV International, Dolby, EDU, Digital TV Group, Deluxe, Cambridge Research Systems Ltd, BKSTS, Bath University, Atlantic Productions, Finnish Broadcasting Co.,Fountain Studios, France Telecom/Orange Labs A TVBEurope event

Follow us on Twitter

@BeyondHDMasters Gold Sponsors Richard Mills Chief Technical Officer at ONSIGHT

Andy Quested Head of Technology for HD and UHD, BBC

To book your tickets visit: www.beyondhdmasters.com or call Sara Mather +44 (0) 20 7354 6001 For details on sponsorship opportunities, please contact: Ben Ewles on +44 (0)207 354 6000 or ben.ewles@intentmedia.co.uk

Steve Connolly on +44 (0)207 354 6000 or steve.connolly@intentmedia.co.uk

Richard Carr on +44 (0)207 354 6000 or richard.carr@intentmedia.co.uk

www.psneurope.com

April 2014 l 19

studionews WORLD

Garnier – delighted to be distributing PreSonus, we think... (Anyway, we LOVE this. Thank you,Gérard!)

PreSonus? Mais, oui!

By Murray Stassen PRESONUS HAS announced several new distribution agreements for France, Israel, Spain and Russia.

Algam France, founded by Gérard Garnier, will handle distribution for France. “When PreSonus first contacted us, we were happily surprised and honoured, as PreSonus is a fast-growing and highly innovative company,” explains Garnier.

The distribution deal for Israel has been awarded to A.B. Electronics. Owner

and CEO Avinoam Yarkoni, remarks: “A.B. Electronics are proud to be able to offer its current and future customers PreSonus’ vast array of excellent and innovative professional audio solutions.”

Distribution for Spain and Russia will be handled by Adagio and OknoAudio, respectively.

Managing director for PreSonus Europe, Michelle Lynch, says: “Each of these companies is a leader in its market, and together, we’ll make an unbeatable team.” I www.presonus.com

UNITED KINGDOM

HHB HAS announced that its technical support engineers Mike Rigby, Simon Haycock and John Johnson are now accredited by the PT400 Avid Certified Service Representative (ACSR) Pro Tools course. HHB and its Soho, London, subsidiary Scrub are now the

only companies in the UK with three ACSR-accredited engineers, which HHB says makes them the most qualified team of specialists to provide first-line support for Avid Pro Tools and Pro Tools HD customers. I www.hhb.co.uk

20 l April 2014

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studionews NETHERLANDS

UNITED KINGDOM

Wisseloord unveils ‘vintage’ studio

Wisseloord’s “vintage room” featuring a 1960s EMI console and a Neve 8016

By Murray Stassen WISSELOORD STUDIOS in Hilversum, Netherlands, has recently unveiled Studio4, a oneroom concept studio referred to as the “vintage room.”

The Wisseloord recording facility is rich in musical history, originally attracting the likes of Mick Jagger, Elton John and The Scorpions after opening its doors in 1978.

Studio4’s unveiling coincides with the two-year anniversary of the reopening of Wisseloord.

The facility came under new ownership in 2011 and was subsequently reopened in 2012 following a major refurbishment.

The new studio features a Neve 8016 desk with 1073 preamps and a 12-channel 1960s EMI console, which is allegedly

the one that was used to record the demos for The Beatles’ Abbey Road album.

A Pro Tools rig is set up for digital recording and 16-track and 8-track tape machines are available for analogue recording.

The mastering department has also been expanded with an extra mastering suite as well as the addition of two new mastering engineers, Sander van der Heide and Pier-Durk Hogenterp.

Commercial manager of Wisseloord Frederic Gervais, comments: “The folks at Wisseloord would like to express their sincere thanks to the many artists, musicians, and music professionals who have helped them reach this two-year milepost. With the right combination of team, talent and technology, the future looks bright once again for this musical treasure.” I www.wisseloord.nl

White Mark designs Atmos for Eikon

By Murray Stassen

White Mark’s managing director, David Bell says: “You only have to look at the recent Oscar success of Gravity to see how well 3D Atmos sound can complement 3D pictures, and how much cinema audiences appreciate this enhanced experience. Eikon’s screening facility may be the first Atmos theatre we have built in the UK but it certainly won’t be the last as we are already working on designs for six more.” I www.whitemark.com

ACOUSTIC CONSULTANCY, White Mark, has designed and installed a Dolby Atmos screening theatre for technology solutions and servicing company, the Eikon Group.

The theatre forms the centrepiece of Eikon’s 3,000sqft post-production facility based on Poland Street in London, and is the first of its kind built

by White Mark in the UK. Eikon specialises in VFX for foreign localisation, soundtrack replacement, censor editing, subtitling and Digital Cinema Package mastering.

The company also creates foreign versions of feature films for major studios Eikon’s Dolby Atmos screening theatre on and independent Poland Street in London distributors.

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www.psneurope.com

For the latest broadcast news www.psneurope.com/broadcast

broadcast SOUNDBITES BBC Studios and Post Production at Elstree Studios will provide full production gallery facilities for the live finals stage of The Voice. The production team will make full use of BBC S&PP ’s purpose-built gallery, which is specifically designed to support large-scale TV productions. Meryl McLaren, commercial manager at BBC S&PP, says: “To add The Voice to our stable of high-calibre primetime entertainment series, such as Strictly, is a real privilege.” www.bbcstudiosandpost production.com Two of London’s leading audio post production houses have come together to concentrate on sound for both TV drama and feature films.

Hackenbacker Audio Post Productionis now part of the HALO group of companies, but will continue to operate under its original name from its main studio centre in Bateman Street, Soho. Recent productions mixed at Hackenbacker include The Musketeers, Downton Abbey and Whitechapel. www.hackenbacker.com British broadcast hire company Presteignehas won a contract from BBC Sport to provide on-location technical resources for its coverage of Formula One motorsport. The equipment, which includes the capabilities for live production and delivery and fast turnaround editing, packs into three containers for shipping in cargo aircraft. The flyaway kit includes production control facilities for unilateral coverage, switching 15 feeds from the host broadcaster with three wireless cameras covering the presenters in the pits and paddock. www.presteignecharter.com RTW, maker of audio meters and monitoring devices, has named Magnetic Mediaas its exclusive distributor in Poland. International sales manager for RTW, Arjen Hofland, says: “In the past two decades, we’ve watched Magnetic Media grow alongside the Polish market for audio equipment, and have found the company to be an outstanding representative of our products.” www.magnetic.com.pl www.rtw.de

UNITED KINGDOM

Calrec acquired by Electra Broadcast console maker follows Allen & Heath into private equity firm’s ownership, writes Dave Robinson ELECTRA PARTNERS, the private equity firm which acquired Cornwall-based Allen & Heath (A&H) in a deal worth £43m last summer, has scooped up broadcast console specialist Calrec Audio for £14m ($23m).

Calrec and A&H will once again become sibling brands, as they were under previous owner D&M Holdings, alongside Denon & Marantz (though there was no obvious sharing of technology in that arrangement).

“When we made our initial investment in the professional audio sector by supporting the buyout of Allen & Heath, Electra provided all of the new financing to ensure flexibility with respect to further acquisitions in the sector,” said Alex Fortescue, chief investment

As Calrec finds new ownership, so the Callisto finds a new name: hello Summa! partner of Electra Partners in a statement. “The acquisition of Calrec shows the benefits of this approach, and both companies are well-placed to accelerate growth as a result.”

“We are delighted to have funded the acquisition of Calrec,” said Charles Elkington, investment partner of Electra Partners. “Part of our investment strategy in the professional audio sector is to acquire additional businesses to create a group of marketleading professional audio brands. We look forward to working with Roger Henderson

and his team to continue to invest in developing new products for Calrec’s customers.”

Celebrating its 50th anniversary this year, Calrec, which occupies a converted 19th century mill in Hebden Bridge, Yorkshire, has developed a range of digital consoles relied on by the world’s most successful broadcasters.

“Calrec has experienced rapid growth over the past few years.

We have a very healthy product portfolio, and we look forward to working alongside Electra Partners as we continue to break new technological

boundaries,” said the console company’s managing director Roger Henderson.

The buyout was announced just ahead of Calrec flagging up a rebrand for its Callisto audio console. A cut-down version of the Apollo and Artemis desks, Callisto will henceforth be known as Summa, following a request from another pro-audio developer who had already registered the product name. Summa will make its debut at NAB in Las Vegas later this month (see preview, over).I www.calrec.com

UNITED KINGDOM

News from Next TV Summit MORE SPEAKERS and details of the agenda for the Next TV Summit London, to be held at the prestigious Bafta theatre on 11 June, have been announced.

The line-up of speakers will include Mary Ann Halford, MD of media and entertainment at FTI Consulting, Fremantle Media CEO Jens Richter, and Ashley MacKenzie, founder and CEO of DRM agency Base 79, with Michael Comish, group digital officer at Tesco

and founder and CEO of streaming service Blinkbox, as keynote speaker.

As well as offering panel discussions and keynote presentations – sessions will cover multiscreen versus pure OTT, the rising cost of premium content, the popularity of reality programming for online and OTT providers, and much more – there will also be several networking opportunities throughout the day during

coffee breaks, lunch and at the evening cocktail party.

The event, organised in association with PSNEurope’s sister title TVBEurope, promises to “explore the opportunities posed by developments in mobile broadcasting, second screen, OTT, multiscreen, and how to capture, interact with and monetise an increasingly eclectic viewership.”

Tickets are available now from www.nexttvsummitlondon.com I

FTI Consulting’s Mary Ann Halford

April 2014 l 23

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broadcastreport UNITED KINGDOM

5 Live at 20:

News and sport in the 21st Century

Radio 5 Live was the last of the BBC ‘s analogue networks to go on air before the coming of digital.

The live news and sport station celebrated its 20th birthday on 28 March, reports Kevin Hilton IN THE days before digital radio, broadcasters had to exploit and maximise whatever space in the frequency spectrum was available to them if they wanted to offer new service and a variety of to their listeners. BBC Radio 5 Live began broadcasting on medium wave 20 years ago this month as a rolling news station with a high proportion of sport, building up a loyal listenership despite being confined to the mono, slightly unstable band.

While it retains its national AM presence, Radio 5 Live is now also broadcast on DAB and has a digital-only sister station, Radio 5 Live Sports Extra, which allows more than one sport or event to be covered in full at the same time. The station went on air in 1994, taking over the MW slot previously occupied by another BBC station, Radio 5.

The earlier service began transmissions in August 1990 using the medium wave frequency vacated by music station Radio 2, which moved completely to FM at that time.

The success of Radio 4 News FM, which provided rolling coverage of the Gulf War

during 1991, convinced BBC executives that an all news radio service was viable. Radio 5 Live went on air on 28 March 1994 with a new focus on news and sport from its predecessor’s old studios in an extension building of Broadcasting House in central London.

The first purpose-built 5 Live studio was opened at BBC Television Centre (TVC) in west London in 1995, the thinking being that the new network was very different from Radio 5. A second studio was added later; both facilities were equipped with DHD digital consoles by the time the BBC decided to move the station to the MediaCityUK (MCUK) site in Salford, Greater Manchester.

The majority of 5 Live’s presenters and production staff moved up to the northwest in 2011 and into studios and offices on a single floor of Quay House, one of three dedicated BBC buildings on the central piazza of MCUK. Speaking soon after broadcasts began from the new facilities, operations manager Chris Houghton said a big challenge was having the entire

Quay House, home to 5 Live station on one level. “It’s key not to make too many workflow changes,” he commented.

When 5 Live moved to Salford work was also underway at Broadcasting House in London, where studios for BBC Radio’s other national networks, as well as TV News and the World Service, were being built.

This parallel development gave the opportunity to standardise equipment; Studer became the main on-air desk, working with VCS automation, which also provides editing capability. The VCS system runs in conjunction with the MOS (media object server) communications protocol and the BBC’s Broadcast Network Control System (BNCS), which, explained Houghton, allows it to “join up” with systems in studios in London.

The 5 Live floor at Quay House contains four main studios, preparation suites known as workshops, a central production control space called The Hub, the newsroom and offices for production staff.

Technical facilities were installed by integration contractor IPE Systems, which was also involved in the W1 project at ‘New’ BH. The two big studios for news, current affairs and sport broadcasting, S11 and S12, are identical and “flip-flop” between programmes. Each control room houses a 48-fader Studer OnAir 3000 desk, with positions for the programme editor, a studio manager and a studio director.

This last role was specially created for 5 Live and is part editorial, part operational.

In between S11 and S12 is a space for live performance and

audience shows, which can be controlled from either control room. Studios S13 and S14 are similar to S11 and 12 but are smaller. S13 is used for digitalonly service 5 Live Sports Extra, while S14 works on World Service sports output. The workshops feature 12-fader OnAir 3000s and are designed to be used by journalists for interviews and preparing reports. One of these was recently adapted so that World Service reporter Mani Djazmi, who is blind, could use the suite without needing an engineer to help him. A software controlled, speech-based prompt system with a dedicated sound card and a special keyboard have been added so Djazmi can operate the desk himself.

Production areas, including the central Hub lines and circuits control desk, are linked to the studios using Delec intercom.

Talkback between the control rooms and studios is based on Studer panels. There are several options for connectivity beyond the studios, including Wisycom RF systems, audio over IP (AoIP) circuits to and from London, Comrex AccREX codecs in the technical areas and, for location reporting, Comrex Bric-Link handheld units and the Luci Live AoIP app for iPhones.

To mark Radio 5 Live’s 20 years on air, Jane Garvey, whose voice was the first to be heard on the station, will return to co-host the Drive show with Peter Allen, who in turn will be trying his hand at presenting some of the other programmes in the schedule. A retrospective, 5 Live at 20, was broadcast midday on 28 March. I www.bbc.co.uk/5live

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www.psneurope.com

broadcastreport

NAB Show 2014

When?

5-10 April

Vegas, baby, Vegas...

WORLD

NAB Show 2014 Just some of the tasty gear the NAB Show will be serving for breakfast in Las Vegas this month. Jon Chapple sort the biscuits from the gravy

THE NAB’S annual showcase of all that is shiny and new in the world of broadcasting is upon us once more, and with some 1,681 exhibitors (at last count) and more conferences, speakers, pavilions and workshops than you can shake a mic at, the 2014 show looks set to be another corker.

Here, in alphabetical order, is a sneak peek at some of what said exhibitors have to offer this year…

2wcom will be introducing a number of new products and showcasing its FlexDSR02+ and FlexDSR04+ IRDs for audio contribution via satellite and IP. “These extremely versatile, multi-faceted solutions are being deployed by major broadcasters to build the next generation of robust, high-quality cost-effective radio infrastructure,” comments Werner Drews, MD of 2wcom.

The company will extend its audio-over-IP offering with the new AIC, a 19-inch unit that combines IP encoder and decoder functions in one chassis, and debut a new solution for SFN FM networks which provides synchronisation for implementing FM SFN networks with existing analogue transmission infrastructure.

The Digigram team will feature a range of products it says are designed to address the requirements of all applications and budgets, highlighting a new Ravenna/AES67-enabled sound card ideal for low-latency synchronous audio-over-IP distribution over LAN; the low-cost, ultralow-latency IQOYA *CALL and IQOYA *CALL/LE audio-over-IP contribution codecs; the IQOYA *LINK and IQOYA

individual loudness and true peak meters in mono, stereo and 5.1 formats for up to 96 individual audio 2wcom’s FlexDSR02+ channels. The company’s flagship Loudness Toolkit features the VisLM visual loudness The Digigram IQOYA *CALL/LE metering plug-in; ISL, the inter-sample true *LINK/LE stereo audio-over-IP peak limiter; and LMdistribution codecs; the highCorrect, a standalone NUGEN’s ISL limiting the peaks density IQOYA *SERV/LINK loudness tool. multiple-stereo or multichannel “The solutions we’re bringing cores – and the company’s first audio-over-IP codec for to the NAB Show not only WAN-focused solution, which professional IP audio demonstrate major attendees will see in action for distribution; and the latest release enhancements to our core the first time at NAB. in the company’s Aqilim family of Sonifex is showcasing the products, but also showcase new video encoders for professional Redbox RB-SD1IP silence refinements and developments video broadcasting and detection unit, an upgraded that further capitalise on our distribution over IP networks. version of its popular RB-SD1.

The unit is a 1U rack mount device used to monitor an unattended stereo studio feed and – in the event of the signal going “quiet” after a given period – switch through an alternative stereo audio signal.

The RB-SD1IP offers all of Eyeheight’s LEGAL-8 (no, not textspeak, apparently...)

Editing video in NETIA Snippet the functionality of the standard RB-SD1 with several broadcast assets from the inextra capabilities: Ethernet network approach to signal Digital workflow company studio Radio-Assist database. connectivity, providing the distribution and processing,” says Emotion Systems will introduce ability to set up and control the NUGEN Audio will feature Thomas Riedel, CEO of Riedel Emotion Engine, a user-friendly unit via a browser based GUI; its complete line of solutions Communications. Among the software engine developed to Riedel products on display will network capabilities which for loudness compliance and deliver CALM loudness be the Studer A-Link Card for allow the user to finely control announce the new MultiMonitor compliance within a suite of MediorNet – which enables the silence level and silence software for loudness and true audio solutions designed to meet duration; and a new browser direct integration of Riedel peak monitoring. Making its file-based media demands with MediorNet real-time networks GUI, which offers a real time efficiency and accuracy. Emotion first NAB Show appearance, view of signal levels and alarm with Studer consoles and MultiMonitor offers up to 16 Engine can be used as a manual, statuses and enables the user fully automated or standalone The Studer A-Link Card for to treat the left and right solution, all integrated within an MediorNet by Riedel channels independently. automated enterprise system.

Ci, Sony’s media cloud The Emotion Engine toolset services for collection and includes loudness compliance, archiving of content, will be channel remapping, duplication, exhibited with a number of Dolby E and Loudness Range enhancements, including a new (LRA) monitoring.

Eyeheight will be introducing “Team Workspace” feature. I www.2wcom.com the LEGAL-8, a new addition to www.digigram.com its range of video and audio www.emotion-systems.com legalisers. Developed from www.eyeheight.com LEGAL-6, the LEGAL-8 www.netia.com incorporates extended audio www.nugenaudio.com capabilities, including eight www.pro.sony.eu loudness level control channels www.riedel.net configured as four AES stereo www.sonifex.co.uk pairs. The LEGAL-8 provides The all-new Sonifex RB-SD1IP automatic realtime control of perceptual loudness and true peak level using multichannel loudness and true-peak computations, coupled with industry-standard and proprietary correction algorithms.

NETIA will use NAB 2014 to showcase its Snippet range of editing tools, available within its Radio-Assist automation solution, which have been improved for iOS devices.

Sharing the same look and ergonomic principles as the Snippet desktop interface, the iPhone- and iPad-compatible iSnippet now serves as an all-inone solution that allows iOS device users to edit and index media from their mobile devices and record and export ready-to-

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For the latest live news www.psneurope.com/live

live SOUNDBITES Three of Universal’s newest signings – Sons and Lovers, Eliza and the Bear and Fred Page – have just completed the 14-date Satellite Tour with an SSLLive console supplied by HD Pro Audio. Production for the tour was handled by Cato Music. “It’s a truly superb console,” comments Cato’s FOH engineer Jim King. “It’s very intuitive and quick to learn, but the outstanding feature is its audio quality. The sound is incredible and it’s really easy to get a great mix with very little effort.” www.hdproaudio.co.uk www.solid-state-logic.com British audiovisual specialist Saville Audio Visual has continued to expand the hire inventories of several of its branches with KV2 Audio products. The most recent investment came from its northeast office, which, following a successful year, was in a position to boost its existing KV2 inventory.

Having run KV2’s powered EX10s for the last eight years, the office’s team say they were “looking for the same high-quality output but from a lighter cabinet” and found their solution in the passive ESD10. www.kv2audio.com Adlib Audio has supplied a Soundcraft Si Expression 2 mixing console to Leeds University Union.

The union operates three live rooms: the 1,200-capacity main room, Stylus, and two subsidiaries, Mine and Pulse, with respective capacities of 450 and 350.

Technical manager Sam Ryder says: “I considered the options but knew the Si Expression 2 would give us a compact desk with a lot of outputs and an intuitive interface that anyone can operate.” www.soundtech.co.uk/soundcraft DPA Microphones has appointed Okno-Audio as its new distributor in Russia. Michael Trolle, DPA EMEA sales manager, says: “The Russian market is growing rapidly and carries enormous potential for DPA. To maximise this, we need a strong distribution partner with an established presence in the live sound, broadcast and installation markets. OKNO-AUDIO fits this brief perfectly.” www.dpamicrophones.com

GERMANY

Satis&Fy-ied by Nexo STM Global events planner Satis&fy has announced a commercial tie-up with Nexo – but great sound isn’t the only thing on its ambitious CEO’s mind. Jon Chapple finds out more THERE ARE some corporate clients that are very much focused on a clinically calculated look for their brand … if you’re working for a bank that wants a clean blue background, the technical execution just needs to disappear.”

Nico Ubenauf, the youthful chief operating officer of German-based but globally minded events company Satis&Fy, is enthusing about his 36 shiny new Nexo STM modules – and their distinct – and desirable – lack of visual bombast.

The understated, versatile STM (Scale Through Modularity) system and its LEGO-brick approach to live sound has been much discussed since its debut at 2012’s Prolight + Sound, but for Ubenauf its combination of muscular sound with an endless potential for integration makes the system a winner. “There are some places, like in touring, where you want to see as much as you can, but others where you just want everything to disappear.”

Satis&Fy, which currently uses d&b and L-Acoustics systems, is a new Nexo customer, and Ubenauf says he hopes the purchase is “just the start” for the fledgling partnership. The company, founded in 1993, is one of the largest players in Europe for events equipment and architecture, operating out of Germany, the Netherlands and the US. It stages around 3,500 shows a year, including some of the continent’s largest festivals in the form of Rock am Ring, Rock im Park and Rock’n’Heim, and is also a major player in the corporate events sector, working for customers like Nike on a worldwide basis with its flagship “one-stop solution”:

Reinhard Steger, Nexo sales manager for Germany (left) with Satis&Fy CEO Nico Ubenauf

Satis&Fy is hoping Nexo’s STM will enable it “to not have to buy a system of every size, but be able to do two or three different challenges with one”

“There are some places where you want to see as much as you can, but others where you just want everything to disappear” Nico Ubenauf an “integrated technical consulting, planning and implementation package” for professional events.

“The modularity of the system is really attractive to us because we’re doing both touring and corporate shows, so we need to be extremely flexible

with our systems,” Ubenauf explains. “Usually, you have to buy a different system to meet every need, so we are hoping to not have to buy a system of every size, but be able to do two or three different challenges with one system just by arranging it [the way we need].”

Ubenauf hopes to take delivery of the new STM boxes by the end of April, and is already planning their grand debut. “We actually have a very exciting project coming up,” he says. “We’ve just taken over a very large old industrial hall near Frankfurt, and we’re starting to do large corporate events, which poses a lot of different challenges.

Acoustic problems?

“Acoustic, and basically everything – from flying [systems] to fire marshals. It’s a 100-year-old industrial building which is basically falling apart, but the patina of the whole building is so exciting, and we think the STM system is going to be a nice solution-provider for this location.”

We think so, too, Nico.

Although you’re on your own with the fire marshals… I www.satis-fy.com www.nexo-sa.com

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livenews WORLD

UNITED KINGDOM

Adlib Audio launches Taylor departs Martin Audio speaker division LOUD’s Mark Graham filling in as managing director leaves for “new career path”. By Jon Chapple

By Murray Stassen ADLIB AUDIO has launched a specialist speaker division to manufacture and market its AA range of loudspeakers. The speakers, part of the new Adlib Speakers brand, are handmade in Liverpool.

Adlib director Mark Roberts says: “The company is

Sheffield, Birmingham and Leicester O2 Academies.

Bob Harrison of QMS Music is tasked with establishing an international dealer network and proactively marketing the AA product line.

“I am extremely excited to be working with Adlib on bringing this amazing product range to the marketplace,” comments

The Adlib Speakers team (L-R): Tom McCarthy, Dave Fletcher, Dave Graham, Ian Greenwood, Chris Toohey diversifying as the nature of the industry is changing. We have enjoyed great success with these products over many years and now is a good time to use our experience and knowledge of premium speaker construction and application to expand our horizons.”

Adlib’s boutique speakers have been installed in various high profile venues, including the Cavern Club in Liverpool and the Bristol, Leeds,

Harrison, “and I look forward to a long and very positive working relationship to establish the AA series in its own right as a leading edge option for those with an ear for quality.”

There are four products available for re-sale in the AA range – the AA61, the AA81 and AA121 – containing 6-, 8and 12-inch drivers, respectively, complete with a dedicated AA12HL 12 inch sub. I www.adlibspeakers.co.uk

MARTIN AUDIO has confirmed that its managing director, Anthony Taylor, has left the company, effective as of 12 March 2014, the first day of Prolight + Sound in Frankfurt.

Taylor has been with Martin Audio for 19 years, during which time he progressed from a finance role to managing director (MD) and oversaw dramatic growth and brand development. Martin Audio says Taylor, who took charge in 2008, has “decided the time is right to pursue a new path to his career” and thanked him for his significant contribution to the company’s success.

Mark Graham, CEO of Martin’s parent company LOUD Technologies, will act as interim managing director until a

replacement can be found. Dayto-day running of the business remains in the hands of Simon Bull (sales director), Jason Baird (R&D director), James King (marketing director) and Rob Hofkamp (director of US operations).

“Anthony has taken the business to new heights, and it’s now incumbent upon the management team to grow this further,” comments Simon Bull.

Martin Audio recently opened new facilities for its MLA brand, including production and assembly areas, quality control and testing, and additional warehousing, by moving into the space recently vacated by High Wycombe neighbour Sennheiser UK. Designed to cater for MLA,

WORLD

Metallica Meyer muscle

By Murray Stassen GRAMMY AWARDWINNING hard rock act Metallica has added 76 units of Meyer Sound’s lightest selfpowered stage monitor, the MJF-210, to its touring roster.

The MJF-210 is a compact version of the MJF-212A stage

monitor used by the band in its Northern California rehearsal studio. Beta testing of the new product took place during the Asian leg of the band’s recent tour, with help from monitor engineer Bob Cowan and assistant monitor engineer Adam Correia.

Metallica’s show director Dan Braun says: “Meyer Sound

Anthony Taylor in 2013 MLA Compact and the new MLA Mini systems, the company says the facility “will provide a space worthy of this premier system series” and “further improve [its] overall service to its customers.”

The loudspeaker brand officially launched its DD12 (Differential Dispersion) technology at PL+S. I www.martinaudio.com embraced our demanding performance specs for a new compact stage monitor that would stand up to the rigours of Metallica touring and satisfy the critical ear of James Hetfield.

“The resulting MJF-210 exceeds every parameter without compromise. The support we received from the company’s engineering staff demonstrates that everybody at Meyer Sound is indeed a part of the Metallica family,” adds Braun. I www.meyersound.com

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livereport

The Ampco Flashlight headquarters outside Utrecht EUROPE

Ampco takes aim at future Quietly restructuring its business model over the past few years, the Ampco Flashlight Group has its sights set on cross-border collaboration throughout Europe, writes Erica Basnicki

AFG delivered the full Synco audio-production, lights and rigging production for huge Dutch star Anouk’s stadium shows at the Gelredome in Arnhem in 2013 Berkum explains from the group’s headquarters in Utrecht: “In the past, we owned or were major shareholders of companies in, for instance, France, Belgium and Germany.

The new philosophy is that we want to co-operate closely with other European companies without being shareholders – which, by the way, has been the case with the Synco Network in the past as well.”

Today, the new philosophy of co-operation is palpable throughout the 14,000sqm building, which houses management offices, the rentals warehouses, sales offices and the

departure, is the return of several key staff members to the fold, including former Flashlight manager Dennis van der Haagen. In his new role, van der Haagen has taken on the challenge of running both the commercial and operational sides of the rental business, as well as – gasp! – bringing together the sound and lighting department to function as one unit. Mission: impossible? Van de Haagen doesn’t think so.

“Over the past decade, it’s been difficult for companies to combine these two things,” he

In the past, we owned or were major shareholders of companies in, for instance, France, Belgium and Germany. The new philosophy is that we want to co-operate closely with other European companies without being shareholders Dick van Berkum R&D department, maintenance and the group’s own soundstage – all but its rigging and spotlight divisions. Doors are both physically and metaphorically open throughout the building.

Supporting the new vision for the company, and filling the gap left from de Bruyn and Heuves’

says. “With respect to diversity, we are trying to find unity in the way we present ourselves.

We are trying to be successful and we’re getting there. It is quite a challenge, but that’s what we like.”

He adds: “In my opinion, in 2013–2014, I think the

on the biggest events, venues and festivals in continental Europe, but who are so successful that the city of Rotterdam has already bought 100 licences to put in bars to check noise levels overnight.

This will prove a cross-border activity, and it’s a hot topic.

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OVER THE last two years, Ampco Flashlight and its network of companies concentrated their activities mainly on the key territory of Benelux. Then, seemingly out of nowhere, came the sale of a Synco Longbow by Martin Audio system to Serbia’s Audio Konstruktor (PSNEurope, February 2014). Time, then, to head to the Netherlands and find out more.

The group may have internationally been a bit more quiet, but it has also been busy – the recent activity from the European network of PA companies marks the beginning of a new era for a strong Ampco Flashlight Group; one in which the company is focused on a new philosophy and vision, supported by both fresh and familiar faces within the company.

Like so many in the live entertainment industry, the Ampco Flashlight Group was hit by the economic crisis of 2008. Just a few years earlier, Ampco founder Eric de Bruyn departed, followed shortly after

by CMO Fred Heuves. In order to move forward, a new business model – and a few new people – were needed, as CEO Dick van

commercial and operational side of things should collaborate and work together as much as we can. What I’m trying to do is get both the commercial people and the operational people to work together, regardless of if it’s rigging or lights or sound. If we manage to work together within the company we should be able to score out in the field against the opponents.”

Another familiar face back on board is Peter de Fouw, who returned in January this year after a 12-year stint as director of Audio XL. De Fouw is now managing director of Ampco Flashlight sales – responsible for TM Audio and LightCo. Prior to his departure, de Fouw was responsible for sales at Ampco Audio Products and TM Audio.

“There are two reasons why I came back: Dennis and Dick,” says de Fouw. “When I left, they weren’t there. I realise today there are many more possibilities and facilities to connect the whole company together, and Dennis has already started doing that.

Those possibilities not only include the company’s audio and lighting divisions, but also video, rigging, spotlights – Spot Rental is the world’s largest supplier of follow spots – and the MeTrao noise-measurement system developed by its technology company Event Acoustics. “If you look at the sales group, you can see two different activities. One is distribution in the Benelux market; the other is selling the Ampco Flashlight sales group as a whole within and outside those markets,” says de Fouw.

By way of example, de Fouw explains: “We have people [at Event Acoustics] working hard on noise-measurement systems

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livereport

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Marcel Albers: renewing Synco base We’re on top of that with the best possible people. This is where I have two hats on – I’m a distributor in a market, and

I’m responsible for a group of sales companies – and we need to expand this into other countries. It’s not even a wish; it’s a necessity.”

What then, of the Synco Network? Founded by Heuves, the idea behind the Synco Network was a novelty in the live entertainment industry at the time: partners were offered a ‘plug-and-play’ PA package – amplifiers, cables, rigging – with guaranteed compatibility should the need arise to source extra kit from partners within the network.

Today, the idea of a plug-andplay system is widely embraced by several big-name PA

CHANGING TIDE AT ATLANTIC AUDIO IN NOVEMBER 2013, former Atlantic Audio MD Wolfgang Garçon formed a new distribution company, United-B, and immediately added Martin Audio, DiGiCo, MC2 and XTA to its roster – all previously with Atlantic Audio.

Commenting on the future of the distribution company, whose absence was notable at this year’s Prolight + Sound in Frankfurt, CEO Dick van Berkum told PSNEurope: “We decided in November [2013] to close Atlantic Audio.

Since we still have clients in Germany that want to work together with us, we will be starting business up again in Germany – but from scratch with Peter [de Fouw].

He has a lot of experience in international business so we are looking at the

possibilities of starting over. That will take some time, but at the moment we are working on it.”

For his part, de Fouw sees a silver lining in having to scale back the company’s German sales operations: “Seeing how the crisis hit the markets, the right decision was made to focus on the core businesses and to run the business from the Dutch HQ. Now that the organisation is back on track, we can start looking forward,” he says.

“The decision to close down our German operation gave us the time and the means to re-energise the healthy parts of our operation. We are now well-organised and in good enough shape to look forward again.” manufacturers. “It shows that the concept was a good one,” says Heuves – still a shareholder of the Ampco Flashlight Group, and currently acting as a consultant to the business – with a smile.

“There’s not much sense in repeating that kind of concept because it’s already there, so that changes the whole idea of the Synco network. It is a challenge to figure out how to move on from that and give the partners the support [the Ampco Flashlight Group] gave them as the locomotive of the Synco Network.”

Enter Marcel Albers, who joined the Ampco Flashlight Group as Synco’s commercial director in January 2010.

“I stepped down from the idea two years ago that Synco is only about boxes,” he says.

“Synco should be a stateof-the-art network of PA companies that work together.

The work can be handled by our own equipment, but also by other equipment. More importantly, [network

Peter de Fouw: looking forward companies] have to try to act as a group and develop their people – educate them, have them work together and do their marketing together, then you build a stateof-the-art network. That’s the philosophy behind the idea.”

Currently, Albers is still in the process of renewing the network and the development of products. “Synco was a novelty in the live entertainment industry, and we will keep on developing future Synco products. These new products will be innovative niche audio products for the benefit of the Ampco Flashlight Group and the network partners.”

Just one of many next steps ahead for both the Synco Network and the Ampco Flashlight Group, whose team of directors all share a common goal (as described by Albers): “We have the philosophy of cooperating closely with other European companies, working together, expanding the existing network and being a solid competitor in other markets.” I www.ampco-flashlight.com

Massively successful DJ Afrojack played a huge show at the Heineken Music Hall in Holland during ‘The Amsterdam Dance Event 2013’. Ampco Flashlight was once again responsible for the whole package: audio, lights, rigging and video

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livenews Get a load of those X5s: Shane Filan on tour

EUROPE

Tours galore for Flare

By Jon Chapple IN A big few months for the loudspeaker brand, February and March saw West Sussexbased Flare Audio announce two high-profile customers.

Shane Filan, best known as the frontman of now-defunct boy band Westlife, toured the UK and Ireland from 20 February and 14 March with an all-new speaker system supplied

by Orbital Sound.

The same system will also be called into action for The X Factor-winning Little Mix’s debut arena tour, which runs from 16 May to 8 June and also takes in venues across the British Isles.

Filan’s tour is the first to use

Flare Audio’s X5A line array, which is configured with six X5s and four Q18 bass units aside and powered by Lab.gruppen PLM20000Q fourchannel DSP amplifiers. Orbital says the kit “represents an extremely compact system fully capable of handling the tour’s diverse venues.”

Industry veteran Steve Levitt, who handled the Filan tour’s production duties, described the X5A – which shares DNA with the award-winning SB18C – as having “a very clever sound with loads of power,” adding: “I wouldn’t hesitate to tour it again.” I www.orbitalsound.com www.flareaudio.com

UNITED KINGDOM

THE SOUND department of west London-based Entec Sound & Light deployed a d&b V-Series audio system – comprising eight V8 and two V12 speakers, four VSubs, two Q7s and two E8s, all driven by proprietary d&b D12 amps – for the 2014 Bhangra

Showdown dance competition at the Hammersmith Apollo in London. The show was mixed at FOH by Kevin Smith using a Yamaha PM5D, and “tuned to perfection” by Entec systems technician James Kerridge. I www.entec-soundandlight.com

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livenews UNITED KINGDOM

VME adds more MLA

By Murray Stassen MANCHESTER-BASED rental company VME has added to its roster of Martin Audio products with the acquisition of 28 MLA, six MLD Downfills and 12 MLX subs – bringing the company’s inventory up to 76 enclosures. The addition of this new equipment to the company’s roster makes VME the second largest MLA rental company in Europe.

VME managing director Dion Davie comments: “The MLA acquisition represents the biggest single investment we’ve ever made.”

VME’s MLA systems are currently in use on Sky Sports Fight Night arena tours, rigged in six hangs surrounding the ring. “We are using nearly

“In the red corner, weighing in at many tons: MARTIN AAAUUDIOOOOO!” every box we have,” says Davie.

“There are splits of everything, straight off the broadcast, with performance music and grams stings, as well as high level VT inserts … which need to be perfectly in sync. It is a highly technical, precision operation.”

Martin Audio director of sales Simon Bull adds: “VME’s

work profile has given us presence in some segments that we wouldn’t routinely be associated with. We are grateful for the faith they continue to place in our cuttingedge technology and will continue to support them far into the future.” I www.martin-audio.com

WORLD KORN DRUMMER Ray Luzier and keyboardist Zac Baird are taking Aviom personal mixers with them on their 2014 world tour. Both use the A-16R Rack-mounted Personal Mixer and A-16CS Control Surface.

“With the Aviom, I’m finally getting some control,” Luzier says. Baird

adds: “The Aviom has been great.

Once I learned how to properly use it, everything made sense. My first show with the Aviom was one of my best in weeks, and I felt that a lot of this had to do with the Aviom. I’m so happy we get to use them!” I www.aviom.com

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livereport RUSSIA

Veni, vidi, vici Agorà’s audio system impressed everyone at the Ceremonies of Sochi 2014. Mike Clark got the lowdown from the Italian team

The view from beneath the seats during set-up the Olympic closing ceremony and executive producer of the Paralympics ceremonies, and Daniele Finzi Pasca, director of the Olympics closing ceremony.

Agorà is no newcomer to Olympic events, having supplied equipment and technicians for Turin’s 2006 Winter Olympic Games.

Agorà CEO Vittorio DeAmicis explains, “We shipped nine containers of equipment to Sochi,

where our 35-member team, led by project manager Giulio Rovelli and crew chief and technical co-ordinator Angelo Camporese, began work on installation at the end of November, supervised

by Auditoria.”

Just a few figures are sufficient to give an idea of the sheer scale of the Abruzzo company’s work: 530 L-Acoustics loudspeaker systems (including 94 SB28 subwoofers and 230 K2

variable curvature line source systems, literally just off the production line); 450 personal monitor systems; 15 DiGiCo digital audio consoles; a 24-node Optocore dualredundant signal distribution ring, 135 L-Acoustics LA8 amps for the main rig and a 150-cabinet paging system.

As far as the actual sound reinforcement was concerned. eight signal routing nodes were

530 L-Acoustics loudspeaker systems were deployed for the opening and closing ceremonies of the Sochi Olympic and Paralympic games flown from the stadium roof and eight more in the sub stage under the ‘field of play’ (FOP), of which two were dedicated to the stages and six to the PA system.

For the Olympics Ceremonies, 16 hangs (12 with nine K2 and four subs each and four with nine K2) were flown from the roof for the top part of the stands and on the Field of Play twenty stacked clusters (four K2 and three subs) covered the lower part of the stands. Two additional hangs (with 12 dV-DOSC and four dV-SUB) were used to boost the sonic effect of a huge locomotive that flew down the length of the FOP in one of the segments.

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ITALIAN CREATIVITY and technical ability was to the fore at this year’s Olympic and Paralympic games Opening and Closing Ceremonies at Sochi’s Fisht Stadium.

An audience of around 40,000 watched 2,000 performers in the specially built arena, following the official launch by president Putin on the 7 February. The event was not without incident, as a much-publicised technical hitch meant a snowflake ‘device’ failed to convert into an Olympic ring. The organiser poked fun at itself by purposefully highlighting the malfunction in the Closing Ceremony.

The audio delivery was reported to be untroubled by comparison. L’Aquila-based Agorà, Italy’s largest audio and lighting rental firm, won the international tender to supply the impressive audio system designed by Auditoria’s Scott Willsallen for the four ceremonies. In fact, Italians filled creative as well as technical roles in Russia, including Lida Castelli, artistic director and director of the Paralympics closing ceremony (one of the few women to have held this role), Marco Balich, artistic executive producer of

Photo: Luca Parisse

A huge icebreaker flies into the Paralympics Opening Ceremony

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livereport Flying the L-Acoustics arrays

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There was a major change to the set-up during the few days’ interval between the Olympics CC and the Paralympics OC, as the FOP had to be freed to leave space for the delegations of athletes on wheelchairs, so the entire stacked set-up was removed and added to the flown systems, increasing roof clusters to twenty. To cover the FOP, 60 L-Acoustics 8XT monitors were installed on custom stands.

For the Paralympics Ceremonies, the dV-DOSC clusters for the featured ‘train’ were moved to the opposite side of the stadium, this time for sound effects accompanying the entrance of a huge icebreaker.

Although 35 monitor enclosures were used for various areas of the venue, the majority of the performers used IEM system divided into three categories. The first level was for the headline performers (approximately 50 Sennheiser EK 2000 with Ultimate Ears 900 personal monitors); the

The entire Sochi Agorà team second for aerial artistes and acrobats and those in supporting roles (approximately 320 G3 bodypacks with UE 600). These were both controlled by the Agorà team, which included seven IEM technicians.

A Riedel MediorNet infrastructure, supplied and coordinated by the German intercoms giant, facilitated programming, coordination,

and the execution of certain programme elements during the ceremonies: 90 discrete radio channels were established for the deployment of 1,300 radios and 1,000 headsets.

Regarding the brand-new L-Acoustics K2 systems, Camporese explained, “We tested them at Agorà’s premises and in France, and took a limited number out on events in the field, the last of which

was in Rome with the Pope(!).

On this project, they lived up to our expectations and L-Acoustics’ promises, and integrated perfectly with other products such the K1, which we had already used extensively.

The level of precision and power output make them top-grade systems.

“Installing a really interesting redundant system for such a large event was extremely

instructive from an organisational and technical point of view.”

DeAmicis concludes: “The enviable understanding between our crew members even surprised other companies at Sochi. Bringing home this excellent result, Agorà confirmed its role as a truly international player.” I www.agoraaq.it www.auditoria.com.au

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marketfeature

Leaning the right way Italians survive the economic crisis and gain ground abroad, suggests Mike Clark

Italian pro audio: still taking a ‘Pisa’ the action on the world stage

Luca Giorgi, speaking in Frankfurt

account for just 5-10% of their turnover, the majority state that these have been hit by a series of negative circumstances: the building industry and property markets are in a sad state, so new installs are few and far between, local authorities’ budgets have been cut by the government’s adoption of the European Stability Pact, thus reducing spending on both installs and live events, and the already meagre monies allocated by the government‘s FUS (performing arts fund) have been reduced even further.

Speaker manufacturers Eighteen Sound and B&C Speakers supply components to Italian enclosure manufacturers, but as B&C’s MD Lorenzo Coppini explains, “Almost all of them export the majority of their output, so that area of the market has remained more or less steady.”

Amplifier manufacturer Powersoft’s pro-audio manager Luca Giorgi has no doubts to the reasons for his company’s relationship with the Italian market: “We have never been active on the domestic market, for a number of reasons – we’re an engineering company and very proud of the technology we have, but at the outset found it difficult to promote these aspects on the Italian market, which was rather

ITALIANS IN FRANKFURT CURRENTLY THE hottest trade topic, Italian manufacturers report on their Frankfurt news.

Wisycom presented its MFL RF fibre distribution system which being simultaneously used by Presteigne Charter, to integrate BBC coverage of Melbourne F1 races.

RCFshowcased its NXL24 column speaker, with a few months’ sales record, following prototype launch last year.

Outline debuted its iP24 processor, with which iMode technology will be available for use with its passive enclosures.

Montarbo unveiled a digital console based on a joint venture with a US software house - a “revolutionary wireless console able to control audio, lighting and video for live events”, due based on politics and commercial agreements and we were probably not prepared to have this kind of relationship with the market – we were talking about technical issue and (potential clients) were saying things like, ‘Give us some amps free, we’ll test them for you and you’ll get some marketing benefits …’”

WHERE IN THE WAREHOUSE? Although big names can fill arenas with tickets at high prices, many others need to set

on the market from September.

The K-array product attracting most attention was the KH8 digital steerable, flat-step array touring system, currently finishing beta-testing.

FBT spotlighted its Modus and Muse line arrays and X-Pro series of enclosures.

Faital featured new compression drivers (HF103, 108 and 109) attracting interest for their new phase plug, diaphragm coupling design and diaphragm finish. The diaphragms, manufactured in-house, “ensure more linear response and good frequency extension”. their ticket prices lower to draw good crowds, which results in smaller budgets being available for producing the shows – and, therefore for rental companies – very important end user for the pro-audio industry.

Fabrizio Grazia, Italian sales manager with RCF, opines, “Although the main items in their warehouse have a reasonable shelf life, rental companies also have to keep up to date with any new technology arriving on the market, as artists’ technical riders often

Wisycom MFL Although known for its compression drivers, B&C focussed on additions to its woofer range, such as the 12NDL88 and unusual diameters, such as a 14inch model, while Eighteen Sound spotlighted the new 15NCX 1000 coaxial, in production at the end of June. include these brand-new products. But rental firms often also have to face difficulties for access to credit for purchasing new equipment. However we’ve extended our product range to cater for smaller audio rental firms and this area of the market is reacting in spite of the economic situation.”

Grazia confirms that another area of the installation market in considerable crisis consists in privately owned venues such as clubs and suchlike, “These have become very risky clients, as

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ACKNOWLEDGING THE ITALIANS’ ability to make key contributions to top-grade productions from both a creative and a technical point of view, as demonstrated by the Olympic and Paralympic Ceremonies, PSNEurope investigated how Italy’s proaudio trade is fairing at home and abroad. To do this, we sought insight on just how important the market is (particularly export-wise) from a cross-section of manufacturers, distributors and end-users (rental firms and festival organisers) who gave their views on the situation in a period that is anything but rosy for the country, from both an economic and a political point of view.

Although loudspeaker manufacturers’ domestic sales

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livefeature

which accounted for over 20% of its turnover, as Coppini explains: “Manufacturers are getting more and more organised and are willing to spend more on Italian speakers to ensure quality.

There are certain markets in China that are only open to domestic manufacturers, such as karaoke TV venues, which are a huge market.”

Sales director Alberto Ruozzi confirms that RCF also has some very good market strongholds in

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Arezzo Wave is a major showcase for new talent in Italy they open and it’s hard to know how long they’ll survive.”

Audio Factory, a small Roman enclosure manufacturer run by a dynamic young team, carefully filters “risky” clients, as it concentrates almost exclusively on the Italian market, but technical/ commercial manager Corrado Belia adds: “We design and build enclosures for both rental and installation applications and recently launched a more economic range of systems for the latter, with an attractive design and available in a wide range of colours, and there was considerable interest in them from foreign visitors at Frankfurt.”

Two enclosure manufacturers going against the general Italian sales trend are Montarbo and Outline.

The former’s international sales manager Paolo Stefani reports, “We’ve added two new brands – one manufactured in China under our technical department’s supervision.

Design and technology are Italian, but cutting

“Manufacturers are getting more and more organised and are willing to spend more on Italian speakers to ensure quality” Lorenzo Coppini, B&C manufacturing costs has enabled us to hit the entry-level market. We’ve also launched a range of products addressing the installation market, thanks to which we’ve worked on prestigious projects such as Ciampino airport.”

Outline’s Michele Noselli, adds, “In the last 18 months our Italian sales figures have risen considerably, thanks to key clients such as the Italian branch of UCI, Europe’s largest cinema operator – who has installed our Movie Series systems with our proprietary iMode technology.”

CHINESE WHISPERS Speaker and enclosure manufacturers unanimously indicate China as one of the most dynamic markets at present.

18 Sound’s sales manager Giacomo Previ confirms that the Chinese pro-audio market is growing fast and an increasing number of Chinese enclosure manufacturers are using quality European components, and Faital’s pro audio division manager Flavio Naggi adds, “I wouldn’t say we concentrate on any specific area of the globe, but addressing the south-east Asian market, including China, we are experiencing very fast growth.”

This is also borne out by Noselli; while K-array owner Alessandro Tatini contìnues, “On the global market, China is currently the most dynamic area for us – there’s greater spending power and European products are very popular.”

B&C experienced a real boom last year with sales to China,

Asia, particularly in China, Malaysia and Indonesia.

Another area singled out by several manufacturers, including FBT and Eighteen Sound, as fertile terrain for their products is Latin America, where Faital products are used a lot to refit existing systems, or by rental companies that build custom enclosures to clients’ specs. The majority of RCF end users in Chile and Brazil are rental companies and, in spite of it being a difficult market, B&C products sell well in Brazil, where the firm has opened a branch.

Naggi continues, “The USA is an interesting market for us, as it’s the nation with the largest number of enclosure manufacturers in the world.”

Eighteen Sound also reports particularly good US sales,

as do Noselli and Ruozzi.

Closer to home, Previ says sales are particularly good in Europe as a whole, Ruozzi singles out Turkey as extremely successful, as well as Germany, the UK and France, where Faital also has long-standing trade relationships.

Massimo Polo, general manager with wireless microphone system manufacturer Wisycom, enthuses, “We’re actually market leaders in this field, with systems in Finland, 90% of the Danish market, and public tenders won in France and Spain.”

Another slant on the Italian market comes from a pair of key distributors.

Stefano Rocchi owner of Audio Sales, which distributes brands such as Martin Audio, Optocore and XTA, confirms the crisis has hit the live sound sector in particular, where, apart from the majors, rental companies are buying the minimum indispensable, but adds, “By adding brands such as Audac, we’re now focussing more on small to medium installation clients, for small

Alberto Ruozzi of RCF: good market strongholds in Indonesia and Malaysia

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K-array’s Alessandro Tatini:: “China is currently the most dynamic area for us”

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livefeature conference facilities, bars, churches, etc.”

Stefano Cantadori of AudioLink, Italian DiGiCo and Quested distributor, is slightly more optimistic, “Although the industry was hit hard by the crisis over 2012 and 2013, I must say that Q1 2014 has been one of the best we’ve ever had!

We streamlined our workforce, reducing costs, and QSC products have picked up sales-wise to pre-crisis figures, for installations and small rental firms.”

GAME ON! Among the major end users of pro audio equipment, Agorà is Italy’s largest rental firm (with 3,300sqm of warehouse space), and, as well as touring with numerous top Italian names simultaneously, also looks further afield for interesting work, such as the Celebrations for the 20th anniversary of the Turkmenistan Republic, the inauguration of Donbass Arena (Ukraine), the 75th anniversary of FC Shakhtar Donetsk and the recent Olympic and Paralympic Ceremonies (see previous pages).

CEO Vittorio DeAmicis opines, “The economic situation hasn’t greatly effect on our work, but the very short time frames have definitely worsened working conditions on the whole – you’ve got to optimise rehearsal times, set-up times,

plus tours often stop and start.

It’s not an easy situation and clients depend a lot on our logistics facilities, as well as our availability of both equipment and experienced crew. However, the great advantage of digital technology is the possibility of storing entire show set-ups for any future use that may be required, which saves a great deal of time.”

Another angle on the Italian touring industry comes from Mister X, a rental firm that also equips tours by popular Italian artists, but mainly works on mini-tours by international names. GM Lele Gurrado adds:

obvious effect of the crisis is that payment terms have been greatly extended, leading to a lack of liquidity and therefore reduction in investments, In spite of this, working regularly with foreign artists, we’ve must be able to supply the latest hardware found on international technical riders.”

THAT’S AMORE Summer festivals are probably among the few regular sources of income for rental companies, but the pinch has been felt there too, even if spending on technical production is not apparently at risk, with each

“Although the industry was hit hard by the crisis over 2012 and 2013, Q1 2014 has been one of the best we’ve ever had!” Stefano Cantadori, AudioLink “Although we’re on tours with Italian names such as Max Pezzali, Negrita and Francesco Renga, we work mainly with foreign artists – this summer Black Sabbath, Aerosmith and Iron Maiden. Concert takings have remained basically the same, but live events have become artists’ main source of revenue, so fees have risen and budgets allocated to contractors thus been reduced. Another

adopting a different strategy Umbria Jazz is a summer festival in its 40th year in Perugia. Cristiano Romano confirms the crisis has hit public sponsors and to an even greater extent private ones. “Rather than laying off employees, they reduce advertising. To cut costs, instead of two or three really big names, we’ll have just one, and stage original artist combinations, like Chick Corea

Poretta Soul Festival and Stefano Bollani. Audio contractors have remained unchanged, but instead of four grand pianos, we rent two or three and move them around the venues.”

Graziano Uliani founder of Poretta Soul Festival, this year at its 27th edition, adds, “We try to host artists that only perform here – it’s costly, but distinguishes us from the others.

As private sponsors and public finance have been reduced, top grade performers and come on trust [alone].”

Mauro Valenti is artistic director of the 28th Arezzo Wave Love Festival, a showcase for young bands selected throughout Italy and alternative performers from all over the world, “Since we’re a non-profit organisation with a cultural role, we’ve always been able to count a lot on public financing, which this year has been reduced. We’ll therefore concentrate even more on Italian names instead of international

headliners, rather than cutting technical production costs.”

‘Necessity is the mother of invention’ couldn’t be a more apt phrase to describe the tenacity with which Italian manufacturers are managing to conquer increasingly large shares of foreign markets when faced with a domestic market that in part still suffers incredibly from xenophilia, but is also strangled by tax, red tape and a serious financial crisis.

And service companies and event organiser manage to give audiences a good show for their money, nevertheless. I www.audiofactory.it www.audiolink.it www.audiosales.it www.bcspeakers.com www.eighteensound.com www.faitalpro.com www.k-array.com www.montarbo.com www.outlinearray.com www.powersoft-audio.com www.rcf.it www.wisycom.com

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For the latest installation news www.psneurope.com/installation

installation SOUNDBITES Community has opened a new indoor test facility at its factory in Chester, Pennsylvania, US. Designed by Charlie Hughes of Excelsior Audio and operated by senior measurement technician Hadi Sumoro, the new test facility enables loudspeaker measurements with “unprecedented” accuracy and precision. Community’s director of technical services, Dave Howden, comments: “[T]his new facility provides phase data and other new information for systems designers and will help Community’s engineering team design the next generation of great loudspeakers.” www.communitypro.com The Midas PRO1 digital mixing console is the board of choice for Tudor House, a popular hotel, pub and performance venue located in Wigan, UK. Tudar House’s technical manager, Russ ‘The Sound Guy’ Miller, who has worked with Lacuna Coil, Pop Will Eat Itself, and Curtis Stigers, says of the PRO1: “I love the immediacy of the sound of the Midas PRO Series, and the PRO1’s compact footprint fits the limited space in the sound booth.” www.midasconsoles.com

UNITED KINGDOM/FRANCE

Fraser heads UK sales for APG French manufacturer continues to bolster its marketing strategy, writes Murray Stassen LOUDSPEAKER MAKER APG has announced the appointment of Scott Fraser as head of its UK sales operation.

Fraser is an experienced pro audio professional and is joining the role with a strong technical background. His experience includes a stint as installation manager for Yamaha’s installed sound division.

The vice-president of global sales for APG, Bruno Garros,

says: “The traditional distribution model puts too many obstacles between us and the customer. We felt very strongly that the best way forward for us was to have a direct link into the UK with someone who is actually employed and trained by APG – it means a direct link to the factory, to R&D and to marketing with access to all of the resources that we provide as a company.”

Scott Fraser, left, with APG’s Xavier Pion in Frankfurt “APG’s portfolio offers unique technology, sounds fantastic and is backed up a great team of people who are passionate about what they do,” says Fraser.

UNITED KINGDOM

Turbo makes Audio Precision decision

By Murray Stassen TEST AND measurement specialist Audio Precision attended Prolight + Sound in Frankfurt for the first time this year, exhibiting key technologies including the APx Converged Audio Test (CAT) and the APx Electro-acoustic software

suite. (This software provides acoustic measurements for loudspeaker drivers and enclosures, including quirkilynamed ‘Rub and Buzz’ detection.)

Following a successful showcase in Germany, AP received a further boost as it was revealed that Music Group brand

Turbosound has purchased Audio Precision test instruments for use in its new R&D and manufacturing facility in Kidderminster, UK. The company’s APx audio analysers will now be used to test “every single Turbosound product, from the earliest concept stage,

“Whether it’s off-the-shelf products, RAL colour-matched or an entirely bespoke product, there’s nothing we can’t cover.” I www.apg.tm.fr to the final production stages”, both in the Midlands and in the £2.4m ($4m) Music Group R&D centre in Manchester.

AP president David Schmoldt says: “AP is expanding the definition of audio test to cover all aspects of the signal chain using a single platform from analogue through digital and electro-acoustics, and the work done at Turbosound exemplifies this converged approach.” I www.ap.com www.turbosound.com

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installationnews GERMANY

Aalen auditorium upgrades The installation represents a major coup for the LUCIA range

By Murray Stassen KLARTEXT-GRUPPE HAS installed a new sound system in the classrooms and auditorium at Aalen University in Germany.

The system consists of two Tannoy VX 5.2 loudspeakers in each room, as well as a compact, two-channel Lab.gruppen LUCIA (Localized Utility Compact Intelligent Amplification) amplifier.

Klartext manager Jörg Mitschele says: “LUCIA was

Tannoy: Educating in Germany chosen for a number of reasons.

It’s compact, but doesn’t compromise in sound quality, and the built-in DSP feature is a wonderful tool to have during set up.

“Since we didn’t need a lot of power, the LUCIA 120/2M was ideal as it offers a robust two 60 watts out of a small unit, with its DSP possibilities providing equalisation as well. The small unit is mounted hidden behind a blind cover so the user cannot reach its controls (and does not need to).”

The microphones and audio sources are hooked up to the system with modular units called m-connect-s, which allow the connection of phantom powered microphone inputs and RCA jack connectors for laptops, MP3 players or smartphones.

Mitschele adds: “The combination of LUCIA amplifiers and Tannoy loudspeakers is great but, in my opinion, the kind of foolproof operation demanded by the customer would not have been possible without m-connect-s audio input and mixing systems. I think LUCIA and m-connect-s not only get on well together, but make a perfect team for a vast field of sound reinforcement applications.

Just plug it in and turn it up. It really is that simple!” I www.klartextgruppe.de www.labgruppen.com www.tannoypro.com

SWEDEN

Swedish stadium sides with Crown

By Murray Stassen

EIGHT CROWN DCi 4600N and eight DCi 4300N networkable power amplifiers were installed in the Himmelstalundshallen, a 4,480-seat indoor arena in Norrköping, Sweden, that hosts concerts and other sporting events.

Sweden-based Harman distributor Septon Electronics supplied the equipment.

Sound contractor Micab was responsible for the upgrade, under the direction of installation specialist Mikael Bergvall.

“In addition to providing clear, intelligible audio we needed to achieve a system that provided equal coverage at every seating area,” says Bergvall. The amplifiers are linked together using BSS Audio Soundweb London BLU-101 and BLU-160 devices with BLU-Link.

Twenty JBL AM5215 loudspeakers were also fitted as part of the upgrade.

Bergvall explains that the Crown DCi Network amplifiers were selected as they feature both Ethernet and BLU link connectivity options, enabling easy networking over long distances.

The DCi Network amplifiers offer networked monitoring and control via Harman HiQnet Audio

Architect system software.

“The quality of the sound in the Himmelstadlundshallen has been completely transformed. Everyone in every seat now enjoys clear, full range reproduction for game announcements, music and audio,” he concludes. “The memory of the previous sound system is now just a fading echo.” I www.micab.se www.septon.se

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Photo: Elise Descamps (www.elidesc.com)

installationreport BELGIUM

Form follows Funktion Ghent live music café Charlatan celebrated its 25th birthday on 8 February with Funktion One amplification supplied by Soundsystem, reports Marc Maes SPREAD OVER three halls in the Vooruit arts centre in Ghent, live music venue Café Charlatan’s 25th anniversary bash, attended by over 2,000 people, required some serious amplification – and Oostkamp-based light and sound rental company Soundsystem was only too happy to take on the challenge.

“We know one of the owners very well, and the café is already using a Turbosound system for their weekly shows – the predecessor of what FunktionOne is today,” explains Tia Broodcoorens, co-director of Soundsystem. “Everybody was keen on seeing how it would be to amplify live music with

Funktion-One speakers.”

Broodcoorens says the brand struggles with the misconception that its speakers aren’t suitable for live music amplification.

“The problem is that many people within the live circuit are not acquainted with FunktionOne’s specifications and qualities,” she explains.

The anniversary band take to the stage

The Soundsystem crew with co-directors Lieven Pillaert (back row, centre) and Tia Broodcoorens (lying on the Infrabass!)

The organisers of the Charlatan party had booked an “anniversary band” – made up of Pieter-Jan De Smet, Sioen, Bert Ostijn of Absynthe Minded, Frank Vanderlinden of De Mens, Johannes and Wolfgang of Van Jets, and Luc De Vos of Gorki – plus sets by Kenji Minogue, Nid & Sancy and Faux Parade, and Broodcoorens believes the event “[was] a nice showcase to persuade the audience and users that F1 is perfect to amplify live music – from rock to classical.”

Soundsystem’s inventory for the evening included eight F1 Res5 top cabinets and F121 subs; two Res2SH speakers as fill-ins on either side of the main stage; and power from one FunktionOne XO4 and four E45 amps, with one additional MC2 E4-75 amps. The stands were served by four Res5 top speakers and four F118 subs, and the whole system controlled by a Soundcraft MH4 48-channel console.

“In the ballroom, which has a capacity of 1,000, we added extra F1201 delay speakers to the FOH set, which consisted of four Res5 top speakers and four F218 low cabinets,” comments fellow co-director Lieven Pillaert. The mixing desk was a Soundcraft MH3/32.

“In the [400-capacity] café, with DJs closing the event, we used a configuration of F121 subs, Res2 top speakers and Funktion One PSM12 point source monitors.”

Both Broodcoorens and Pillaert believe the results were positive: “We were happy to see

that industry insiders were convinced that Funktion One goes beyond dance and electronic music… it’s our target to enhance F1 in the live concert market,” says Pillaert.

“We needed 20 floor monitors for the show,” Broodcoorens explains. “No rental company in northern continental Europe has them in their inventory, and flying F1 in from the UK was a bit expensive, so we decided to use Nexo PS15 monitors instead.” He adds that Soundsystem had a technical crew of 12 on-site, plus eight people for the installation of the system.

Piet Vermeiren, one of the freelance mixing engineers during the Charlatan event, praises the system. “I grew up with Turbo Flashline and Flex Array systems, and I must admit that the Funktion-One delivers the same sound quality for live concerts as it does for DJs,” he comments.

“The system is also suited for outdoor concerts.”

Benjamin Bertozzi, FOH engineer at the ballroom venue, is equally enthusiastic. “I’ve done some FOH jobs with FunktionOne, like in the Bozar venue in Brussels, but the Charlatan night was the first time so many bands used the configuration,” he says.

“The system offers an unique dynamic, even in a bigger sound spectrum, compared to other speakers. At the time, Turbosound offered dynamics and depth, and F1 have improved it.” I www.soundsystem.be www.funktion-one.com

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installationfeature

greasepaint... from the quiet stage

THE THEATRE has always been a broad term covering acting, directing, writing and different styles of comedy, musicals and drama. It has become broader over the last 10 or so years with the advent of adaptations of films as either musicals or straight plays and shows based on the back catalogues of “classic” bands, as well as revivals of Shakespeare and 20th century plays, and new works influenced by cinema and television.

The appetite for theatre appears newly whetted too, reflected in the number of new venues being built – in the Middle and Far East especially – and older ones undergoing refurbishment. Jason Osterman, a senior consultant with Theatre Project Consultants says the type and amount of sound equipment put into a new venue can depend on several factors: “The usage of the building counts so if that is fairly well defined at the beginning you either specify something that fits it or leave it to companies to bring in what is needed. But you have to consider how much rental stock is

Fangs for the applause: Let the Right One In is transferring to the West End

available locally. And the level of technical knowledge among those using the systems is critical. If they know Midas or Digidesign (Avid) desks that’s OK but now networking such as Dante is an issue and people need a lot of knowledge for that.”

On the loudspeaker side the line array has become almost as ubiquitous in theatre as it is in live sound touring. Osterman observes that this is because they are a “know quantity”, with West End theatres are now

particularly home to this rig configuration, to the extent where “you can barely see the proscenium arch”, as they vie with moving lights for real estate.

During this year’s ISE show, d&b expanded its White range of installation loudspeakers with the xC-Series column, designed to give high vertical directivity. This has potential in the theatre sector, which is looking for ways to further control the emanation of sound. Martin Audio is among other manufacturers also looking

at this. Applications engineer Robin Dibble comments that the aim of such technologies is to create “the quiet stage”, which has advantages for theatrical production, especially with the growing number of small headset microphones being used.

DIFFERENT DISPERSIONS Martin is promoting its new Differential Dispersion (DD) horn technology as a possible solution to this problem. The DD6 passive two-way cabinet

is already available, while the selfpowered DD12, featuring integral networking and DSP, was introduced at Prolight + Sound in Frankfurt.

“We’re hoping DD is going to be the next big thing in theatre,” says Dibble. He adds that delays and achieving greater image clarity are of increasing importance, particularly with the growing use of surround sound and tracking systems such as TiMax and TTA (see boxes).

Luke Hyde, a project manager with hire firm Dimension Audio, comments that new cardioid sub-bass arrays, such as the passive units produced by d&b, are also contributing to the emergence of the quiet stage.

“That allows us to counteract low-end signals going on to the stage,” he says. “That helps when you’ve got a performance that is very live, with a number of radio mics open at the same time.”

Hyde says that in his experience spectrum reallocation has “not particularly” affected wireless operations in the theatre sector. Chris Jordan, head of sound and theatre at rental company Blitz Communications, is less optimistic: “Even midscale touring shows like Fiddler on the Roof [starring former Starsky and Hutch star Paul Michael Glaser in a show with sound design by Richard Brooker] have approximately 30 radio mics.

There is a squeeze on requirements in general with demand for more wireless systems but there is less and less spectrum available.

It’s going to get difficult.”

Jordan reflects that digital technology is now firmly established in theatre sound,

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The roar of the

Sound has long been a major part of the theatre experience but, as Kevin Hilton reports, it is now much more than the accompaniment for musicals or noises off in drama

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installationfeature

OUT BOARD TIMAX TO PURISTS, putting the words of the Bard through any kind of technology borders on heresy but the Royal Shakespeare Company (RSC) is now using a system that allows the sound of an actor’s voice to match his or her position onstage. The Courtyard Theatre at the RSC’s main base in Stratford (above) was built as a temporary venue while the main Royal Shakespeare auditorium and Swan Theatre underwent extensive “remodelling”. They re-opened in 2010 and the Courtyard has continued as an overflow venue during festival time. Last year a 48x48 Out Board TiMax2 Sound Hub matrix, with MADI capability, was installed there to fulfil a number of

requirements: moving MADI signals into and out of the theatre’s DiGiCo SD9 front of house desk; providing distribution to its “three-dimensional delay system”; and acting as a delaymatrix processor for voice localisation and band imaging. This last requirement was the original concept behind TiMax (standing for time and matrix), which developed out of Out Board director Robin Whittaker’s work with surround sound and delays in the early 1990s. The Courtyard system was expanded last month with the addition of a further 16-channels of audio (now giving 64) and new MADI capability to also bring that up to 64-channels. www.outboard.co.uk

from mixing consoles – the DiGiCo SD7 is a major part of Blitz’s stock – to iPads and other tablets for controlling some parts of the system. Line arrays, or at least line array elements, Jordan agrees, are now in widespread use but argues that older technologies are not yet fully out of the picture.

“Shows in the West End are still using point source systems,” he says. “We did Merrily We Roll Along with a simple point source system and that has been nominated for an Olivier Best Sound Design Award [sound designer Gareth Owen], so they’re not dead yet.”

A more pressing issue, Jordan adds, is the amount of noise pollution in productions coming from moving lights and other mechanical and electrical stage hardware. “The background level of noise in some shows is quite offensive,” he observes. Audio sources are increasing in auditoria; surround sound is finding its way into theatre more

regularly as the influence of cinema makes itself felt on the older artistic discipline.

FAR FROM THE MADDEN CROWD Sound designer Rory Madden says the need for surround is judged on a production by production basis. “It can play a great part in an effect that can be controlled,” he explains. “You can draw the stage out to the audience and it’s nice to have the control of where you put the sound in the room.”

Madden continues that digital consoles and control systems are “evolving day by day and are incredibly powerful”, which is “very exciting” in terms of what can be achieved. “Their size, relative to what we make them do, is astonishing, compared with ten years ago. Digital consoles include all the processing internally for most of the needs of reverb, dynamics and EQ. Snapshot scene recall and the ability to trigger external

playback systems are all benefits of going digital.”

On the subject of the quiet stage, Madden says in-ear monitoring helps keep the levels down, as well as allowing the performers to “look in to their art”. Miniature wireless mics and headsets have also had a major impact on how theatre shows are designed and produced. DPA has been a leading choice for this and is now considering taking that experience and combining it with IEMs to produce something that can do two jobs in a single package.

Mikkel Nymand, product manager and tonmeister with DPA, says there is general annoyance among performers and technicians in having to accommodate two wireless belt packs, one for the mic, the other for IEM. “We are a microphone manufacturer, we don’t do wireless systems,” he says, “but one of the ideas we have is to see if we can combine some IEM capability with headsets. But we’re not there yet.”

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Merrily they roll along ...

FORM AND FUNCTION The combining of functions and features is something that has already happened in other parts of theatrical audio. The FOH console is now a networking and matrixing hub, with integrated effects and processing, as much as a means of mixing the show.

The advent of digital mixing in theatres has additionally made scene management achievable.

This is now available on the Allen & Heath GLD series through version 1.4 software. Product manager Nicola Beretta says users had been asking for features such as cross fading between one scene and another, with the ability to send messages to other systems, such as on-stage lights.

The MIDI capability of the GLD, and other digital desks, is of particular use in connecting to external devices such as digital audio workstations for playing in cues. Beretta says networked MIDI over Cat-5 cables is far more convenient than 5-pin DIN and allows for

larger networks to be built, especially through the use of Dante, which is now available on the GLD as a plug-in card.

Sound designer Gareth Fry favours Yamaha consoles because of their MIDI handling.

He says QLab has become “the standard” in the UK for computerised playback, while in general loudspeaker systems have become more complex. Fry specifies mainly Meyer or d&b, unless there is a rig already in the theatre. He is currently working on two forthcoming productions: the West End transfer of the stage version of Let the Right One In, which Fry describes as a play with music;

and a revival by the National Theatre of A Small Family Business, written by playwright and director Alan Ayckbourn.

Let the Right One In will feature a combined d&b and EM Acoustics rig. While this version has gone back to the source ‘young vampire love’ novel rather than the just the film, Fry says in general it is difficult not to be influenced by cinema and TV in all aspects of modern theatre production, including sound design.

“At one time you’d have something like a Noel Coward play where all the action would take place in a drawing room and the characters would enter or leave as the drama went on,” he comments.

“In the last 10-20 years plays have been written with very short scenes that take place in different locations. It’s difficult to change sets quickly enough in those circumstances so sound and lighting have to set the scene more than they used to.” I

TTA STAGETRACKER FX The Teatre Lliure is a state-funded theatre in Barcelona, noted for presenting works in Catalan.

Opened in 1976 by a group of professionals from the city's independent theatre scene, it underwent a technical upgrade to install a TTA (Total Theatre Audio) Stagetracker FX performer tracking and audio localisation system, with final testing taking place in January this year. The hardware behind Stagetracker – consisting of an audio matrix and a ‘RadioEye’ that receives signals from wireless

‘TurboTags’ worn by the performers - was developed approximately six years ago but the first version of the V4 Tracking Engine software only appeared in 2012. In recent years Stagetracker was installed at Malmö Opera and been used at last year’s Zurich Tattoo, with new installations in China and at the state-owned theatre in Latvia.

Version 2 software is underdevelopment but no date has been given for release. www.tta-sound.com

RAI Amsterdam Conference 11-15 September | Exhibition 12-16 September

IBC2014 Discover More IBC stands at the forefront of innovation, drawing more than 52,000+ creative, technical and business professionals from over 170 countries. It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected peer reviewed conference that helps to shape the way the industry will develop.

Also, take advantage of a variety of extra special features included as part of your registration at no extra cost: ‹ IBC Content Everywhere ‹ 0)* >VYRÅV^ :VS\[PVUZ 0)* *VU[LU[ ,]LY`^OLYL ,\YVWL PZ [OL ÄYZ[ PU H KLKPJH[LK [V ÄSL IHZLK [LJOUVSVNPLZ HUK WYV]PKLZ series of exciting new events focusing on rich H[[LUKLLZ ^P[O [OL VWWVY[\UP[` [V [YHJR [OL JYLH[PVU TLKPH WYVK\J[PVU KL]PJLZ HWWZ KPNP[HS THYRL[PUN THUHNLTLU[ QV\YUL` ZVJPHS TLKPH JVU[LU[ WLYZVUHSPZH[PVU IPN KH[H JSV\K ZLY]PJLZ ZLJVUK ZJYLLUZ PU]LZ[TLU[ HUK ‹ IBC Awards much more JLSLIYH[PUN [OL WLYZVUHSP[PLZ HUK [OL VYNHUPZH[PVUZ ILZ[ KLTVUZ[YH[PUN JYLH[P]P[` PUUV]H[PVU HUK ‹ IBC Big Screen Experience JVSSHIVYH[PVU PU V\Y PUK\Z[Y` WYV]PKPUN [OL WLYMLJ[ WSH[MVYT MVY THU\MHJ[\YLY KLTVUZ[YH[PVUZ NYV\UK IYLHRPUN ZJYLLUPUNZ HUK ‹ Future Zone PUZPNO[M\S MYLL [V H[[LUK JVUMLYLUJL ZLZZPVUZ H [HU[HSPZPUN NSPTWZL PU[V [OL M\[\YL VM MVJ\ZPUN VU [OL SH[LZ[ KL]LSVWTLU[Z PU KPNP[HS [VTVYYV^»Z LSLJ[YVUPJ TLKPH JPULTH

www.ibc.org IBC ;OPYK -SVVY -L[[LY 3HUL 3VUKVU ,* ( )9 <2 t. f. e. PUMV'PIJ org

PROSOUND DAWARDS Thursday, 25th September 2014 Ministry Of Sound, London

Celebrating excellence in

Thursday 25th September, Ministry of Sound

pro audio l a i c Spe d r i B y l r a E

> 17 Awards including NEW additions for 2014 LIVE: Best Theatre Sound and STUDIO: Best Sound (Post-Production)

> The Pre-Roll Two sessions of dynamic industry discourse with leading pro-audio voices, before the awards begin.

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Tickets now available:

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CONTACTS

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Editor Dave Robinson david.robinson@intentmedia.co.uk

hither&dither

Deputy Editor Jon Chapple jon.chapple@intentmedia.co.uk Staff Writer Murray Stassen murray.stassen@intentmedia.co.uk Advertising Manager Ryan O’Donnell ryan.odonnell@intentmedia.co.uk Sales Executive Rian Zoll-Khan rian.zoll-khan@intentmedia.co.uk Head of Design and Production Adam Butler adam.butler@intentmedia.co.uk

Hither and Messe

A selection of snaps from the hallowed halls of Prolight + Sound

Editorial Production Manager Dawn Boultwood dawn.boultwood@intentmedia.co.uk Production Executive Evan Graham evan.graham@intentmedia.co.uk Digital Content Manager Tim Frost tim.frost@intentmedia.co.uk Office Manager Lianne Davey lianne.davey@intentmedia.co.uk Publisher Steve Connolly steve.connolly@intentmedia.co.uk Correspondents: Mike Clark (Italy), Marc Maes (Belgium/Holland), Phil Ward (UK), Contributors: David Davies, Erica Basnicki, Kevin Hilton

A/Alex Audio of the Ukraine claimed to have the world’s biggest speaker at the show. Fortunately, the potential output power wasn’t put to the test during exhibition hours. Here’s our man Rian Zoll-Khan, doing his bit for scale

Genelec’s Jarmo Masko has the right idea, scooting between the halls

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“We’re getting the band back together...” (L-R) Godbehear, Hughes and Ferriday are reunited once more , thanks to kindly Cadac

Tine Hemle opts for mini branded cakeds (Optocore left, BroaMan right) instead of sunglasses

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Cheer up, Claude! M. Cellier really should follow his own advice, as Merging launches the HAPI network audio interface Sony provided a little entertainment for booth visitors: the band used the latest DWX wireless gear, of course

Please send all contributions for possible publication to david.robinson@intentmedia.co.uk

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industrytalk

“A lot of other people who were trying to achieve [similar results] were technically driven, but what I do is musical, not technical “ Bruce Swedien

Studio thrills and spills Count Basie, Duke Ellington, Sarah Vaughan… and then there’s the small matter of recording the most successful LP of all time, Michael Jackson’s Thriller. Producer/engineer Bruce Swedien – he recently turned 80 – reflects on selected highlights of his many, many hours in the studio. By David Davies From Michael Jackson and Mick Jagger to Duke Ellington and David Hasselhoff (no, really!), Minneapolis-born Bruce Swedien has been at the controls for numerous landmark recordings of the pop era. But rather than be overly informed by technological change, he says that “the music itself has defined everything I’ve done – it all comes back to the music”. As he launches an impressive new book, The Bruce Swedien Recording Method, and prepares to celebrate his 80th birthday on 19 April, Swedien spoke to PSNEurope about the thrill of recording Thriller, his love of great singers… and why (to put it mildly) he is no great fan of modern music.

What was your main objective for the book?

As opposed to producing a recording guide, I wanted to offer a kind of explanation of the way I do things. I get annoyed when people call me an engineer; I am really a music recording producer/engineer. I have always been a music-led person, rather than a technology-led one, and I expand upon that philosophy in the book.

What were your first recording experiences, and how quickly did you know that this was what you wanted to do?

I first went into a studio when I was about 18 or 19, and I knew instantly that I wanted to do it forever. My first recording

sessions took place at a converted movie theatre in Minneapolis which had terrific acoustics. I really got my training there recording all these amazing polka acts like Whoopee John Wilfahrt – incredible musicians! A little while later [in 1957] I moved to Chicago to work for RCA Victor and Universal Studios, and that period was really important in defining my technique. I think a lot of other people who were trying to achieve [similar results] were technically driven, but what I do is musical, not technical.

Of course I had to have the technique down, but it’s music that I am really after… and that’s never changed.

During the rest of the ’50s and ’60s, you went on to work with some of the most iconic artists of all time. Any standout memories?

There are so many! Working with Duke Ellington was extraordinary – he was so unique in his approach to music.

Oscar Peterson was a fantastic pianist and a wonderful man.

Then there are the vocalists: Nat King Cole, Dinah Washington, Sarah Vaughan…

Wow, Sarah Vaughan could sing! She frequently did complete vocals in one original take. Unbelievable ability.

It was during this period that you first came into contact with your great collaborator, producer and arranger Quincy Jones…

I first met Quincy in Chicago in 1958. He is probably the most honourable and unique guy I have ever met in that he lived in Paris for quite a while, where he studied theory and composition with Nadia Boulanger [who had taken classes with Maurice Ravel] and Olivier Messiaen. Couple that with his later film scoring projects and then production work and it’s clear that he has such a unique pedigree.

Although you’ve worked with Quincy many times, it’s surely your partnership on Michael Jackson’s 1982 album Thriller – still the best-selling LP of all time – that looms largest in the public consciousness…

It was a tremendous experience with a tremendous team – Michael, Quincy, [songwriter] Rod Temperton. We recorded it on a Harrison 32 Series console at Westlake Recording Studios in West Hollywood, which helped to give it that fantastic sound.

There are so many great memories from those sessions.

I remember the monitors at Westlake suddenly caught on fire. We liked to think that the music was so hot we set the speakers on fire, although obviously that wasn’t the case!

Then I will always recall the sessions with Michael and Paul McCartney for [Thriller duet] The Girl Is Mine. They got on so well… it was an absolute circus.

So much has been written about Michael before and after his death… but what was he actually like in the studio?

One of the things that [gets overlooked] is that Michael was a fantastic guy to be around.

He was so painstaking with his vocals. He would never sing

anything with the paper in front of him; he would frequently stay up all night memorising something so he could sing the vocal from memory. Then we would spend hours comping the best performances – listening through the takes, going half-verse by half-verse to pick out the absolute best bits and then piece them together. His dedication was remarkable.

Equipment-wise, what were the mainstays of your work with Michael?

I mainly used Shure SM7s on Michael’s vocals, although I recall bringing in a Neumann U 47 for a later recording, Earth Song. Neve mic pre/EQs were another fixture… I’ve always loved the Neve gear and still have quite a bit of it in my home studio. I also have a gorgeous Studer machine that I use to originate all my recordings, and I really believe in Pro Tools as well.

Really? That may come as a surprise given your well-known love of analogue…

Pro Tools is incredible, but you do have to get the analogue pass first. Once a recording has the analogue sound quality in the sound field, it stays there – it does not change.

Conventional wisdom suggests that the evolution of recording since the 1960s has been a gradual opening up of possibilities…

I would say that it has actually been the opposite. I don’t really like what I hear now in terms of new music. It’s not original and it all seems rather small-scale.

There aren’t any new records I like sonically, and for me the quality of the sound is a big part of the appeal of a record.

Given those reservations, what would be your advice to up-andcoming producers and engineers?

It is my belief that you can’t really teach someone how to record music well: it’s instinctive and you have to be born with it. But my advice to new engineers would be to do what I did as a youngster and go hear live music in great acoustical environments. I went to see the Minneapolis Symphony all the time when I was young, and I still haven’t got that phenomenal sound out of my hair. I The Bruce Swedien Recording Method is available now from Hal Leonard Corporation (www.halleonardbooks.com)