PSNE August 2017 Digital

August 2017

www.psneurope.com

The Vig picture

Legendary producer Butch Vig invites us into his home studio to talk gear and the art of production P14 An evolution in digital mixing Drawing on 30 years of digital mixing know-how, Yamaha’s flagship RIVAGE PM10 system continues to evolve with a new compact control surface, support for 400-channel single-mode optical fiber and V1.5 firmware updates including Eventide H3000 Live UltraHarmonizer and Dan Dugan Automatic Mixing plug-ins.

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10/10/2016 10:19:58 12:26:34 14/06/2017

Welcome

PSNEUROPE Editor Daniel Gumble dgumble@nbmedia.com

Production Executive Jason Dowie jdowie@nbmedia.com

Staff writer Tara Lepore tlepore@nbmedia.com

Group Commercial Manager, Music Ryan O’Donnell rodonnell@nbmedia.com

Content Director James McKeown jmckeown@nbmedia.com

Senior Account Manager Rian Zoll-Khan rzoll-khan@nbmedia.com

Head of Design Jat Garcha jgarcha@nbmedia.com

Sales Executive Alex Goddard agoddard@nbmedia.com

P3 AUGUST 2017

DANIEL GUMBLE Editor Contributors: Kevin Hilton, Marc Maes, Phil Ward, David Davies, Marc Miller, Mike Clark, Mel Lambert PRINT SUBSCRIPTIONS To subscribe to PSNEurope please go to www.psneurope.com/subscribe-tonewsletters-digital-editions should you have any questions please email subs@psneurope.com Please note that this is a controlled circulation title and subscription criteria will be strictly adhered to.

@PSNEurope NewBay Media Europe Ltd is a member of the Periodical Publishers Association Copyright NewBay Media Europe Ltd 2017 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. The contents of PSNEurope are subject to reproduction in information storage and retrieval systems.

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is published 12 times a year by NewBay Media Europe Ltd, The Emerson Building, 4th Floor, 4-8 Emerson Street, London SE1 9DU

ISSN number 0269-4735 (print) 2052-238X (digital)

When you have finished reading this magazine please, why not give it to someone else to read, too? Or recycle it properly. Don’t just sling it in the bin.

I mean, come on!

www.psneurope.com

I

n more ways than one, the brand spanking new issue of Pro Sound News Europe you’re lovingly perusing at this very moment could well be described as a ‘new look’ edition.

For the first time in the best part of 20 years, the latest issue comes complete with a new, possibly unfamiliar face staring back at you. That’s right, after some 19 years with PSNE, the majority of which time he served as editor, the one and only David Robinson has left for pastures new, and it would be remiss of me not to honour his work during that time and address the sizeable boots he has left to be filled. His contribution to this title during his tenure is, frankly, immeasurable, and all at PSNE wish him the very best in his future endeavours.

Now, however, begins a new era for the brand. With a freshly installed editorial team, the coming weeks, months and beyond point to exciting times ahead. We have a brand new staff writer on-board in the form of the wonderful Tara Lepore, who is already proving a major asset, and as for yours truly – some of you may remember me from my days at PSNE sister publications Audio Pro International and MI Pro – I cannot wait to get acquainted/reacquainted with the industry.

To my mind, now is as exciting a time as any for PSNE to enter the next stage of its evolution. As you’ll see throughout the course of this issue, this wonderful business of ours is as bright, vibrant and eventful as ever. We’ve got live insights aplenty, as we check the pulse of the current touring/festival circuit, while on the studio front, our pages are graced with one of the great rock producers of the past 30 years, as Mr Butch Vig – yes, the guy who produced Nirvana’s Nevermind - sits down with us for a natter about his home studio and the psychological side of music production.

As for the future, approaching fast on the horizon we have events such as IBC, PLASA, AES and, perhaps biggest of all, the prestigious Pro Sound Awards, so be sure to keep a close eye on PSNEurope.com for all the latest news and developments.

In the meantime, enjoy your latest issue of PSNE. n

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Contents

P4 AUGUST 2017

In this issue...

P29 RADIO GA GA A RARE OFCOM INTERVIEW ON RADIO FREQUENCIES AND PRO AUDIO

P14 PRODUCING THE GOODS BUTCH VIG TAKES US INSIDE HIS HOME STUDIO

P46 SOUNDS OF THE SUMMER FIVE YEARS OF CAPITAL SOUND AND MARTIN AUDIO AT BST HYDE PARK

Live 22-23 24 26-27

Broadcast

P22 IN GOOD HANS BEHIND THE SCENES OF THE LEGENDARY COMPOSER’S LIVE SHOW

34

Heather Benson talks diversity in the world of broadcast audio Serbia’s Mirka Sukovic discusses his career in mixing music for TV People power: Miloco Studios’ new studio manager Lise Regan What a Vue: Inside the Leicester Square cinema’s new audio refurb The Strategic Position: PMC

Studio 14-19 20

29-31 32-33

Kevin Hilton is granted a rare interview with Ofcom Clear-Com’s FreeSpeak II gets a pre-World Cup run out

Technology

Business 6 7 8 10 12-13

Behind the scenes of Hans Zimmer’s live show Bringing the music of Max Richter to the live stage That’s the Spirit: A tour of King’s Cross hot spot Spiritland

Installation 42 44

Shure thing: Belgium’s Vives College gets an audio upgrade Future-proofing London’s O2 Forum Kentish Town

Back pages 53-54

Butch Vig on his home studio and the role of the rock producer Tony Cousins: What NOT to do when mastering

A look at some of the top live microphones on the market

Revered broadcast engineer Toby Alington takes a retrospective look back at his career and shares his predictions for the future of the pro audio industry

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21/07/2017 10:15

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18/04/2017 11:21:13

P6 AUGUST 2017

Business

Striking the right balance With a career in the broadcast audio sector spanning almost a decade, ITV trainee sound supervisor Heather Benson has seen a lot of changes in the market. Here, she discusses the subject of gender diversity in the pro audio industry over the past 10 years and why she believes the business is currently headed in the right direction...

How and when did you first start working in the audio industry?

My love for audio came via rather a different path to that of most of my peers. From a young age I had always been involved in performing, particularly as a dancer, and that was what I had always wanted to do. When I reached college and started to study Music Technology to help me be able to edit my own music for my Dance course assignments, I realised that this was much more interesting and had more to it than I initially expected. From this I studied Popular Music and Recording at The University of Salford and left feeling unsure as to which direction to take.

When I first started in the broadcast industry in 2008, it was quite a difficult climate in the North.

Around that time, the company that I was shadowing with was going through a quite substantial change in the way that they were crewing, and they were also in the process of making more than half of the department redundant. Until I had been in for that initial shadow day, I hadn’t given broadcast sound a thought. My main focus had been working with recorded music and live sound, so that initial day in the studio took me completely by surprise. Seeing how all of the different departments came together to create a technically complicated show absolutely blew me away and I remember leaving knowing that this was what I wanted to do.

I hadn’t even been an audience member in a TV studio before and remember feeling a real buzz about the entertainment that was happening right there in front of all of those people. At the time, there were a lot of crew members who were warning me off and advising that it wouldn’t be worth the effort...

Thankfully I didn’t listen to them and still to this day feel the excitement of being a part of making television shows.

Were you conscious of the lack of women working in similar roles at the time?

I had met a few women working in broadcast as sound assistants and gram operators at the time, though there was noticeably less women working in more senior roles. I don’t recall meeting a female sound supervisor until I had been in the industry for around four years. That said, I don’t for a minute believe that that is because women are seen as less able. It appeared to me that people at supervisor level are required to have a certain level of experience, so my interpretation is that when my colleagues were recruited there may not have been as many women coming into the industry.

A female colleague of mine recalled when she started and she was the only female in the entire sound department. I am currently working for ITV Entertainment as a trainee sound supervisor and I believe the number of men to women that applied for the job was substantially more male-dominated.

Have you ever personally encountered gender discrimination of any kind during your career, either first-hand or witnessing it happening in the workplace?

I haven’t experienced much in the way of gender discrimination. In fact, I would go as far as saying that any I have encountered has been positive discrimination. There are some shows and circumstances that may require a female due to the

nature of the content or contributors.

How has the gender balance/imbalance changed since you started work in the industry?

The balance between genders is constantly neutralising as we move further away from the ways of the past. Old attitudes seem to have depleted and the male to female ratio seems to be pretty even now.

What are the key reasons behind these changes? Are there any initiatives or campaigns that have been put in place to help create a more balanced working environment?

I can’t think of any specific campaigns that may have contributed specifically to our industry. Society has changed a lot since broadcasting began and I feel like that would be the most influential factor. People are people, whether male or female, and I believe that being a good sound engineer and supervisor isn’t limited because of your gender.

What would your advice be to any young women looking to start a career in the pro audio industry?

My advice to any women coming into the industry would be the same as I would say to any man, too!

Take the opportunities that are given to you, even the ones that require you to get experience for free. These ones sometimes will lead to further opportunities that will be invaluable in the long run and will increase your profile. Networking is a key element of the job and you never know where a good relationship with a contact may lead. n

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Business

P7 AUGUST 2017

Tele vision

Serbia’s Mirko Sukovic has carved out a career as one of his homeland’s top TV broadcast audio mixers.

PSNE catches up with him to find out how he established himself as one of the sector’s top talents…

You mix high profile performers for one of Serbia’s top channels. What career path did you take to end up where you are today?

I started like most of us, with a passion for music and sound. I worked as a music composer for a theatre when I was younger and I decided to go to the Academy of Arts to become a sound designer. I started learning about sound madly, working on audio for some student movies, making some cool sound effects, composing music during the day, and in the evening, I was playing keyboards with my band. This gave me a unique view of sound from both sides – on and off stage.

I worked in a music studio for some time – and then the digital revolution came. Bands started to record music at home on their computers. So, there I was, looking for the next challenge when an opportunity came to work on TV. It was a small TV station with big plans, and I became a broadcast audio engineer.

After some time, I joined a big national TV station and suddenly I was mixing music for high profile performers. I got involved in the Late Night Show with Ivan Ivanovic, the most successful TV show in Serbia.

What are the biggest changes that have affected the way you work?

The move to digital. Digital consoles and software plugins redefined this game. The idea that you have it all “in the box” revolutionised the industry. Software and plugins have started to sound really good, which they did not until recently, but now you can have really good sound out of ordinary laptops, even phones.

Other things that digital brought is a greater number of inputs, the ability to have many layers, many subgroups, but maintain control of them with just one fader – everything is bigger, better, and more organised.

What are the main challenges you face when mixing? And how do you overcome them?

The biggest challenge in the TV industry is time. In The Late Night Show with Ivan Ivanovic our setup goes up to 64 channels of live audio sometimes. Those audio signals are split between the monitoring console and a Calrec Artemis, which is the main console for audio output. Then they are routed to DAW via MADI, so we can eventually use the ‘replay’ option to mix a bit more. This particular show is recorded ‘as live’ in one continuous take, so it’s very rare that the recording has to be stopped. Also, audio post-production of the music is minimal. Working as a broadcast music mixer, my game is a crossover between studio and live, with audience expectations to make release-quality CD-style mixes in a matter of minutes.

What are the benefits of mixing on the Artemis?

How does it differ from previous consoles you have used?

The ‘replay’ option is a game changer. Artemis gave us such an advantage, and that extra five minutes to tighten up the mix when a band ends rehearsal is an essential function when you work on TV. Previously it was not imaginable – but with the Artemis now I don’t need a band physically to mix. When a band plays one song, you can’t ask for many runs of the same song – or you will miss their best performance to record for the show. Artemis gave me the option to have just one run, record that on multi-track, and set the band free – and I can tune the mix for myself.

Has the way you mix changed to cater for an audience that now watches on mobile and tablet devices, often while on the move?

I was amazed with the newer smartphones and tablets and the way they translate my mixes – it is far better than I expected. When it comes to mixing, it is all about bass and phase issues – those tiny speakers have problems reproducing bass if you put it too low, and

they won’t forgive phase issues either. Mixes must be mono friendly for those devices, but I suspect it won’t be too long before stereos become standard on smartphones and tablets.

What can you do with today’s consoles that would have been impossible to do when you first started?

The great number of inputs and processing capabilities of today’s consoles wasn’t imaginable when I first started. The fact that you can record, produce and publish a song with your tablet and a budget microphone wasn’t even in somebody’s head back then.

If you read the technical documentation of any budget home studio sound card, you will be amazed to see that it has better specs than a lot of professional gear from 20 or 30 years ago. Consoles have become way better, the sound is crystal clear, you can add software plugins and finally, digital can sound as good as best analogue.

What do you think the future holds for broadcast audio technology?

A closer relationship between programmers making software for engineers is essential. Together they will invent new wireless protocols. I believe that the next step is removing wires from microphones and stages, and that wired setups are things of the past. In the not so distant future (10 or 20 years) I believe consoles will lose all physical faders, and go completely touch screen. With Internet speeds expanding and all those gadgets, doing shows remotely will become standard practice. Television must fight with the Internet these days, so shows will be bigger and more complex and will require more inputs, more processing power, more routing capabilities and more and more quality sound-wise. TV sets will reproduce audio even better, so mixing live bands will never go out of fashion – or at least I love to think that way. n

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P8 AUGUST 2017

Business

The Red Room: Miloco Studios

A new Lise of life

London’s Miloco Studios recently appointed a new studio manager in the form of sector stalwart Lise Regan. PSNE sat down with her to find out what she is looking to bring to the company and what lies in store for the rest of 2017 and beyond…

By Daniel Gumble

T

he sun is beating down on London’s Borough Market as PSNE takes its seat opposite Lise Regan, Miloco’s newly installed studio manager, outside one of the area’s assortment of bar cum restaurants. For the masses gathering in and around the bustling market stalls and gastro pubs that line the streets this hazy Friday mid-afternoon, the week is winding down to a boozy slumber, cutting a contrasting collective picture to that of our subject. Fizzing with boundless optimism and excitement about her new role, it’s easy to see why Miloco saw Regan as the perfect fit for the business.

The younger sister of Julianne Regan, who fronted ‘80s rock outfit All About Eve, Lise has spent much of her life working in and around studios and the music business in general. Her studio career started with an 18-month stint as a housekeeper at Richard Branson’s The Manor studio, where Julianne was recording at the time – a role that provided a solid grounding in studio life: “It was brilliant,” she enthuses. “Long shifts, 12hour days...I know how assistants feel! And I remember looking at the studio manager at the time thinking, I want to do what you do.”

Following a couple of stops at now defunct studios, Regan went on to spend 10 years working closely with legendary artist and producer Dave Stewart at his studio The Church.

“My brief was to make it a fully commercial studio, which we did, and it was really successful,” Regan

explains. “There were an awful lot of people who came through the training path at The Church that are now doing very well. We had such a great studio team, and Dave used to pinch me to be his PA/roadie, because at the time I knew how to string a guitar and re-skin drum kits and what have you. Then, in around 2002, Dave left for LA, so I went to Livingstone Studio with Jerry Boys.”

After seven years at Livingstone, she made the move to another London studio in the form of Dean Street, before taking on her new role at Miloco three years later. A 360-degree company, Miloco offers a comprehensive array of features and services, boasting its very own high-end mix room – The Red Room (pictured) – plus a directory of more than 90 top studios across the globe, as well as a talented roster of engineers. Among the artists to have made music in its studios over the years are Chemical Brothers, Arctic Monkeys, Kate Nash, Klaxons, Jamie T and many more.

“When Miloco came up it was just a dream come true,” she beams. “A big company, a competitor at every studio I’ve ever been at, but a family business. A big family business, but a family business. We’ve got Livingstone, we’ve got The Church and we’re taking Dean Street on. The opportunities at Miloco are endless.

It’s a growing business; we’re really in tune in terms of how we’d like to see it grow.

“From the outside looking in it seems like a huge business, but it still has that attention to detail of a small, select business. It’s ever-growing, and I’ve come

‘Endless opportunities’: Lise Regan

onboard at the most exciting time.”

For Regan, the most important factor in the studio’s continued growth is its dedication and commitment to people. Whether that’s knowing how to treat clients, understanding working relationships between artists and engineers or providing opportunities for up and coming talent.

“Our focus on people is hugely important,” she affirms. “You’ve got to really look after your clients, you’ve got to have the right temperament of person for those particular clients, so matching staff to sessions is really important. Everyone has got x amount of skills, but it’s about how they engage with different people.”

She concludes: “The training programme is very important to me because it feeds your end game of having a producer associated with the studio, or a producer bringing brilliant albums to you. We do nurture young talent and train them well. We just want to develop new talent.” n

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21/07/2017 10:19

35 Years xy

d&b is 35. Sara is d&b.

Sara Sowah is Head of Marketing Communications at d&b. She’s been on board since 2014. “Being part of the d&b team is like being surrounded by your brothers and sisters – they’re annoying, they’re fun, they’re determined. It’s a big passionate family totally obsessed with sound. I feel like it’s where I belong.” In 35 years d&b has evolved from a small garage venture to a worldwide standard in professional sound systems. It’s people like Sara who make this story possible, and just that bit different from the rest.

Welcome to System reality.

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10/05/2017 09:43:16 10/05/2017 10:16

P10 AUGUST 2017

Business

UNITED KINGDOM

Vue point The historic Vue cinema in Leicester Square has been upgraded to Dolby Atmos sound and Sony 4k projection. Kevin Hilton dug out his dinner jacket to attend the grand reopening…

T

he Vue West End, part of the triumvirate of historic, high-end cinemas in London’s Leicester Square together with the Empire and the Odeon, reopened on July 10 after a major refurbishment. Valued in the region of £6.6 million, the updating of the chain’s nine-screen, flagship cinema complex includes two Dolby Atmos rooms and marks the first UK installation of SLS Audio loudspeakers.

Originally the Warner Theatre, opened in 1938, the cinema was taken over by Vue Cinemas in 2003. The building has undergone major structural changes over the years but retains the original art deco frontage, described by architecture doyen Nikolaus Pevsner as “wildly modernistic”, designed

by EA Stone. The top corners of the facia feature relief sculptures by Edward Bainbridge Copnall; one representing Sight, the other Sound.

The Sight aspect of the new Vue West End is extensive enough, with stacked Sony Finity 4k projectors in Screens 5 and 7, but the Sight component - with a mix of Atmos and 7.1 - is as impressive and necessary for the enhanced viewing experience the operator was aiming for.

Vue’s aim, according to its managing director Kevin Styles, prior to the screening of War For The Planet Of The Apes on the opening night, was to “set a new standard for what big screen means in the West End”.

These days, that includes having immersive audio or, at least, more enveloping surround sound. Originally, Vue West End was planned as wholly Dolby 7.1 but it was later decided to have two Dolby Atmos theatres.

Technical equipment was installed by specialist cinema integrator Sound Associates, which has a long association with Vue and worked on several recent openings. Project manager Derek Soden

comments that the West End project did present some problems along the way, including unfamiliarity with the SLS Audio loudspeakers for the Atmos rooms and unexpected aspects of the building. “We didn’t have any knowledge of those loudspeaker systems other than the specification sent to us by Dolby,” he tells Pro Sound News Europe. “We then had issues with a side wall bulkhead in Screens 5 and 7, which have Atmos. The bulkhead was not on a drawing and the rear surround speakers had to be moved to accommodate it.”

Soden explains that the ceiling surrounds are fixed to a bracket that in turn fits on to a standard 600x600 ceiling tile grid. The brackets are designed to be recessed to create the correct top picture sight lines.

“Although the drawings showed there was adequate space between the ceiling grid and the mass barrier ceiling, when the ceiling tiles were removed the recessed tile brackets would not fit,” he notes.

Replacement flat brackets were supplied from SLS Audio in Ozark, Missouri, affecting the installation schedule. “This meant the ceiling surrounds could not be installed before the seats - including luxurious full recliners - went in. Putting in the surrounds with the seating in place was not an easy task,” Soden says. “Once we had the alternative brackets, the ceiling speakers were lower down and we were concerned about them clipping the top picture line but we worked it out by getting the ceiling grid as high as possible and lowering the projector slightly.”

Screens 5 and 7 have fully immersive Atmos systems played through cabinets produced by SLS Audio, which is a subsidiary of Dolby Labs. Each room features an SLS Audio System 200 for front left, centre and right channels; three CS218XL sub

basses for the screen; one 118-I-BK sub on rear left and right bass channels; 20 CS1290S cabinets for side and rear wall surround; and 12 Express Series MA390C three-axis ceiling surround loudspeakers.

These systems are powered by CS4000 four-channel amplifiers and a 32-channel Dolby Multichannel Amp in a 4U rack mount frame. This is able to take the place of up to 16 stereo amps but occupies less space. A Dolby Integrated Media Server IMS3000, incorporating audio processing, is used to screen films, working with 5.1, 7.1 or Atmos sound formats.

The Dolby 7.1 screens - 1, 2, 3, 4, 6, 8 and 9 feature existing equipment, that was reused from those rooms, with some components brought in from 5 and 7, including Martin Audio Effect 5 cabinets.

JBL 8330s were recycled for surround work, although there were new additions in two screens due to changes in the raking of the seats. Smaller JBL Control 25 boxes had to be installed where previously flat floors had been turned into tired areas so the speakers did not intrude into the eye line.

Amplification for the 7.1 screens is a mixture of QSC 1400s, 1700s and MX 1500s.

The Vue West End closed on March 10 for the start of refurbishment works, with the proposed Atmos rooms decommissioned on March 21. The first SLS Audio equipment arrived on 25 April.

Soden observes that because all the lifts and escalators were out of action, every cabinet and projector - some weighing up to 195kg - had to be carried up or down stairs. Something most of the guests at the champagne reception on opening night would not have realised. n www.slsloudspeakers.com www.soundassociates.co.uk www.vue-international.com

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P12 AUGUST 2017

The strategic position: The Professional Monitor Company “Unrivalled heritage”: Peter Thomas (left) and Ian Sutton (right)

UNITED KINGDOM

Monitoring the situation Award-winning monitor mainstay PMC is expanding its UK distribution, but in-house. PSNE’s Phil Ward paid the company’s newly appointed divisional director, Ian Sutton, a visit to find out why...

W

ith the appointment of Ian Sutton, UK-based PMC has installed a divisional director for a division that didn’t exist before: a UK distribution dimension to one of the world’s most respected and admired monitor brands. Sutton worked for renowned UK speaker manufacturer Bowers & Wilkins (B&W) for 13 years, leading that business’s home sales drive, so as well as high-end monitor voicing he understands domestic tastes in more ways than one. But the Rubicon that flows between consumer and professional audio is shallowest in the territory of monitoring, and the most likely crossing point for enlightened sales tactics.

“B&W only has a handful of studio and professional installations,” Sutton admits, “compared to a commanding position in home hi-fi, whereas for PMC it’s more or less the other way around: unrivalled heritage in professional applications and a

complementary presence in consumer channels. It’s a big learning curve for me to see it from the opposite perspective, but I have the advantage of a fresh view from a very fast-moving background: the consumer sector also specialises in headphones and streaming media products, so there’s a whole new chain of retailers and dealers that you have to manage.”

The management of these usually discrete channels is precisely what marks out the differences between professional and consumer businesses, as at this level at least the products are only distinguishable in relatively cosmetic terms. PMC co-founder Peter Thomas sums it up succinctly. “The real difference is shape,” he states, “because we apply the same technical rules to pro and consumer. All the speakers are voiced in the same way: we go for accuracy and we don’t make any adjustments for either market.”

Far more of the professional products are active models, with a “major design brief to upgrade and

improve those” at the core of PMC’s operations, according to Thomas. “But otherwise they have the same goals of reproduction,” he adds.

More meaningful divergence exists in the expectations of the end user. “The top end of the pro world is also interested in transparency and resolution but reliability and serviceability are major considerations,” Thomas continues, “although we apply those standards to our consumer products as well. They are different types of customer: for one, the speakers are a tool; for the other it’s all part of a bigger entertainment package. You have to make yourself attractive to both of those markets, and we have managed to do that for 26 years. Consumer is a much larger industry, of course.”

The new distribution division therefore has to address both of these dimensions, and it must be assumed that Sutton’s experience will now complement that already in place of Ian Downs, the

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21/07/2017 10:22

P13 AUGUST 2017

‘The big picture’: Sutton will help navigate PMC through ’transitional phase’ for the industry

well-established professional sales manager for the UK. Both channels will be augmented by other products that fit the bill, and on the pro side the search is on for available brands for any suitable applications. “The distribution network will expand with microphones, software, outboard technology… that’s all part of the grand plan,” Sutton confirms.

PMC already distributes Canadian amplification and signal processing marque Bryston in the UK, so this is not wholly new ground. For Thomas, however, it provides the natural platform for business expansion on his own terms. “We’ve grown to a scale that demanded that we moved forward in the way that we do business in the UK,” he explains. “We’ve tackled our own distribution around the world – we export to nearly 50 countries – and we realised that it was time to tackle how we do things here. It made sense to create a distribution company within PMC, headed by Ian, so that he can move things on.

“We’ve had a lot of new products over the past two years and we have a lot more coming up, and we needed someone to mastermind the impact they will have on our home market. It couldn’t be covered just by the guys out on the road, fitting in with all the other distributors: now there is dedicated distribution, rather than it being a bit of a ‘dotted line’ among our sales teams.”

Most monitor companies with a provenance in studios have latterly diversified into a much wider series of installation markets as the demand for high quality audio delivery has risen everywhere – and PMC’s new distribution business will take full account

of this. “I see an opportunity in all these markets,” says Sutton. “Custom installation can mean anything from a couple of speakers with a few other channels added to a fully automated, widely distributed system throughout a building or home. The appetite for this kind of installation has increased with the meteoric rise of Wi-Fi based music delivery systems like Sonos, and it’s something that needs to be considered as part of our bigger picture. PMC can break into that sector: if you make the right product it can be delivered through all of those avenues.”

“Worldwide, we’re already addressing some of these channels,” adds Thomas. “Our slim-line Wafer series has taken us into various kinds of in-wall solutions for hotels, offices and so on. But we need to expand this side of the business, and it kind of sits in between pro and consumer – which means we’re very well placed for it.”

“Many retail customers, who are very familiar with the company’s domestic offerings, are now being called upon by the consumer to make these products available wherever people need to engage with AV content,” continues Sutton. “The demand is coming from standard retailers, and for us to fulfil that demand from an acoustic point of view will be good news for everyone.”

Another distribution feather already stuck well into PMC’s cap is AVM, the German manufacturer of hi-fi delivery components that has made great inroads into the streaming and networking landscape of audio consumption. “They are standalone boxes,” Sutton confirms, “but they are network capable. By having

that third brand as part of our distribution portfolio we are easing ourselves into all these possibilities.

The speakers are infinitely adaptable to deliver anything in any space, and the whole infrastructure implied by Sonos and its ilk is ripe for improvement using the truly professional standards that only a brand like PMC can be identified with. Access to this content should be slicker, and AVM can really deliver that for us. That’s all part of the big road map.”

Sutton, reporting to Thomas, now heads the UK sales team that manages UK dealers across this rapidly expanding footprint, while Ian Downs continues to oversee the traditionally professional channel. The formerly discrete channels for pro and hi-fi are overlapping, and dealers are having to adapt quickly to demand for AV packages that blur the boundaries between traditional hi-fi, commercial installation and event management.

The UK is not the only region to get significant investment. Last month PMC opened a new office and demo suite in Nashville, taking advantage of the city’s established music footprint and growing film soundtrack population in the wake of this year’s NAMM rollout: the IB2S-XBD-A three-way-plus sub compact system; and the active, twin-cabinet MB3XBD and active BB6 monitors. That’s reassuring, as things get more complicated… “This is a big transitional phase for the industry,” Sutton reflects, “but we will look at the big picture and match it with how we serve our customers. We’ll work hard to cover the gaps.” n www.pmc-speakers.com

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The

Vig picture Legendary alt-rock producer Butch Vig has shaped defining records from some of the biggest bands on earth, including Nirvana, Foo Fighters, Green Day, Muse, Smashing Pumpkins, Sonic Youth and a great many more. PSNE editor Daniel Gumble, caught up with him for a look back at his glittering career and what the future holds for the role of the rock producer‌

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A

fresh pot of coffee can be heard boiling quietly away in the background as Butch Vig takes his seat for the Pro Sound News Europe Big Interview. The legendary altrock producer is currently ensconced in his Silver Lake LA home studio, where he’s already been up for hours, despite it being just after 9am local time. Not that PSNE should be surprised to find its subject up and raring to go at such an hour – after all, we are talking about one of the rock world’s hardest working, most prolific producers.

The very briefest of glances at Vig’s CV tells you everything you need to know about his ferocious work ethic and the regard in which he is held by the alt-rock world and its finest exponents, reading like a veritable who’s who of virtually every influential alt-rock act of the past quarter century or so. While his distinctive production style – deftly balancing raw, turbo-charged punk rock with a shimmering sheen via a keen ear for melody and arrangements - will forever be synonymous with Nirvana’s era-defining Nevermind (1991), he has also applied his magic touch to standout records from the likes of Foo Fighters, Muse, Smashing Pumpkins, Green Day, Jimmy Eat World, Sonic Youth, Goo Goo Dolls and, of course, his own band Garbage, with whom he has served as sticksman for the past 22 years.

He’s even found time this year to form new band 5 Billion In Diamonds with UK DJ James Grillo and producer Andy Jenks. Their self-titled debut, which is set for release on August 11, was co-produced by the trio and boasts a sound that spans genres gulfs apart, gliding freely from folk rock and pop one minute to pulsating, electro-driven soundscapes the next.

Having started his production career with the opening of Smart Studios in 1983, a joint commercial enterprise with fellow Garbage member Steve Marker, Vig has amassed an impressive and expansive collection of vintage and analogue gear over the years, plenty of which has made its way into his current home studio, after Smart closed its doors in 2010.

“The home studio I have now is pretty awesome,” Vig beams, affable and disarmingly modest for a bona fide superstar producer. “I do everything in Pro Tools (HD 12), I’ve got my Drum Workshop drums here and I’ve got a Baldwin Acrosonic acoustic piano and I’ve got a bunch of Line 6 direct input guitar modellers. I have a lot of virtual synths but I also have a bunch of analogue keyboards. I use Barefoot MM27 monitors, which I love, and a really good mic collection, some great Neumanns and AKG ribbon mics. That’s the first part of the chain, so the microphone is a key component, especially when recording drums and vocals.”

His current set up has evidently evolved significantly from his formative days at Smart working with local punk rock bands.

“Our gear was pretty minimal at the start,” he continues.

“We had an Allen & Heath console, JBL speakers, a Crown power amp, a Tascam 38 reel-to-reel eight-track, a Technics two-track to mix on to ¼” tape. We had very

Quality produce: Vig’s Silver Lake home studio

High-end specs: Butch Vig

minimal outboard gear. We had a dbx 160 compressor, a Roland tape echo that we pretty much ran everything through and we had some sort of graphic EQ but I can’t remember who made it now. We also had a pair of Valley People Dyna-mites, which were great because you could use them as noise gates or compressors or limiters. We used those on drums a lot, and then we bought a Plate reverb, which was really great.”

Since then, the world of production, engineering and recording has evolved and mutated immeasurably, not just since Smart Studios opened for business 27 years ago, but even since it closed just seven years ago. And while rapid technological innovation has been the most obvious development in recent years, Vig also believes

that quick and easy access to information online and the increasing access to specialist training courses has helped change the game.

“Digital technology has levelled the playing field,” he states. “It’s completely changed how we record music and how we consume music. When I started out there were very few recording schools, so how to get into engineering or producing was a mystery. I learned how to make records by the seat of my pants, I never had any formal training. There used to be a hierarchy, where you would start out as the tea boy and, if you could handle that long enough and take the abuse, then you got moved up to tape operator, then second engineer, then engineer, then maybe after years of that you could go into producing. That was

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Three of the best

Having worked with some of the most iconic rock acts in the world, Butch Vig has become accustomed to dealing with big characters, big egos and volatile talents in the studio. Here, he gives us the inside track on three of his favourite works to date…

Nirvana, Nevermind

sound or work on a rough mix or change the drum heads. I had to occupy my time until Kurt was ready.

Then when he came out of his black hole it’d be like, let’s hit record right now.”

Sonic Youth, Dirty

Smashing Pumpkins, Siamese Dream

“Nevermind was fast. We did that record in 16 days and probably four days alone were spent just getting Something In The Way in shape. That was a really hard song to do because everything was tracked individually.

We tried to cut it live a few times but it didn’t work out.

The rest of the songs, we did a song a day pretty much.

We’d just set up and play, and the band would usually get a take in two, three or four takes. I might do some editing or punch in some guitar if they missed a chord anywhere, I’d have Kurt double track his guitar in spots and then we’d do the vocals. They were not slackers.

Before they came to record Nevermind, after Dave Grohl joined the band, they practiced every day for six months and they were tight as hell. They were ready and focused, and when I would suggest something arrangement wise just to tighten things up or make them a little more hooky they would try and cooperate, there were no problems. The only tricky part was dealing wth Kurt’s mood swings. He would go down these black holes that would just pop out of thin air and affect him unexpectedly. He would close down and go into his own world for two or three hours, until he’d snap out of it, come back in an go, OK, let’s play. It was a pretty easy record because it’s so simple. At the time, some said it was over produced, and I think that’s a laughable comment, it’s just a simple rock record. Compared to Bleach maybe it sounds more produced, but that’s probably because we had some better microphones, we were recording in a great room using a Neve console. The band was on point, they were playing their asses off, but we just had to navigate Kurt’s mood swings and make sure that we recorded…if there was a black cloud hanging over his head I would find other things to do. I would work on their guitar sound or bass

“Siamese Dream was a very difficult record to make.

It was recorded in Atlanta, we went there to get away from the media in Los Angeles and New York and we recorded the band’s debut record Gish at Smart Studios so we decided we wanted to go somewhere else. They were from Chicago and they didn’t want to record there because there were too many distractions around.

But from day one [drummer] Jimmy Chamberlain was in trouble with drug dealers and there were all these crazy people who he met in clubs and on the street who he would invite into the studios. The band was really battling with each other, they were at each other’s throats pretty constantly throughout the course of that record. I’m really surprised we actually managed to make the record. A couple of times we had their management and the label flying in for these big meetings where they were just screaming at each other. I thought, man, this is over. The band is over. But they toughed it out and we made a pretty epic sounding record. Billy [Corgan] and I raised the bar really high.

We wanted to make a very ambitious sounding record. It was all done on analogue tape so it was time consuming. We were working 12 hours a day, six days a week for about three months, and for the last two months we worked seven days a week, 14 or 15 hours a day because we were behind schedule. Then we went to LA and brought in Alan Moulder to mix it and we mixed it every day for six weeks. I was pretty crispy by the time we finished that record! I was pretty burnt out.”

“I got a call to meet with the band in New York, and I was a little intimidated because I perceived them as this really arty, cerebral band, but nothing could be further from the truth. They took their music very seriously, but they were really funny, outgoing and selfdeprecating, and they were completely the opposite of what I expected. The first day I got to New York I went to Kim [Gordon] and Thurston’s [Moore} apartment and knocked on the door and Thurston answered and was like, Hey, come in, I want our record to sound like this, and he cranked up the stereo and it was the first single I ever did at Smart Studios by this punk rock band Mecht Mensch called Zombie, they only pressed like 200 copies and it’s super lo-fi sounding, and I started laughing, then Thurston started laughing, saying, I’m serious dude, I want it to sound just like this! It was a great icebreaker to meet that way. We recorded at the Magic Shop and basically they set up live and the one thing I did was I tried to focus some of the jams. Thurston had sent me four or five cassettes with versions of songs, and every verse was completely different. There would be some semblance somewhere of the song where they would be singing, but the intros and outros were different and it could be five minutes, it could be 10 minutes. It was improv. It took me a while to go through all of those and make notes and figure out how to rein it in a little bit. I wanted it to sound like Sonic Youth but I wanted to get it a bit more focused, and that was tricky. They were totally up for it but they were just doing what they do and they’re not always aware of what that is. We did the record in about five weeks. We would go in every day at noon until 11pm at night and we’d go out, to cafes, jazz shows, poetry readings. It was the first time I really got to experience New York from that point of view.”

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the way it was for a long time. Now, a kid can write a song on his laptop and put it on the Internet and a million people can hear it within 24 hours.

“The digital revolution has empowered everyone with a DIY mentality. The young bands and artists are way more savvy and smart; there is so much more information and schools you can go to, there are tutorials online…If you want to figure something out, whether it’s how to mic a drum set or a bass amp, just click on YouTube and you’ll probably find hundreds of videos on how to do that. That kind of information was never around 20 or 30 years ago.

It’s enabled everyone to take on their own role of being an engineer or a producer.”

Vig does, however, believe that the digital revolution has proved to be something of a double-edged sword, arguing that, while technological innovation has unquestionably opened up opportunities for people to make solid sounding records from the comfort of their bedrooms, it has, in some cases, diminished the art of production.

“There is so much music out there now and 99% of it is incredibly mediocre,” he sighs. “Everyone has these tools to get great drum sounds and keyboard sounds, so you really have to write a great song to rise above the mediocrity of the masses of music out there.

But there are still amazing producers who go beyond just firing up a preset sound and a virtual synthesizer and saying, Hey, I’ve got a new song; they work with performances and arrangements. There is a lot more than just the technical side of making a record. A lot of what producers do is about getting inside the psyche of the artist and helping figure out what their vision is and focus them and steer them on that course.”

It is this psychological aspect of the job that Vig truly thrives on.

That’s not to suggest that his focus on the more technical elements of producing records is in any way lacking, but his emphasis on fully understanding how to coax the best possible performances out of artists and his knack for a knockout arrangement is virtually unrivalled among his peers or any of today’s more contemporary knob twiddlers.

“When I started out I was very obsessed with sound,” he explains.

“I was really looking at production almost from an engineering standpoint. When Steve and I started Smart Studios we were just recording bands, and it wasn’t until I’d been recording for a year and a half that someone said they wanted me as a producer, and I said I didn’t really know what a producer did, and they said, Well, you certainly steered us in the right direction and had a lot of opinions.

And I am opinionated! I guess that’s one of the things that makes a good producer, that a band trusts the producer’s opinion. As I worked more and more with bands it became less of a technical aspect of recording and more about the arrangements and trying to help them play better and understand what everyone is playing and how you can support the vocal here, or maybe you should play that part here or move the end part to the beginning.”

He continues: “I always tried to bring a fresh perspective that the band might not have thought of because they aren’t as objective about it. You have to really understand the band’s vision and try to help them get there; that can entail getting them to relax, letting their guard down and trying things out in the studio so that they are uninhibited. Sometimes you have to work out problems with people in the band. Artists can be complicated beasts! I feel a lot of the time that 50% of producing is psychological – I’m a psychiatrist in the

studio half the time!”

So who are the producers that helped shape Vig’s approach to the record making process during his formative years?

“The first record I ever really noticed the production on was The Beatles’ Sgt Pepper’s Lonely Hearts Club Band, and like everybody else my mind was blown when I heard it,” he says. “George Martin completely raised the bar in terms of what you could do in a recording studio. Many of the things he pioneered back in the day, everyone takes for granted now. Things like tape editing and automatic double tracking on vocals and running things in reverse, and just his clever use of arrangements; what he brought into songs was unorthodox and not necessarily live instrumentation, the studio became a canvas to paint on.

“When I started playing in bands in the late-‘70s/early-‘80s, I really looked at new wave and punk bands as my peers, and a lot of those records I really started admiring and analysing the production. Some of my other favourite producers are Chris Thomas, who did the Sex Pistols [Never Mind The Bollocks] and The Pretenders [Pretenders and Pretenders II] , those records still sound amazing. Steve Lilywhite - I love the XTC records and the tracks he did with U2; he got that great, huge drum sound that sounded incredible. Todd Rundgren, who was quite varied in his production techniques. There’s a band called The Pursuit Of Happiness, he made a great record with them [One Sided Story], it was like a power pop record. He had a great pop mentality, he was a great artist himself.”

With the clock winding down on our time together, conversation returns to the present and Vig’s latest project 5 Billion In Diamonds.

Despite being separated from co-bandmates Grillo and Jenks by the vast expanse of the Atlantic, the trio still managed to create a record rich in warm, analogue tone and featuring an array of acclaimed international instrumentalists and special guests, including guitarist Alex Lee (Goldfrapp, Strangelove, Suede), bass player Sean Cook and drummer Damon Reece (Spiritualized, Massive Attack, Elizabeth Fraser) and vocals from Helen White (Alpha), Sandra Dedrick (The Free Design), David Schelzel (The Ocean Blue) and Ebbot Lundberg of Swedish rockers The Soundtrack Of Our Lives.

That it is such a triumph of musical diversity and versatility is a fitting testament to the talents and commitment of all involved in the project, but particularly its three co-founders.

“James, Andy and I all share co-production credits on the record,” Vig notes. “The biggest thing was that we really wanted to have an analogue feel to it, so we might start writing using a laptop or some synthesizers, but then we went back and Andy and I were really keen on making sure a lot of it was played by real people, so I did drums here and played guitar and keyboards there. Then we brought in a stellar band to play. We really wanted to get the human element in, we didn’t want it to sound like it had been made on a laptop. When I hear it I sort of see a dark fog over it, a little bit of noir floating around. Not on all the songs, but I think that comes from the presence of analogue instrumentation.”

In many ways, 5 Billion In Diamonds is emblematic of Vig’s career to date: a diverse array of artists from all over the world, encompassing a vast range of genres, all featuring the man himself on production and drumming duties. A veteran though he may be, with such a passion and voracious appetite for music that shows absolutely no sign of waning, somehow it still feels like Vig is just getting started. n

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Butch Vig: ‘I always try to bring a fresh perspective’

THERE’S A LOT MORE THAN JUST THE TECHNICAL SIDE OF MAKING A RECORD. A LOT OF WHAT PRODUCERS DO IS ABOUT GETTING INSIDE THE ARTIST’S HEAD AND FIGURING OUT WHAT THEIR VISION IS

BUTCH VIG

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10 things NOT to do when mastering PSNE’s very own Tony Cousins serves up 10 useful tips to help simplify the mastering process...

W

hile these elements will probably cause some dissent, they are intended as an obvious guide to make the process simpler, not just for the mastering engineer, but for everyone concerned. They are in no particular order of preference.

1. In phase

A track should be ‘in phase’, with preferably no component within it ‘out of phase’. If there is some element out of phase, there should be an indication that it is understood and deliberate. With plug-ins, this error can be easily made. Out of phase elements confuse mixes and will cancel out (for those who still listen in mono, that is).

2. Unlimited files

There should be no clipping of the signal, which implies no digital limiting.

Sometimes files are submitted which have obviously been pushed to the limit and then pulled down in order to leave headroom. This idea tends to originate from an assumption that a digital file will be processed digitally.

This is a more purist – some might say, correct – approach, which is not uniformly utilised. Quite possibly, the reverse is true.

Digital limiting is often used to illustrate how a file has been heard elsewhere and as an example of

to what extent a producer/mixer thinks it should be limited. It can be a valuable reference, but an unlimited file ought to be sent.

7. On that note...

3. Distortion

8. No, no, no again

‘No clipping’ means no distortion caused by the signal being driven too hard. If a track is distorted it will certainly be rejected unless it is stated that any distortion is intended. Likewise, crackles or digital glitches can be removed, but the process can often be time-consuming. Sibilance is a form of distortion, often dealt with in mastering.

By the same token, do not interleave files.

Do not sample-rate convert. Sample-rate conversion?

No. Got that?

9. Stems

The next five mastering tips are more to do with preferred methods of working and are not cast in stone:

The question of stems is not that straightforward for a variety of reasons, the most obvious being why they have been delivered in this fashion. Is it because the engineer could not decide, so acceded to the mastering engineer’s decisions? Is it because the engineer wanted a certain procedure to be carried out? Or is it because there was no time left to finish the project?

These things should preferably all be discussed beforehand, which is a rule of thumb for any project: it’s good practice to provide as much information as possible in advance. Mastering from stems tends to take longer so it should be made clear from the outset that it is the preferred option, preferably with a stereo mix of the track if available.

6. Copy and submit

10. Timekeeping

4. Sshhh

The front and end of a file has a second or two of silence. Remember that.

5. Consider your format Absolutely no MP3s – why would you submit a lossy format? – unless it is to be used as reference.

Do not export finished mixes from the workstation.

You should copy them as they are and submit them on whatever format.

Do not finish the mix at 10.00am having worked all night and expect it to sound the same in the mastering room. n

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LONDON, OLYMPIA | 17-19 SEPTEMBER

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Live

Around 55 musicians join Zimmer on stage to perform his cinematic scores

UNITED KINGDOM

Hans Zimmer Live 2017 World Tour Britannia Row is supplying audio for the Hans Zimmer Live 2017 World Tour. Simon Duff reports from the SSE Wembley Arena...

O

ver the past 30 years Hans Zimmer has become one of the world’s most successful and innovative film composers. The first choice composer for the likes of Sir Ridley Scott, Christopher Nolan and Ron Howard, Zimmer’s films, including The Lion King, Gladiator and The Dark Knight Rises, have grossed in the region of some $24 billion. In the last three years, as well as composing, his attention has turned to touring his scores live. In 2016, Zimmer embarked on his first sold out European tour, with audio requirements supplied by Britannia Row. The Hans Zimmer Live 2017 arena tour began in Los

Angeles back in April, prior to Australia, New Zealand and Europe, ending in August back in the US. The courage and ambition of Zimmer’s music is matched in all departments of the live production.

Britannia Row has supplied all of his shows since the one off show at London’s Eventim Apollo in 2014. Colin Pink mixed at FOH for the 2016 run and is back at the helm for 2017. He, along with Nathaniel Kunkel, an LA based 5.1 mix engineer specialist, designed the show control set up and specified the sound system.

“The show itself is a cross between theatre and a multi-band performance.” Colin Pink told PSNE. “There

are so many different styles of music and so it is a bit like having ten different bands in an evening. In my opinion Brit Row are the best at dealing with those complex numbers and requirements.”

The first half of the show is characterised by a broad range of classic Zimmer music, including music from Driving Miss Daisy, The Lion King, Pirates of the Caribbean, Gladiator and The Thin Red Line. The second half is what Zimmer calls his superhero music, including a 22 minute suite from the Dark Knight Rises, then Interstellar and Inception.

On stage the musician line-up consists of 22

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Guests are also a regular feature on the tour, with Trevor Horn guesting at Wembley for Video Killed the Radio Star, a hit single Zimmer played keyboards on in 1980.

Digico SD7s are deployed both at FOH and monitors, running at 48kHz with a Digico SD 11 used to premix the orchestra and choir. The SD11, positioned at Monitor World, sends stems to the SD7 at FOH. Three Digico SD stage racks are deployed on a fibre loop network with in excess of 260 inputs at both end of the snake. Mix engineer Gavin Tempany is mixing monitors (27 stereo mixes plus 10 mono mixes to IEMs). Microphones on the run include top of the range Sennheiser, Shure and DPA. In the first half of the show Pink spends a lot of time mixing the band’s sound, varying from jazz to traditional song and bringing it into a live experience with something as simple as a touch of reverb. The second half of the show uses a lot of sonic special effects. Most are played live with Pink using the two quad joysticks on the SD7s to pan around the arena. He uses layers and snapshots on the SD7 to create his mix, with his channel set-up set around instrument types - so a layer and a half of keyboards, a layer of guitars, drums, etc (10 layers in all). He uses internal FX on the desk and multi-band group compression for drums, orchestra and choir. There is no compression on the PA, however, in effect he is mastering the live instruments and the

Live ur

“It’s a fantastic show to mix”: FOH mixer Colin Pink on Zimmer’s (pictured) tour

band members, including two guitars, bass, double bass, woodwind, drums, five keyboard players, two percussionists, two violins, cello and Zimmer on keyboards, guitars and banjo, plus 16 in the choir and an 18-piece orchestra, comprised of strings and brass.

electronic instruments separately on a TC Electronic M6000 to blend the two together. Main loudspeaker outputs consist of the left/right main hang send, rear left, rear right, subs and fills.

Commenting on the nature of his mix, Pink adds: “It

is a great challenge, and I would not have it any other way. It is incredibly rewarding. If I did this a thousand times I would never get bored, simply because there are so many sonic textures involved. The way that Hans writes his music is so textured that it allows me to drive the music. With an essentially silent stage apart from drums, choir and orchestra, it really gives me total control. It’s a fantastic show to mix.”

The tour has utilised a number of different PA systems, supplied and in-house, including JBL Vertech, d&d audiotechnik J Series and L-Acoustics K1 and K2, creating an interesting challenge for Pink and his system tech, Sergiy Zhytnikov, who also worked on the 2016 tour. For the Australian and European leg of the tour, Britannia Row - following the recent acquisition

by Clair Global - supplied a Clair Cohesion Series Audio System. At Wembley, the main left/right hang consisted of Cohesion CO-12s, plus self-powered CP-218 sub bass cabinets, with side hang comprising further C0-12s. For surround sound flown to the back of the arena it was CO-12s, essentially working as a separate PA. Ground subs consisted of CP-218s with front fills comprised of CO- 8. The system was powered, with the exception of the subs, by Lab.gruppen PLM 2000s with Lake Processing for control.

“Cohesion is a really great sounding system with an incredibly clean and open sound,” Pink comments.

“Sergiy has spent a lot of time refining it to make new presets. I have to say, Clair Brothers have been fantastic in making it work in the way I want it for Hans’ music.

The CP-218 subs are very impressive. They have got a lot of headroom and can go very loud. One of the interesting things about this show is how low the bass goes and that in itself at times takes the lead melody.

There is a lot going on below 30Hz on this show and it needs to be perfectly well defined. I am getting that from Cohesion. Clair have been fantastic in working with us to make a new preset and refinements to make it work for this show. From both a business and audio point of view, in terms of the acquisition by Clair Global of Brit Row, I do think that CO-12, K1 and K2 compliment each other very well.”

Other key Brit Row staff on the tour are Jimmy Nicholson, crew chief, Simon Sayer, additional FOH and tech, Guillaume Burguez, head of stage, Josh Thomas, RF manager, and Maria Head, orchestra and choir engineering manager. Pink concludes with further praise for Brit Row. “Why I love working with Brit Row is that they are never afraid to do things differently and take on challenges. Which is why they are known for their multi-band awards shows and hugely ambitious productions. Their back up and service is second to none. They are really good at doing big projects well.

And in my opinion Brit Row are the best at dealing with those complex numbers and requirements.” n www.hans-zimmer.com www.britanniarow.com www.clairglobal.com

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13/07/2017 16:06

P24 AUGUST 2017

Live

UNITED KINGDOM

The Richter scale

SSE Audio London supplied PA and consoles for Max Richter’s recent outdoor show at Blenheim Palace, Oxfordshire, as part of the Nocturne concert series. PSNE’s Simon Duff sent back this report...

M

ax Richter’s broad range of musical activities include albums, film, theatre and dance. His unique brand of minimal but highly melodic layered classical music combined with a host of modern influences has led him to become a highly influential artist on Deutsche Grammophon. In 2015 he released Sleep, an eight-anda-half-hour work which he describes as “a personal lullaby for a frenetic world... a manifesto for a slower pace of existence.” His 2017 album Three Worlds Music From Woolf Works, originally a ballet performed by the Royal Ballet, at the Royal Opera House in May 2015, has been highly praised.

Richter’s first choice FOH sound engineer, as well as sound designer, is Chris Ekers. Himself steeped in the tradition of contemporary classical music, with his other clients including Gavin Bryars, John Metcalfe, the Hilliard Ensemble and Jan Garbarek, The Smith Quartet and The Balanescu Quartet, Ekers started his musical journey as a chorister at Wells Cathedral. On opting for a career in sound he joined Autograph Sound in 1981 before going freelance in 1987.

“I have been working with Max for ten years, I rate his music very highly.” Ekers explained to PSNE. “I think there is truth in his writing, in my view he’s an original. I used to find his gigs so difficult, almost strangely awkward, because everything was so spare and exposed, meaning the sound always felt exposed, especially in a dry acoustic. It is also almost unbearably sentimental on the outside, yet seems to stir a truly emotional reaction and thus a truth, which in this world gets rarer by the day. Plus I like him. Like Gavin Bryars, they are serious people, I appreciate their intellect, their honesty and their desire not to opt for the cheap trick.”

No surprise then that Nocturne 2017, a series of outdoor summer concerts held between June 15-18, presented by U-Music Live and hosted in the majestic setting of Blenheim Palace, in Woodstock, Oxfordshire, opted to give Richter a whole evening with which to present to a 5,000 strong audience. The show features Richter’s re-interpretation of Vivaldi’s Four Seasons, Recomposed and Three Worlds. Comprising members of The Aurora Orchestra and solo violinist, Ray Chen, the line-up included four first violins, four second violins, four violas, four cellos, three double bass, a harp and Richter on Moog Synth and laptop. In addition, four horns and three trombones were used to augment Three Worlds.

For microphones, Ekers specified DPA 4099 on all the

Stock market: Setting up in Woodstock for the Blenheim Palace Nocturne show

strings. On the harp, a DPA 4061 was deployed on the body of the instrument. AKG 414s were used on French horns and Shure 57s for trombones.

SSE Audio London supplied Digico SD10 consoles at both FOH and monitors running at 48kHz, with monitors mixed by Louisa Gladwin. Channel count at FOH comprised 48 microphone inputs, including solo soprano, Richter’s piano and keyboards, plus 24 channels of MADI playback streams - 72 inputs in all.

Ekers loaded his pre-programmed SD10 settings for the gig then mixed the show manually, with no snapshots or recalls. VCA set up wise, he opted to keep things as simple as possible with groups on high strings, low strings, playback, then sub groups within the band, such as piano mics.

A TC Electronic System 6000, Richter’s favourite reverb, was used by Ekers - its four engines deployed via four stereo aux sends on the SD10. In terms of delay and dynamics, he utilised the console’s internal FX and compressors. SD 10 FOH mixes were sent to the left right main hang, front fills, and subs.

Also supplied by SSE London was the L-Acoustics PA. The left right hang comprised 12 L-Acoustics K2 per side, nine KARA per side for side fill, and 12 KS28 subs placed in a line in front of the stage. Nine KARA were used as front fills across the front of the stage, all driven by L-Acoustics LA12Xs with Lake Processing. All

musicians on stage used IEMs, with just a a couple of d&B audiotechnik M4 wedges deployed.

Ekers sounds a note of caution on working with modern classical music and the worry of too much sub frequencies that may spill back on to the stage. “For classical music I find there is often too much low end in modern systems. For me, subs are an effect! That much low end doesn’t exist in acoustic music, which is why I drive the subs from an auxiliary. The system at Blenheim worked well, except maybe the subs, which were not in cardioid, which is fair enough as the other acts at Nocturne included The Jacksons and Kool & the Gang. Nevertheless, I got there in the end by pulling lots of low mid out of inputs rather than the system to help the performers and tighten up the low end.”

That said, at Blenheim Palace, Ekers was highly impressed with the PA. “SSE have done a great job and been very, very accommodating. Pete Hughes, the SSE system tech for Nocturne has been brilliant in helping me meet my needs. The PA’s coverage was very good; I walked the venue the night before and listened to the RPO and it sounded very even, detailed and hugely powerful. For me, K2 in the HF is the best of any system.

KS28 is a great new sounding sub; L-Acoustics keep on raising the bar for their level of detail and commitment to innovation. For modern classical music, that is reason enough to celebrate.” n

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13/07/2017 16:07

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P26 AUGUST 2017

Live

“It’s about giving every artist a chance to be heard as they intended”: Paul Noble

UNITED KINGDOM

Eastern promise Using a combination of pricey bespoke gear and Audio-Technica mics, cans and carts, Spiritland is creating a little corner of Japan in London with audiophile listening sessions, discovers Jon Chapple...

E

lephant and Castle aside, King’s Cross – formerly a post-industrial wasteland known for its thriving community of courtesans – is perhaps the last area of central London to feel the full force of gentrification. But now, as if making up for lost time, gentrifying it is: Where once were squatters putting on warehouse raves, there are now grand cafés serving £6 pints; where once was a dilapidated railway station with escalators made of inflammable timber, there’s now Platform 9¾; and where once stood perhaps the city’s dodgiest pub – the strip club-cumspit’n’sawdust affair that was the Flying Scotsman – is now a gastropub called The Scottish Stores.

It’s in this landscape of rapid regeneration that Paul Noble, a former BBC radio producer, is carving out a niche with his new venue Spiritland, bringing the Far Eastern-style high-end ‘listening’ experience to the denizens of the British capital.

“I used to do a lot of travelling to Tokyo,” Noble said of his inspiration for Spiritland over a pot of tea when PSNE dropped by earlier this month. (The 80-capacity venue was unexpectedly busy even at 3pm, with newmedia types holding meetings against the backdrop of a humongous bespoke sound system – more on that later.) “You’d go into a little neighbourhood bar and there’d be valve amps, high-end turntables…”

Noble’s experience of Tokyo’s audiophile bars (often called jazz kissaten, or cafés) is one part of the story – but the real genesis of Spiritland, he explained, came

when he realised London’s nightlife had little to offer the kind of person for whom an ideal night out is a laid-back music listening session. “As a music lover, there was nowhere I could really go,” he said.

While the venue does get “significantly louder and darker” in the evenings, when patrons are more likely to be sipping on a pale ale than a macchiato, Spiritland by night is still emphatically not a place for clubbing; tables and chairs retain their daytime positions – “We haven’t forgotten to put in a dancefloor,” joked Noble – and seated clientele immerse themselves in an atmosphere optimised for concentration and free of distractions.

Is the ethos of Spiritland a conscious pushback against the culture of sacrificing audio quality for convenience? “Don’t get me wrong, I love Spotify,” Noble emphasised, “but Spiritland is a reaction to the miniaturisation of [audio] equipment – how many people are doing most of their music listening out of their phone speakers?

“So we’ve done a 180: We thought, ‘Let’s give the music time and space to breathe.’ And to do that, we’ve gone all out.”

And gone all out, Spiritland has: the first thing PSNE sees on entering (the on-loan Kuzma Stabi XL turntable with £5,000 Audio-Technica ART1000 cartridge, looking for all the world like one of Liberace’s sports cars, notwithstanding) is a “totally bespoke” solid brass Spiritland-branded mixing console. Designed in collaboration with Isonoe – whose desks can also be

found in London superclub Fabric and underground dance club Sub Club in Glasgow.

Speakers (also bespoke) come courtesy of Nottinghamshire-based Kevin Scott, whose Living Voice company delivered a monster five-way hornloaded system, finished in beech, birch and the African hardwood sapele, priced at close to £500,000. While Noble declined to hazard a guess at an approximate SPL, Scott says the system can go as far as 105dBW with minimal distortion.

It’s an audio geek’s paradise – there’s also a vintage Revox B77 reel-to-reel, some classic outboard in the form of a Roland RE-201 Space Echo and two Technics SL1210 decks customised with Isonoe arms – but Noble maintains Spiritland is no mere shrine to expensive gear: Every bit of kit, he said, is there to enhance customers’ enjoyment of the music. “It’s not about building a fetishist world around the gear,” he explained.

“It’s about giving every artist a chance to be heard and experienced as they intended.”

While Spiritland’s status as one of London’s first listening bars is very much its USP, the venue is also home to a radio production suite, Spiritland Sound Studio, used for Spiritland’s own productions and also available for private hire.

Gear-wise, the Sound Studio, a legacy of Noble’s background in broadcast, is an almost all-AudioTechnica affair, centring on five pairs of its matte-grey M50xMG headphones and five BP40 large-diaphragm

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P27 AUGUST 2017

‘An audio geek’s paradise’: King’s Cross’ Spiritland promises a laid-back listening venue

dynamic microphones.

U853R condenser hanging mics are also installed in the studio ceiling for ambient sound pick-up of the audience in the seating area – chiefly used for roundtable discussions, seating up to six contributors, although the table can be removed to transform the space into a more flexible recording area – and A-T’s ATM610a hypercardioid dynamic and BP892 subminiature condenser headworn microphones are on hand for panels and interview sessions.

Complementing the Audio-Technica set-up are Neumann and Beyerdynamic mics, a Studer OnAir 1500 console, Focal Twin6 Be monitors and Pro Tools with Waves plug-ins.

Audio-Technica UK, which distributes Belgian brand Apart Audio in mainland Britain, also provided a solution for spoken-word and background audio in the main café/bar. Six Apart Mask 6T two-way loudspeakers, driven by Apart’s four-channel REVAMP4120T power amp, are mounted above the seating area, while an additional REVAMP4120T powers several different pairs of vintage bookshelf speakers in the venue’s four loos.

Robert Morgan-Males, the Audio-Technica Europe marketing director who oversaw A-T’s partnership with Spiritland, said the project was particularly enjoyable as it encompassed almost the entire spectrum of professional sound, from installed and live in the main listening room to broadcast in the radio studio. “The venue’s dedication to deliver a real ‘live’ audiophile listening experience, as well as stimulating discussion around music and sound, is inspiring,” he commented.

“Spiritland is a particularly interesting project for

Tables can be adapted or removed to create a flexible recording area

Audio-Technica UK as it enables our company to engage a number of our specialist product segments in the one location: broadcast, live sound, installed audio and the highest end of audiophile reproduction. It’s truly a pleasure to be involved in the delivery of such a diverse programme in the heart of London.”

Noble added that A-T had been a “fantastically supportive partner in the project”.

Despite only opening in King’s Cross last September, Spiritland has fast established itself as London’s home of hi-fi audio – and it’s not just radio producers and MP3-weary listeners who are feeling the pull of the high end. Noble said Spiritland offers a perfect venue for album launches – and the labels seem to agree, with acts including Depeche Mode, The xx and Spoon having

held launch parties at the venue. “The music industry has definitely taken notice,” he commented.

Spiritland’s location in one of the city’s most up-andcoming areas helps, of course; as does a millennialfriendly menu heavy on avocado, sourdough bread and craft beer. But what Spiritland’s success ultimately boils down to is its unashamed embrace of high-quality sound at a time when many home audio rigs consist of little more than a wireless speaker or two.

“It’s like flying first class, or drinking a really great wine,” concluded Noble. “You might be happy with any old bottle – but that’s only until you’ve tasted the good stuff…” n www.spiritland.com www.audio-technica.co.uk

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13/07/2017 16:08

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www.prosoundawards.com 21/07/2017 11:38:26 21/07/2017 10:53

Broadcast

P29 AUGUST 2017

UNITED KINGDOM

Radio frequencies and pro audio: The view from Ofcom UK spectrum and broadcast regulator Ofcom has been at the forefront of reallocating spectrum for new mobile and media uses. This has brought it into conflict with wireless microphone users, who feel it is not always open about its approach and attitudes. In a rare - but not straightforward - interview, Kevin Hilton tries to get a clearer picture…

R

adio frequency spectrum is a subject that I’ve written a lot about. Initially it was largely a technical issue, looking at how broadcasters and PMSE (programme makers and special events) users could get the necessary number of frequencies for a job without interference from other devices.

The clearance of 800MHz made it both a political and a business story, as hire companies, installers, sound designers and broadcast engineers faced changing their stocks of wireless microphones and moving to new frequencies. In the UK this process began in 2006 with the Digital Dividend, overseen by Ofcom, which administers spectrum, as well as regulating broadcasting and telecoms.

Ofcom has been a prime mover in preparations for a digital, interconnected future in the UK based on new wireless and mobile technologies. The Digital Dividend was predicated on switching off analogue television channels and the transition to digital terrestrial TV (DTT).

While 256MHz of the 800MHz band was allocated for DTT, over 50% of it was put up for auction, with telecom operators seen as having the necessary spending power to secure frequencies for mobile data services.

PMSE had made good use of the 800MHz band, with both interlaced space between TV channels and the widely available channel 69. Moving to other frequencies caused users to buy new equipment and, although compensation was made available by the UK government, many in the business thought it was inadequate. Just as the situation seemed to be stabilising, the 2012 World Radio Conference (WRC) proposed that the 700MHz band should be made available for mobile network operators.

WRC-15 ratified the move, although many observers saw it as merely rubberstamping. Ofcom was an early proponent of designating 700MHz for mobile use and last year announced it was accelerating the process, aiming to make frequencies available for mobile data operators by the second quarter of 2020, 18 months earlier than originally proposed.

The PMSE sector, including users, hire companies, manufacturers and lobby groups, made their frustration and displeasure known. Alan March, senior manager for

“Committed” to the cause: Vaughan John

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20/07/2017 13:42

P30 AUGUST 2017

Broadcast

Strictly business: Strictly Come Dancing

spectrum affairs at Sennheiser and a key spokesman with BEIRG (British Entertainment Industry Radio Group), pointed out that wireless mic/IEM operators would lose 96MHz, with Ofcom’s proposed replacement set of frequencies - 960-1164MHz - not providing “full mitigation” for the loss of 700MHz. “Manufacturers are developing new equipment, but the real problems could be in the mid to long term,” he told me last year.

These new developments have kept the issue alive and I have continued to write stories about it.

The most recent, prior to this feature, was for theatre industry newspaper The Stage. The brief was to explain spectrum and the ramifications of the 700MHz band clearance to a non-technical readership. I outlined the background and included comments from various interested parties, including Alan March, theatre sound design-rental company Autograph Sound Recording and Terry Tew Light and Sound, which provides large amounts of wireless mics for top rated entertainment programmes such as the BBC’s Strictly Come Dancing.

The Ofcom press office provided some comment but, as has often been the case, no input from any executives or members of the spectrum policy-making team other than general statements. The piece was well received but most unexpected of all was a call from my contact in the Ofcom communications department, resulting in the offer of an interview with one of its executives.

The arrangements shifted from a phone or face-to-face conversation to email questions and back again. My position was that spectrum is an important area for the pro audio sector, which remains concerned and, in some instances, unhappy about Ofcom’s handling of the various reallocations. Eventually, our questions were put to principal spectrum policy manager Vaughan John, whose written responses form the basis of the rest of this feature, with my questions and background, plus

comments from industry figures.

One aim of the interview was to clarify Ofcom’s policy on making more frequencies available for telecom and mobile service providers. The PMSE community believes the regulator has a preference for emerging wireless technologies, notably White Space Devices (WSD) and the Internet of Things (IoT), as well as the ever expanding smartphone market, which is preparing for 5G and LTE (long term evolution).

WE [OFCOM] HAVE A DUTY TO SECURE THE OPTIMAL USE OF SPECTRUM. WHERE THE MARKET CANNOT DELIVER THAT, WE CAN TAKE ACTION

VAUGHAN JOHN

“Mobile data services are already very important to people and businesses who rely increasingly on devices like smartphones and tablets,” John explains.

“The IoT is another major growth area. For all these reasons, demand for mobile data is growing rapidly and we expect it to keep growing. We have a duty to secure the optimal use of spectrum. Where the market can’t deliver that, we can take action. We already have work in place to make more spectrum available for mobile data services over the coming years. We’re preparing to award the 2.3GHz and 3.4GHz bands and have decided to bring forward the release of the 700MHz band. In 2015 we enabled access to UHF white spaces, which can be used for mobile data.”

While the perception is that Ofcom is making

frequencies available for telecom and new media operators as they want - and can pay - for them, John does strike a pragmatic note: “There may be limited benefit in making more spectrum available for mobile data services if we cannot meet the demand at lower cost, through technology or network improvements.

But where we need to change the use of spectrum, this can take years to prepare. For example, we need to secure necessary international agreements. A key part of preparing is to ensure we take account of the interests of all spectrum users, including assessing and mitigating any harmful interference risks.”

Further interference has been a major concern ever since the concept of WSDs was announced. Because WSDs operate in the interleaved areas between TV channels and have the capability to scan for suitable frequencies, broadcasters have been worried these transmissions could break into broadcast signals. PMSE users have similar concerns, particularly as many WSDs are likely to be consumer devices and could pop up anywhere at any time. “No one can guarantee that any system will be free of interference, but we work hard to ensure any risks are low,” says John. “For white space and mobile devices we worked to carefully test and analyse these systems, to derive levels that ensure a low probability of harmful interference to digital TV and PMSE users. We published and consulted on the analysis and took on board stakeholder comments before concluding on the coexistence arrangements.”

Among the procedures proposed by Ofcom to ensure as much as possible that users had clear access to specific frequencies at a given time was a database of new media devices. John comments that Ofcom still regards dynamic spectrum access as an effective option for making spectrum available: “The TV white space framework has been in operation since the end of 2015, when the relevant regulations came into force. There are now seven qualified databases, with two providing operational services. Take-up has been gradual but there are some operational deployments and interest is definitely growing.”

Although PMSE was mentioned in the Digital Dividend consultation document, there had to be considerable lobbying by pro audio groups, including BEIRG, before Ofcom recognised it as an area for special consideration.

Even with this, the reality remained that those using wireless mics and IEMs constitute a relatively small grouping and certainly do not have the financial clout of telecom and new tech companies when it comes to bidding for spectrum.

The irony is that PMSE is involved in productions that generate a substantial income for the UK, with major broadcast productions, both of scheduled TV programmes and OBs of live events (a good recent example being the One Love Manchester concert), big West End theatre shows and tours by some of the biggest bands around. All are demanding more and more radio mics and in-ear monitoring, which in turn

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P31 AUGUST 2017

calls for many channels of wireless.

“We absolutely agree that the PMSE sector is an important user of spectrum,” John says. “We have committed significant effort and resources to ensure that, as we release the 700MHz band, we safeguard the important benefits that PMSE services deliver to people and businesses. To take just one example, the concerts and performances that rely on audio PMSE devices make a really important contribution to the UK’s creative economy and cultural life. We want to ensure PMSE users can access the spectrum they need to keep staging these events, without compromising their production values, so we have made additional spectrum available in the 960MHz band. We believe this extra spectrum, plus the remaining spectrum shared with digital TV, coupled with improvements in technology, will allow the PMSE sector to thrive.”

Despite this, many in the PMSE community feel Ofcom continues to underestimate what is involved in major live and broadcast productions and how many frequencies are needed. A contact of mine who has attended spectrum policy meetings at Ofcom says during recent discussions Ofcom said 93% of PMSE users needed only three TV channels. My sources say many productions, which are not one-offs but TV series or long-running musicals, need more than that. For example, Britain’s Got Talent, which runs for several weeks, uses 130 channels of RF. While Ofcom predicts only 10 to 20 events a year will be affected, the PMSE lobby thinks it will more like 100.

John stands by Ofcom’s figures, although does not disclose how they were reached. “We don’t accept that view,” he says of the PMSE point. “Our work in 2014 showed that the vast majority (93%) of PMSE use required fewer than 24 audio channels, which we believe can be met with 24MHz of spectrum - in other words, three 8MHz TV broadcast channels. The remaining 7%, including some high-profile events, could be affected by changes in the 700MHz band. We found this accounted for around 1,000 events per year, across various sectors such as concerts, musical theatre and broadcasting. When we looked at the spectrum needs of those events, we found that only the top 10 to 20, in terms of spectrum demand, would potentially have a shortfall in supply. We absolutely recognise that could affect production quality, which is why we have provided additional spectrum for PMSE use.”

Additional spectrum for PMSE to bolster the white space capacity available to it will be provided in the 9601164MHz range. Commonly known as the Air Band, this is currently used solely for DME (distance measuring equipment) transponders on commercial aircraft in UK airspace. The issue of interference is raised again by this decision, with the added concern of liability if any accidents were caused by wireless mics operating in proximity to aircraft. “We decided,” says John, “with the agreement of the Civil Aviation Authority (CAA), to allow low power audio PMSE users access to the frequency

“Positive” outlook: Tuomo George-Tolonen

band 960-1164MHz, which is shared with existing aeronautical systems. We worked with the CAA to ensure that sharing in this band does not compromise the safe operation of aeronautical systems.”

Existing wireless mic systems do not work in the Air Band, so users will either have to buy emerging digital radio mics or technology designed specifically for DME operation. Shure has produced prototype systems and carried out tests, which Tuomo George-Tolonen, manager of the pro audio group at Shure Distribution, described as “positive from an operational standpoint”.

A business stumbling block is that the Air Band is purely an UK solution to restricted spectrum for PMSE, so manufacturers may not see products for this application as commercially viable.

THERE IS A DEBATE ABOUT WHETHER MOBILE BROADCAST TECHNOLOGIES ARE AS EFFICIENT AS THE LATEST TRADITIONAL BROADCAST TECHNOLOGIES

VAUGHAN JOHN

Either way wireless mic users will be forced to buy new stock. As with the move from 800MHz, the UK Government is making funds available for compensation, although the market anticipates it will not fully cover the cost of replacement. Terry Tew refers to the 2014 report by former EU Commissioner Pascal Lamy, which stated efforts should be made so that “PMSE users are left no worse or no better off than they would have been without any clearance of 700MHz”.

John points out that the Lamy Report recommended: “The timely identification and harmonisation of additional spectrum (tuning ranges) for PMSE is required as a substitute capacity... The broadcasting

and PMSE sectors should not be disadvantaged by such a transition and cost compensation should be duly addressed.” John adds that Ofcom has “broadly addressed” the first of those recommendations by making the 960Mhz band available. As for compensation, John comments: “The government has decided to fund a grant scheme to support PMSE equipment owners that need to vacate the 700MHz band. Our job is to design and run the scheme to disburse the funds. We have just consulted publicly on how that will work and expect to outline our decisions later this year.”

Broadcast transmission and reception will be less affected by the move from 700MHz than with the 800MHz clearance, although some households may have to install new aerials. Even so, there are indications that telecom and streaming service providers would prefer TV delivery to move to new technologies, such as LTE, with DTT frequencies freed up for the purpose.

Broadcasters including the BBC have calculated the cost of transmitting in this way would be prohibitive for both TV channels and viewers.

John comments that Ofcom is “always monitoring developments in mobile broadcast technology” and can see the possibility of mobile and traditional broadcast technologies converging in the long term. “But there is a debate about whether mobile broadcast technologies are as efficient as the latest traditional broadcast technologies when you compare networks of similar complexity and coverage,” he says. “I’m thinking of technologies such as DVB-T2, MPEG-4 and HEVC. Also, around three-quarters of homes in the UK receive their TV using equipment based on traditional broadcast technologies. So there would be a very significant challenge migrating to mobile broadcast technology in the short to medium term.”

While Vaughan John and Ofcom answered our questions as comprehensively as is possible given the format, the crucial point of whether there would be any further moves or changes for PMSE and DTT in terms of spectrum went unacknowledged. n

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P32 AUGUST 2017

Broadcast

SERAING/SAINT PETERSBURG

World in motion The 10th edition of the FIFA Confederations Cup, held in Russia between June 17 and July 2 was the prelude to next year’s FIFA Football World Cup. For Belgian audiovisual company WNM, the tournament became the final rehearsal to test the Clear-Com FreeSpeak II digital full duplex wireless intercom system ‘live’. Marc Maes sent us this report…

W

NM, based in Seraing in the Southern part of Belgium, has established a firm reputation in the field of audiovisual solutions such as broadcast, audio recording and multi-camera coverage and HF wireless transmission.

In 2010 WNM was assigned to cater for the communication system for the 19th FIFA Football World Cup in South-Africa. “It was HBS (Host Broadcast Services), FIFA’s technical broadcast partner who assigned us for the job,” explains Maxime Van Gorp, sales and marketing manager at WNM. “Since then, the confidence between HBS, FIFA and WNM has steadily grown for the coverage of sports events and the installation of intercom systems. And we supplied equipment at the Brazil Confederations Cup and 2014 Brazil World Cup.” Van Gorp says that one year ago, a tender was issued to supply a communication solution for both the 2017 Confederation Cup and 2018 World Cup in Russia. “We won the tender bid and suggested a digital intercom system, the Clear-Com FreeSpeak II, which was then recently presented at the 2015 IBC. In addition, we took on the mixing of the stadium audio signal for international TV broadcast. For us, the contract for the ‘Confed Cup’ was a general rehearsal for next year’s World Cup, where it will be on a much larger scale.”

For the Confederations Cup, staged in four stadiums in Russia (Moscow, Saint Petersburg, Kazan and Sochi), WNM dispatched three engineers to Russia. “Two sound engineers worked in HBS’s OB vans for the mixing of the stadium audio, audience atmosphere – each van covering two stadiums,” continues Van Gorp. “A third engineer, specialised in intercom solutions, worked in the 68,000 capacity Krestovsky Stadium in Saint Petersburg for the ultimate tests with the Clear-Com FreeSpeak II system.”

The complete stadium was equipped with Clear-Com equipment: alongside the FreeSpeak II wireless base station, we put in place eight Clear-Com FreeSpeak II 1,9 or 2,4 GHz antennas and seven FreeSpeak II digital wireless intercom beltpacks. Three antennas were set up in the stadium interior halls, five others were strategically positioned on the stands. The beltpacks

Back of the net: Clear-Com “delighted” to be working with WNM

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“FIFA’s technical test lab”: How Van Gorp described the Krestovsky stadium

were used by the stadium’s two floormanagers, four for the steadycam operator crew and one for the infotainment engineer, in charge of the on-screen content in the stadium.

“You could say that the Saint Petersburg stadium was FIFA’s technical test lab,” comments Van Gorp, adding that HBS was instrumental in negotiating the best available RF frequencies with the local authorities – a result of continuous dialogue between skilled engineers.

A dedicated Clear-Com engineer assisted the WNM technician with the set-up and finetuning of the system in Saint Petersburg’s Krestovsky Stadium.

As the tests during the actual football competition were congruent and conform to FIFA’s standards, the organisation confirmed its commitment to WNM’s solution with Clear-Com FreeSpeak II. “We met with overall positive reactions,” enthuses Van Gorp. “The

FreeSpeak set up is fully customisable and allows maximum flexibility, unlike other systems that are quite rigid. The system is easy to set up, the base station and transceivers are interconnected via Cat5e and Cat6e network cable. Saint Petersburg was also the first time we took a fully digital wireless system abroad – we tested the Clear-Com configuration in February during a cinema event in Brussels and in various smaller football stadiums, but this was the ‘test of fire’ in presence of the FIFA officials. The optimal and reliable coverage of the whole stadium was key and the FreeSpeak II also offered excellent audio quality.”

In January next year, a team of WNM engineers will pay a technical visit to each of the 12 World Cup stadia throughout Russia. In May, WNM will install FreeSpeak II wireless base stations in each stadium, plus a total of 60 FreeSpeak II 1,9 or 2,4 GHz antennas. “The antennas

and base stadium will make part of the fixed installation – in addition we supply a total of 64 FreeSpeak II intercom beltpacks for the technical crews,” explains Van Gorp.

For Clear-Com, the World Cup tournament is an excellent marketing window, illustrating the quality and reliability of the FreeSpeak II system. “Clear-Com are delighted to be working with the team at WNM providing our award-winning wireless FreeSpeak II for this prestigious event,” concludes Vincent Beek, Clear-Com regional sales manager, Russia, former CIS countries and Benelux. “We have worked with many stadia around the world, ensuring high quality wireless communication for sporting events, concerts and festivals, but to be selected as the supplier of choice at this important football event is testament to the quality of communication delivered by FreeSpeak II.” n

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P34 AUGUST 2017

Technology Feature: Live microphones

Testing, testing PSNE’s Tara Lepore gets the lowdown on some of the top live mics on the market…

W

hen you consider the technical complexities of the professional audio industry as a whole, a feature on microphones makes for a broad topic.

Narrow it down to live microphones, and, well, you’ve hardly narrowed it down.

AKG “The new AKG C636 master reference handheld condenser microphone is the successor to the acclaimed C535 microphone, which brought studioquality sound to the live environment,” says Nick Boggon, marketing manager at Sound Technology.

“In addition to a custom-tuned capsule with hand-selected components, the C636 is engineered to address three common problems singers face on stage: feedback, handling noise and pop noise.

“The C636 essentially eliminates

AUDIO-TECHNICA “Audio-Technica’s ATM350a cardioid condenser microphone is designed for remarkable versatility and rock-solid mounting on a wide variety of instruments, and is well-suited to a tough life on the road,” says an Audio-Technica spokesperson tells PSNE. “The ATM350a capsule delivers crisp, wellbalanced response and handles high SPL levels. As such, it’s ideal for a range of dynamic instruments including piano, drums, brass instruments and more.

A wide frequency response and 12dB/octave low frequency roll-off at 80Hz add to the flexibility of the ATM350a, while the cardioid pickup pattern helps to minimise spill from other sound sources on busy stages.

“In addition to its sonic prowess, the ATM350a’s biggest asset is the array of high-quality mounting options available for the microphone. Universal clip-

From handheld mics to instrument mounts – many of which boast wireless-enabled features – we present Pro Sound News Europe’s round-up of just some of the latest mic products on the market, from a host of leading manufacturers across the globe.

In compiling our mic guide, we spoke to senior figures

feedback by combining a uniform cardioid polar pattern throughout the entire frequency spectrum, with a specially designed suspension and grille for the capsule. This unique approach to housing the capsule avoids unwanted sound reflections on the back of the capsule, ensuring feedback and spill over rejection.

“The C636 innovates by integrating the world’s first double shock suspension system, greatly reducing unwanted handling noise.

The capsule sits on a highly absorbent rubber bearing that eliminates any structure-based noise, while an adjustable balancing network cancels vibrations over a wide frequency range.

“A multilayer protection system prevents The C636 handheld mic ‘addresses feedback and handling noise problems’

at several established brands to find out what sets their product apart from the rest. Focusing on a single, or range of products from their latest lines, we’ve also included a product specification for you to compare the models piece-by-piece.

Testing, one two, one two…

unwanted pop noises. The protection system consists of the grille, a foam layer behind the grille and a magnetically attached computer-modelled mesh layer on top of the capsule, providing singers with a clear, plosive-free vocal performance. This threelayer protection system is virtually unique to AKG and sets the new standard for pop noise suppression in the market.”

TECH SPEC • Frequency range: 20 Hz to 20 kHz • Polar pattern: Cardioid • Dimensions: 185mm (l) x 51mm (d) • Cable length: n/a • Weight: 450g

on mounts come in both long and short gooseneck options, while the clever drum mount allows access to tuning rods and adds suspension to isolate the mic from shell vibration. A magnetic piano mount and simple-to-use woodwind velcro strap mount round out the ATM350a’s hardware option list.

“And, as with the rest of Audio-Technica’s Artist Series live-oriented wired microphones, the ATM350a is covered by a lifetime warranty.”

TECH SPEC • Frequency response: 40 Hz to 20 kHz • Polar pattern: Cardioid • Input: 159 dB SPL maximum • Output: n/a • Dimensions: 37.8mm (l) x 12.2mm (d) • Cable length: 4m • Weight: 14.5g

Audio Technica’s ATM350 mic can be fixed on a wide range of instruments

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P35 AUGUST 2017

AUDIX “The OM Series Dynamic vocal microphones each have unique characteristics, designed for certain voices or stages,” says Audix’s marketing manager Abbey Masciarotte. “The most essential element of a good live microphone is the sound quality it delivers for your voice and application.

“No matter which OM microphone you choose, all Audix microphones provide superior off-axis rejection, as well as industry-leading SPL handling and gain before feedback, particularly on stages with very high noise environments. Audix OM Series microphones provide clear, authentic vocal reproduction without the need for lots of EQ. All you need to do is turn it up!”

TECH SPEC

(OM2 MODEL)

• Frequency response: 50 Hz to 16 kHz • Polar pattern: Hypercardioid • Maximum SPL: >140 dB • Dimensions: 176 mm (l) • Cable length: n/a • Weight: 307g

Turn it up: Audix’s OM series of live microphones

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21/07/2017 11:22

P36 AUGUST 2017

Technology feature: Live microphones

DPA MICROPHONES “The award-winning Dvote 4099 Instrument Microphone gives a much more natural sound than any internal microphone or pickup,” says DPA’s vice president of marketing Anne Berggrein. “This condenser microphone rejects unwanted noise and accurately captures the true voice of an instrument, making for a product with high versatility that can be used in a range of live performance environments.

“Designed with a supercardioid polar pattern, for high rejection and superior gain-beforefeedback, the mic retains a highly uniform off-axis frequency response. It features an enhanced shock mount design and detachable cables, as well as a versatile gooseneck extender that provides stable and repeatable positioning. With a wide range of instrument clips available, it is easy to find one that would work well with any instrument. These clips allow the mic to be easily repositioned or moved to another instrument and it won’t blemish or scratch the finish of your instrument. The flexible design of the Dvote also supports a wide variety of mounting and positioning possibilities.

“For musicians who like to record sound on the go, the new Dvice MMA-A Digital Audio Interface lets you quickly attach your Dvote and ensures high-quality audio and video recording via your mobile device.”

Dvote’s instrument mics can clip onto a range of instruments and stands

TECH SPEC • Frequency range: 20 Hz to 20 kHz • Directional pattern: Supercardioid • Maximum SPL: 142 dB • Dimensions: 45mm (l) x 5.4mm (d) • Cable length: 1.8m • Weight: 46g

WITH A WIDE RANGE OF INSTRUMENT CLIPS AVAILABLE, IT IS EASY TO FIND ONE THAT WOULD WORK WELL WITH ANY INSTRUMENT ANNE BERGGREIN

EARTHWORKS “Earthworks’ SR40V is designed specifically for live vocals,” the company’s Eric Walker tells PSNE. “On the surface it is a 40kHz hypercardioid, but, as with other Earthworks microphones, the SR40V delivers flat extended frequency response, as well as fast clean impulse response and textbook perfect polar response.

“In combination, these factors provide a silky clean, transparent on-axis sound with no harshness at all, a very forgiving consistent area of pickup combined with extreme off axis rejection that delivers more gain before feedback than any other mics we know of.

“The package has a good heft to it and feels comfortable in the hand. It is painted with a baked epoxy finish that is intended to take the abuse that happens on the road. It is well protected from plosives and has notably low handling noise.

“For the artist, the SR40V delivers the sound of their performance to the FOH without colour, also making the job of the FOH engineer relatively easy.

Many users have reported needing little or no EQ with the SR40V.

“However, if you do choose to EQ, almost always very little is required. The bottom line is, you don’t have to fight with the mic to get a good sound.

When you do use EQ, it is to adjust for the source – it’s not because of the failings of a conventional microphone.”

THE SR40V MAKES THE JOB OF THE FOH ENGINEER RELATIVELY EASY ERIC WALKER Designed specifically for live vocals: Earthworks’ SR40V

TECH SPEC • Frequency response: 50 Hz to 40 kHz • Polar/directional pattern: Hypercardioid • Maximum acoustic input: 145dB SPL • Output: XLR (pin 2+) • Dimensions: 184mm (l) x 27.5mm (d) • Cable length: n/a • Weight: 377g

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21/07/2017 11:22

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P38 AUGUST 2017

Technology feature: Live microphones

LEWITT “Real studio performance onstage can be found in the top model of Lewitt’s MTP Performance Series,” Gavin Coulson, product specialist at Lewitt distributor JHS, tells PSNE. “Meeting the highest standards onstage and in the studio requires a technically advanced, full-featured handheld condenser microphone, such as the new MTP 940 CM. The externally biased large-diaphragm capsule of the MTP 940 CM lends the lead voice the necessary presence in an infinitely subtle, detailed and authentic way.

The source comes through clearly and authentically, processed with impressive feedback resistance and with undesired breath, with popping and handling noise efficiently reduced to a minimum.

“The MPT 940 CM boasts a 135 dB dynamic range – the widest we’ve ever achieved in a live microphone – due to its high headroom and Lewitt’s own Direct Coupling circuit design, which makes a low selfnoise level of just nine dB possible. This means that the MTP 940 CM is also ideal for use in the studio,

whenever the goal is to create a live atmosphere with the highest degree of acoustic precision.

“With the optimal synergy between versatility, innovation and superior sound characteristics, the MTP Performance Series sets a new benchmark in the world of high-end microphones.”

THE MPT 940 CM BOASTS A 135 DB DYNAMIC RANGE – THE WIDEST WE’VE EVER ACHIEVED IN A LIVE MICROPHONE GAVIN COULSON

Lewitt’s MPT 940 CM handheld mic is ‘subtle, detailed and authentic’

TECH SPEC • Frequency range: 20 Hz to 20 kHz • Directional pattern: Cardioid, wide cardioid, supercardioid • Maximum SPL: 144 dB • Cable length: n/a • Dimensions: 183 mm (l) x 51mm (d) • Weight: 332g

NEUMANN “The KMS range of microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on live stage,” says distrbutor Sennheiser UK’s Victoria Chernih.

“The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times. Due to their low selfnoise and crosstalk behaviour, which is free of colouration, the KMS microphones are ideal for use with in-ear monitoring systems.

“The KMS 104 and the KMS 104 plus, have a condenser microphone capsule with a cardioid directional characteristic, which provides the best possible suppression of sounds originating from behind the microphone. In contrast, with its supercardioid characteristic, the KMS 105 is particularly good at suppressing sounds originating from the entire 180° hemisphere behind the microphone. The KMS 104 plus, compared to KMS 104, features an extended bass frequency response. In close co-operation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimsed for the requirements of female voices in the rock and pop field.”

The KMS range delivers ‘studio sound for the stage’

TECH SPEC • Frequency range: 20 Hz to 20 kHz • Directional pattern: Cardioid, supercardioid • Maximum SPL: 150dB • Dimensions: 180mm (l) x 48mm (d) • Cable length: n/a • Weight: 300g

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21/07/2017 11:22

PROFESSIONAL

ShowMatch™ DeltaQ™ loudspeakers provide better coverage for outstanding vocal clarity. ©2017 Bose Corporation.

With DeltaQ technology, new ShowMatch array loudspeakers more precisely

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direct sound to the audience in both installed and portable applications.

Each array module offers field-changeable waveguides that can vary coverage and even create asymmetrical patterns. The result is unmatched sound quality and vocal clarity for every seat in the house.

Learn more at SHOWMATCH.BOSE.COM

NEXT-GENERATION ARRAY TECHNOLOGY

17/01/2017 10:26:18

P40 AUGUST 2017

Technology feature: Live microphones

SENNHEISER “The Digital 6000 series is the latest member of our professional wireless microphone range,” Sennheiser’s Victoria Chenih tells PSNE. “Incorporating the acclaimed Long Range transmission mode and proprietary audio codec from Sennheiser’s top-of-the-range Digital 9000 series, Digital 6000 fulfils the business need of rental companies and theatres – for example – for a flexible two-channel solution. Existing standard UHF antenna infrastructures and Sennheiser accessories can be used with the new system.

“Digital 6000 delivers impeccable audio and RF wireless performance, an automatic frequency setup function, switchable AES 256 encryption, WSM control, and a user-friendly menu control with a bright, white OLED display.

“The system also addresses the challenges of a shrinking UHF spectrum: Digital 6000 eliminates intermodulation, therefore frequencies can simply be placed in an equidistant grid – enabling more channels to operate in less spectrum space.

“For a superior reception quality, Digital 6000 employs true bit diversity – which combines the

SHURE “Users of wireless microphone systems face testing times,” says Tuomo George-Tolonen, manager of the pro audio group at Shure. “The range of RF frequencies available for wireless mic usage is shrinking all over the world because of post-digital-dividend spectrum auctions – yet demand for reliable wireless systems with ever-greater channel counts continues to rise in the theatre, live music, corporate and installation audio markets. Shure’s new Axient Digital wireless microphone system provides an innovative solution to these challenges.

“Axient Digital replaces Shure’s analogue UHF-R and Axient wireless microphone ranges. The new RF microphone system features a newly designed digital engine that builds on the benefits of Shure’s previous UHF-R, ULX-D, and Axient wireless systems, including crystal-clear audio performance, rock-solid wireless operation, automatic interference detection and avoidance, transmitter remote control and monitoring features. The scalable system features a universal receiver that works with two different transmitter types: the AD and ADX series.

“The latter product range includes the ADX1M, the world’s first micro-bodypack with an internal, self-tuning antenna, which addresses many of the key performance compromises of traditional bodypack

information content of both reception paths for an optimum signal – transmission error correction and intelligent learning algorithms, thus ensuring that Digital 6000 can still transmit flawlessly where other digital systems fail.

“The Digital 6000 series comprises a two-channel receiver that is available in two different versions (EM 6000 and EM 6000 Dante), a bodypack and a handheld transmitter, as well as a rack-mount 19” charging unit.”

TECH SPEC

Sennheiser’s lightweight SK 6000 bodypack transmitter

(SK 6000)

• Frequency response: 470 to 718 MHz • Transmission: Digital modulation • Audio input: 3-pin audio socket • Dimensions: 76 x 62 x 20 mm • Cable length: n/a • Weight: 147g

designs. Perhaps most usefully of all for today’s wireless market, Axient Digital permits the robust and reliable use of higher numbers of wireless channels within a narrower frequency range than previously.”

TECH SPEC • Frequency range: 20 Hz to 20 kHz • Encryption: AES 256-bit signal ensures secure transmission • Power input: Rechargeable batteries • Tuning range: Up to 182MHz • Dynamic range: >120dB

DEMAND FOR RELIABLE WIRELESS SYSTEMS CONTINUES TO RISE IN THE THEATRE, LIVE MUSIC, CORPORATE AND INSTALLATION AUDIO MARKETS TUOMO GEORGE-TOLENEN

The Axient Digital Laptop replaces Shure’s analogue range

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21/07/2017 11:23

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P42 AUGUST 2017

Installation

BELGIUM

University challenge

Just before the academic summer recess, the Roeselare Vives University College campus installed a Shure Microflex Wireless system in its main auditorium and four lecture rooms. PSNE’s Belgium correspondent Marc Maes takes us inside...

T

he Vives University College is the biggest university college in West-Flanders, with more than 13,000 students, 1,200 staffers and some 1,000 expert-lecturers. The college has campuses in major cities such as Bruges, Ostend, Kortrijk, Torhout and Roeselare.

“The use of microphones during lecture sessions had rapidly evolved, from the early handheld and lavalier microphones, headset microphones to the new wireless systems,” says Andres Clauw, IT and technical engineer at Vives Roeselare. “But with investments spread over the years, we had an inventory of different brands and models – interference of wireless frequencies was the main problem. Alongside our educational mission, we also noted an increasing demand for our auditorium and lecture rooms from external organisations. We needed an absolutely failsafe system combining pristine sound and intelligibility, without interfering frequencies – in the same move we wanted to deal with the problem of low batteries with the transmitters.”

Earlier this year, Vives contacted system integrator Deltavox, a Bruges-based full service A/V solutions provider, who carried out a first assignment for Vives Roeselare two years ago.

“The main problem of the campus was indeed the multiple frequencies, very often used in adjacent lecture rooms,” echoes Johan Missault, CEO of Deltavox Projects. “So when we were asked to supply and install a new configuration to avoid the interference, we rapidly agreed that the Shure Microflex Wireless system would be the perfect solution.”

In a first step, Deltavox Projects installed a Shure Microflex Wireless (MXW series) set-up in the new, 300 capacity theatre. The auditorium was equipped with a Shure MXWAPT4 Access Point Transceiver and a set of transmitters, consisting of an MXW2/SM58, an MXW1/o body-pack with a WL185 lavalier cardioid microphone, a Clockaudio CMH2000 headset and a matching MXWNCS4 charging station.

“The lecterns were fitted with wired Microflex MX418/s gooseneck microphones.

“By using a DECT based wireless system, resulting in interference-free operation (as opposed to a typically congested UHF spectrum) and the option of future expansion of the system, the Microflex system meets our demands,” says Clauw.

Also, from the end-user’s perspective (lecturers and professors), reactions were positive across the board

Happy campus: Roeselare Vives University College

- using a wireless microphone is a simple matter of picking up a transmitter from the charging station and pressing the push-to-talk button.

In the second phase of the project, Deltavox upgraded four existing seminar rooms, each with a capacity of 50 to 60 students. Each room has now been fitted with a Shure MXWAPT2 Access Point Transceiver, a handheld Shure MXW2/SM58 and an MXW1 bodypack with a Clockaudio headset and a MXWNCS2 networked charging station.

“MXW’s automatic frequency coordination ensures continuous use of clean, interference-free RF,” says Michel Baars, Shure Benelux Systems Group marketing specialist. “Transmitters with flat batteries are also a thing of the past with MXW’s advanced Lithium ion rechargeable batteries, which have an operating life of up to nine hours’ continuous use, and can be fully charged in two hours, with the charging status visible at all times on the charging station.”

To ensure optimum user-friendliness of the systems, all of the system-settings are controlled via Shure’s dedicated browser-based MXW GUI. According to Clauw, the upgrade also had positive effects on the interference in other campus lecture rooms thanks to the MXW technology, allowing a more precise distribution of the available frequencies. “The new system is a huge step forward but it’s quite an

investment for a campus like ours, working with strict annual budgets. The system may be somewhat ‘overkill’, and today we’re not using all of its functionalities, but we will in the future,” concludes Clauw. “The other Vives campuses are closely monitoring this upgrade and we’re currently setting up a trans-campus A/V team looking into the matter of audio and video projection in the seminar rooms and auditoria.”

In the same move, Deltavox also upgraded the speaker system: a set of Bose Panaray MA12 Modular line array speakers was put in place with every new Shure Microflex system.

“We continued the path of ‘easy-to-operate’ with a Bose CC64 Control Space panel in the auditorium and CC16 controllers in the class rooms,” explains Missault.

“We have calibrated the systems to fit the aula and room’s acoustics and requirements – options like sound colour, compression and gain are set in the controller’s main menu, leaving just an Extron touch-screen volume control for the user of the system. Both the Shure wireless signal and the wired lectern microphone are routed via a ESP88 processor using the Dante protocol, and then channelled to the respective Bose Powermatch PM8250N amplifiers.” n www.deltavox-projects.eu www.vives.be/nl/campussen/roeselare www.shure.nl

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17/07/2017 10:59

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24/06/2016 13:22:15

P44 AUGUST 2017

Installation

UNITED KINGDOM

Public Forum

Academy Music Group recently recruited Liverpool-based Adlib to design and deliver a brand new sound system for London’s O2 Forum Kentish Town. PSNE editor Daniel Gumble spoke to project leader Roger Kirby to find out what the biggest challenges were and get the inside track on the audio overhaul…

T

he latest venue to be acquired by AMG (Academy Music Group), London’s O2 Forum Kentish Town was recently the subject of a comprehensive audio refurbishment aimed at future-proofing its technical infrastructure.

An historic, art deco theatre with a capacity of 2,300, the venue required an upgrade that, as Adlib puts it, would “bring it up-to-date and give incoming productions the flexibility and facilities they need to stage world class performances with the convenience of using the house system”.

Tasked with leading the project from the Adlib side was Roger Kirby, along with Rob Crossland and Tony Sczabo, who decided which system should be deployed and how best to ensure that the heritage and iconic aesthetic of the Forum was in no way compromised.

“Putting the speakers in was the easy part,” Kirby explains to Pro Sound News Europe. “It’s quite an old building; it’s an historic theatre and that brings its own challenges for working in – checking that we are not dealing with any asbestos, making sure we are keeping the fabric of the building intact. That’s probably the trickiest part. The delivery of the kit was a breeze as we do that on a daily basis with our touring engineers.

“One thing that was tricky was putting some new flying points in. We didn’t actually do the steel work but there was lots of liaising with the facilities managers, a company called MJC Consulting, who are structural engineers. We had to work closely with them, as there were a number of different surveys done to see if we could move the points from the original location. That was one of the largest, most time consuming challenges of the project.”

The new system is comprised of L-Acoustics K2 arrays, six SB28s per side, groudstacked in two threeway wheeled dollies, and three ARCS boxes per side on the inside edges of the sub stacks to cover the nearfield and stalls areas immediately in front of the stage.

All of the L-Acoustics speakers are powered by LA8 amplifiers, while two Lake LM44 signal processors have been added at FOH. Meanwhile, Adlib selected its own MP wedge system for monitors, along with a set of full range Adlib side fills comprising an FD3P mid/high box, with AA215HL sub woofers. All the Adlib products onstage are driven via the presets on Linea Research amplifiers.

As for consoles, two Digico SD10 consoles supplied with D2 stage boxes have been positioned at FOH and

Roger that: Roger Kirby

monitors. A new VDC multicore system with 48 input lines and 16 stage returns was also part of the package.

“We always look to our hire department and see what people are asking for on specifications and check out what featured on the riders,” Kirby explains. “We’ve got quite a large inventory of L-Acoustics stock and we know how good it is and what it can deliver when it’s put in place, so we looked at the best L-Acoustics option we could put forward, and after considering all of them we decided the K2 was the best of the bunch. It’s about a 30-metre throw required from the PA to the last row of seats in the venue and the K2 really ticks the box for that - simple rigging and it’s easy to cope with the large, expansive balcony. The venue is almost as wide as it is deep, and the K2 deals with that very easily.”

According to Kirby, venues of the Forum’s ilk up and down the country are looking to future-proof their sound systems in a bid to provide the very best possible solutions for their customers.

“Every venue has got a wish list,” he states. “Even some venues that have a new system installed – a month or two later they’ll have the next piece of kit on their list. Not necessarily a complete refit of the sound system, but everyone involved in the technical delivery at any venue will have to keep their eye on what’s cutting edge and what people are asking for

www.psneurope.com/installation

and what people are wheeling in when they are not switching their system on. It all depends on the financial constraints of each venue and what size they are. Can they look forward and say, What do we need for the next 10, 20 years? What’s going to improve our customers’ experience when they come through the door? It might be air conditioning, it might be carpets. In this case it was a PA system.”

Helen McGee, divisional manager at AMG, says she is delighted with the system in place, and had full confidence that Adlib would be able to deliver the best possible audio upgrade.

“Adlib is a long-standing audio partner of Academy Music Group, dating back to previous new venue projects and launches as far as when we opened O2 Academy Sheffield in April 2008,” McGee tells PSNE. “It is one of the biggest suppliers in the UK and what we noticed is that they have a lot of staff and engineers out on current tours, many of which are going through our venue estate (18 venues) across the UK, so being out on the road means they are well placed to advise on current requirements and upgrades.

“The feedback so far has been excellent. We have added a lot of kit so we can cater for a wide variety of events. It’s such a flexible and adaptable system that is known and respected by touring engineers.” n

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P46 AUGUST 2017

British Summer Time Hyde Park

Sound of the summer: Kings Of Leon

UNITED KINGDOM

Park life

Last month, Capital Sound and Martin Audio celebrated five years handling the audio requirements for the Hyde Park British Summer Time Festival. Pro Sound News Europe editor Daniel Gumble dropped in to find out how the area’s notoriously stringent sound constraints have been overcome and how the setup continues to evolve…

N

ot even the combo of The Boss and a Beatle back in 2012 could quell the noise restrictions placed up on London’s Hyde Park, such are the demands of its wellheeled locals and the subsequent restrictions placed upon live events organisers. The image of two of the biggest stars on the planet having the plug pulled on their 2012 Hard Rock Calling duet, as Paul McCartney joined Bruce Springsteen for an encore of The Beatles classic I Saw Her Standing There, is an enduring one, highlighting at once just how earnestly the area’s noise restrictions must be observed and that absolutely no quarter will be given, even if it does mean prematurely halting a little piece of rock’n’roll history in the making.

In a bid to tackle said restrictions and any resulting noise pollution, various measures have been implemented since. In the wake of that now infamous performance, the number of large-scale events to be held at Hyde Park each year was capped at six, while attempts to prevent noise from such shows reaching nearby residents ultimately proved unsuccessful, after numerous high profile concerts, including one of Blur’s nights in Hyde Park, were described by many gig-goers as being “inaudible”.

Things, however, have changed significantly since then. Five years ago in 2013, Capital Sound and rental

partner Martin Audio were tasked with achieving the seemingly impossible and deploying a sound system that could deliver optimum audio for punters while limiting noise pollution and keeping the neighbours happy. During that time, small tweaks have been made to ensure each and every show is fully optimised and ready to provide the best possible experience for fans.

Speaking to Pro Sound News Europe after the Kings Of Leon headline show on July 6, Paul Timmins, operations and development director at Capital Sound, explained to us just how focused the company is on constantly improving coverage across the site.

“Having the four years experience of the venue pre2017 helps the entire team,” he tells us. “We know what to expect, things like the normal way the breeze and the wind can blow, and if it blows in that direction what effect that can have on offsite noise. The audio design over this period has not changed greatly due to the work put in for year one and the success of that year.

Hang positions and delays have remained unchanged.

We added two far delays, known as delays 10 and 11, in year two to ensure that even the audio at around the 300 metre mark was pristine and controlled. Whilst the level issues are crucial we are focused mainly on ensuring the site coverage is the best it can be.”

The system deployed this year comprised Martin

Audio’s flagship MLA PA and its Display optimisation software. Capital has replaced conventional W8LM Mini Line Array front fills with 12 MLA Compacts, meaning that all MLA components can now run on the same network. Meanwhile, 24 of Martin Audio’s new XE500 floor monitors - debuted at Glastonbury Festival – were put to use. The new units feature Coaxial Differential Dispersion technology with a patent pending third static waveguide, designed to deliver optimised monitor sound at very high SPL output with a defined coverage pattern. This is aimed at allowing artists freedom of movement, while reducing overlap with adjacent monitors. The new XE monitors are powered by Martin Audio’s new iKON iK42 four-channel power amplifier, which has been built to combine high power density with optimum audio performance, state-of-the-art DSP and network control According to Timmins, the system this year has gone down a storm.

“Firstly, the floor monitors,” he starts. “For Capital Sound it was the first time we had used these on a show - we had heard them and were confident they would do a great job. Our engineers used them on a number of acts including Blondie, Starsailor and The Hive’s as well as additional mixes for The Killers and they were received very well. They are more lightweight

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and have a smaller footprint than what was used before, both big advantages for festival work and they do loud, which is another need for large outdoor stages when required.

“Moving onto the use of the MLA Compacts for front fills, replacing the LM’s was a massive improvement and upgrade. Rather than using a separate loudspeaker in the conventional LM we were able to add the 12 MLAC cabinets to the entire MLA Network and build into the Display 2.2 prediction using them to cover the first 15m and integrate the level and voicing with the main PA. It worked an absolute treat, giving nice SPL to the front of the most expensive ticket area and compatible voicing, enhancing the Capital Sound ethos of consistency of sound across the entire audience area.

“To add to this upgrade we had some special metallic supports made that held the MLAC cabinets at the desired angle across the front of the stage on top of the subs that they were positioned on.”

Timmins also hailed the performance of the iKON iK42 power amp – a tool, which he believes will be a major asset when powering shows of this scale.

“As with the wedges, this was our first use of the power amplifiers - they performed faultlessly and the onboard display was popular with both Capital monitor engineers,” he affirmed. “Early indications are very good, as we all feel it’s vital these days with professional monitor system packages to have amplifiers with onboard DSP that come as a package with the wedges they are driving.”

Of course, the challenges conjured by noise pollution, although tempered these days, continue to demand ever more effective solutions year after year from whichever system is deployed. Yet Timmins insists that Capital Sound and Martin Audio have struck upon a design that is more than up to the task.

“We start by ensuring the system design with

number of cabinets, trim heights and locations of delays is exactly correct and what we believe they should be,” he elaborates. “This takes work and effort and every outdoor show we do has its own design worked on in advance with the help of site visits, site plans and Google Maps. We then have the added advantage with MLA that we can then use the system optimisation utilising hard avoids on perimeters to get the very best onsite SPL readings versus offsite pollution readings.”

He continues: “As a company now working with the MLA technology for over five years, BST is one example where we have taken the outdoor noise pollution issues forwards and our shows are now accepted as ones that deliver great audio and great levels.”

Another notable change this year took place in the British Summer Time Hyde Park VIP Pavillion, where Martin Audio’s W2 technology has been replaced with 14 Martin Audio XD12s in landscape mode, in order to make the coverage pattern more uniform (without the need to rotate the 80° x 50° horn).

“The Martin W2 loudspeaker cabinet was a product we have owned at Capital for nearly 20 years,” says Timmins. “And when the replacement Martin XD12 cabinet was introduced in late 2015/early 2016, we renewed our inventory so that it was available as replacement. The added advantage of this loudspeaker, aside from its weight, is the rotatable horn flare, which, in portrait mode, gives an 80-degree horizon and 50-degree vertical coverage pattern.

“We were able to use the cabinets (14 of them) in landscape mode, giving 80 degrees of vertical coverage, which was ideal, given the position of the boxes in the roof of the stand.

“Further improvement was the fact that they did not hang down obscuring sightlines for the audience sat high in the rear of the stand, as had been the case in previous years when hung portrait below the truss. We

were also driving the AD12 cabinets with Powersoft X8 amplification, so the on board DSP gives us great control facilities.”

The fifth year of Capital Sound and Martin Audio’s tenure at Hyde Park also drew praise from engineers working the BST gigs this year.

Speaking to PSNE on-site, Toby Donovan, MLA system engineer and system tech for Hyde Park concerts, hailed the versatility and ever-evolving nature of the set-up each year.

“All through the five years, the guys [at Martin Audio] are always coming up with new software and new presets,” Donovan beams. “This is the first time I’ve used the new Display 2.2 on a large scale outdoor show - I’ve used it indoors, and I used it on a tour in Scandinavia last year. I’ve always thought it sounded smooth, but to then hear it coming out of loudspeakers that are just hanging in free space in the air, it really sounds great. It sounds really smooth, the control extends to a much lower frequency, so we can keep it really tight over the site, which is great for the noise pollution aspect.”

He concluded: “If the promoter wants to put on a smaller event with the main hangs, it’s not so much turning boxes off at the top of the array, it’s creating a whole new preset to say exactly what coverage pattern you want. You can have the main hangs sounding the same for an audience of 4,000 people and 20,000.”

With outdoor shows of this kind generally unpredicatable in nature, it’s inevitable that whichever system is deployed will constantly be under review to ensure best possible results, show after show, year after year. But with five years now firmly under their belt, and with the ink stil drying on a two-year extension deal between AEG Live and Capital Sound and Martin Audio, the sound of BST appears to be in safe hands for the foreseeable future. n

Here comes your band: Pixies take the stage before Kings Of Leon’s headline slot

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Tom Howat mixing for Bryan Ferry on Allen & Heath’s dLive system at Hampton Court Palace

AUGUST 2017

Built for the road

Two huge international artists, two world tours, one mixing system. PSNE’s Tara Lepore caught up with three live sound engineers using Allen & Heath’s dLive mixing console on two very different shows…

O

f all the digital mixing systems out there, Allen & Heath believes its dLive is the best.

With a robust frame, touchscreen interface and adaptable set-up combinations, it was “built for the road”, according to head of product marketing Nicola Beretta. He told Pro Sound News Europe in its 2015 launch year that it was the “ultimate mixing system, with all the processing tools and power that the most demanding engineers would expect”. Since it arrived, there has also been a key focus on the product’s intuitive and easy-to-use features. But two years on, how well has it delivered on its promises?

Like A&H’s iLive system launched 10 years prior, dLive has a distributed system design with separate MixRack and Surface. The dLive processing brain is housed in the MixRack, available in three sizes (DM32, DM48 and DM64), with three accompanying control surfaces (S3000, S5000 and S7000). All MixRacks and Surfaces are compatible with one another, meaning it’s a suitable choice for variable live environments, including outdoor summer events. When designing the dLive, Allen & Heath also made sure that the console illuminates well, meaning it can be used in sunny, outdoor conditions where some other digital consoles might struggle.

With increasingly complex set-ups and extra I/O

becoming a touting norm, the dLive – both S Class and the more compact C Class models – promises to give the engineer intuitive tools to free them up to focus on the mix.

The system has been making its way around the touring circuit this summer, featuring at Glastonbury Festival (during Warpaint’s headline Park Stage set and Chic’s storming Sunday afternoon set on the Pyramid Stage), and on two other huge artists’ world tours.

SPEED IS EVERYTHING. THERE’S ALWAYS MORE THAN ONE WAY TO MAKE ADJUSTMENTS, AND THE SYSTEM LATENCY IS REMARKABLY QUICK. TOM HOWAT Two huge acts…

The first big tour the dLive has been used to mix sound for in this year’s festival season is for rock icon Bryan Ferry.

The former Roxy Music frontman’s tour has played to

crowds in outdoor and indoor venues, from Minnesota to Moscow, including a smattering of festival appearances in the US and Europe. If the schedule’s far-reaching destinations didn’t stretch far enough, Ferry is also playing with a 10-piece band. Presumably mixing monitors for such a large band could be challenging, but engineer Tom Howat said he is “used to it”. In fact, Howat chose the dLive for Ferry’s tour himself.

“Mixing monitors for a 10-piece is a reasonably complex endeavour, although I am fairly used to working with bands of a certain size,” Howat tells PSNE. “[Ferry’s] group comprises some top-drawer musicians, with huge amounts of experience between them. Bryan has very high expectations for his monitor mix, but it’s all been achievable though!”

Exactly how this feat has been made achievable can be attributed to dLive’s complementary components.

Supplied by Britannia Row Productions in Europe and Clair Bros in the US, the system comprises an A&H S5000 control surface with a DM64 mix rack and a DX32 expander rack with two IP8 controllers for remote access.

Howat has used the dLive on several occasions before: “I’ve used the dLive system with four different groups now – including with [prog trance band] Above and Beyond in 2016 when they toured their Acoustic II album. There were

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P50 AUGUST 2017

17 people on stage for those gigs, including a full guest orchestra at their Hollywood Bowl concert.” He has also used it on previous tours for Paolo Nutini and Morrissey.

In contrast, engineer Anna Dahlin – working FOH on Swedish pop star Zara Larsson’s 2017 tour – hadn’t used the dLive console before. Larsson – known for hits such as Never Forget You – is currently appearing across the festival circuit in Europe, alongside her own tour, which will take the singer and her crew to the US, Japan and beyond in the autumn. Dahlin states: “It is my first time touring Allen & Heath. However, I did cut my teeth on an old Allen & Heath GL4000, so it feels a little bit like I’ve come full circle. Although, obviously, the two consoles are entirely different beasts!”

…one mixing system The Larsson tour’s dLive system comprises a S7000 surface with DM64 mix rack for monitors, and a S5000 surface with a DM48 mix rack at FOH (which has been swapped for the compact C1500 surface for any fly-in dates). This adaptable solution made the dLive system the “right choice” for this tour, according to monitor engineer Sebastian Meyer.

In fact, it was also Meyer’s first time using the dLive in a touring context, having only used it before on one-off shows. “It was great to sit down and programme one from scratch,” he says.

Having a fly-in option was important for the ongoing Larsson tour, which continues to have a quick turnaround and has seen the singer play several dates in the US and Europe since April, including the Isle of Wight Festival in June. PA company Parashoot provided an interchangeable dLive mixing system for the tour, which was suitable for both full concerts and fly-in festival production.

Meyer explains: “From experience, I know that dLive is trustworthy, and the fact that Parashoot was able to support us with a fly-in option meant dLive was the right choice for this tour. We had great use for the C1500 at a festival when we couldn’t get our S5000 out to FOH, and

that way, we could hand carry it out with ease.”

Another console that saved the day, replacing the S5000, was the more compact S3000 at the Isle of Wight Festival. Explains Dahlin: “We did have a very hectic show where it turned out the Cat 5 run to FOH was coming in via an ethernet coupler. This caused dropouts and made it impossible for me to use the S5000 on ground floor at FOH. However, we also had the S3000 at hand.

This console was small enough to climb up the ladder to ‘lighting world’. On the first floor, the ethernet coupler could be bypassed – and suddenly we had a show again.”

Overcoming dilemmas Any sound engineer will have several anecdotes to tell about the challenges faced on tour, never more felt than during the busy summer festival circuit. Could the dLive provide solutions? Ferry’s FOH engineer Howat says: “A classic variable of touring is jumping from indoor theatre shows to outdoor festivals, and that’s been the way again this summer. As is often the way these days, [the Ferry tour] production doesn’t carry stacks and racks very often.

Therefore the ‘background’ audio environment on stage is quite variable from show to show, and it’s important to try and compensate for this at times.”

That hectic touring schedule was also felt on Larsson’s cross-continent tour. Dahlin notes: “We have encountered the usual tight schedules for trucks coming in and out of festivals. However, the fact that we can run over both Cat 5 and fibre has saved us waiting around to take multis out on a number of occasions.”

Meyer adds: “We’ve had some places were we couldn’t use Cat 5 at FOH, but in those cases we put the Opticon slotcards in the consoles to be able to run optical cables instead. Because of that, the consoles have worked without any problems throughout the whole tour.”

Included in the Larsson set-up are two Giga-ace network cards and two Fibre-ace cards for added flexibility. Dahlin and Meyer have also benefitted from a Dante card, using it to record multi-track for broadcast and

‘The dLive is very intuitive and transparent’: Anna Dahlin

to use the helpful virtual sound check function.

Meyer elaborates: “The Dante card has worked flawlessly to record all of the shows, so the band and I can go over details afterwards, as well as trimming my IEMs with virtual soundcheck and trying various new things.”

Lightning speed Another helpful function of the console – particularly with time-restrictive touring requirements – is how quickly it can run. Howat notes: “As a monitor engineer, speed is everything. This system is very responsive, there’s always more than one way to make adjustments, and the system latency is remarkably quick. The nature of the console’s sound is expansive, which is useful when mixing IEMs, and the I/O capacity of the system is comprehensive, allowing me to use it with reasonably large groups.”

Howat, a veteran of the dLive system, adds that recent firmware updates have freed up his time on the Ferry tour, allowing him to focus on the mix during shows. “The addition of the Dyn8 units and the Dimension Chorus effect were very welcome, and both have been very useful,” he says. “Also, the expansion of the ‘recall filter’ functionality in V1.5 is something I’ve been waiting for since dLive first materialised!”

Meyer mentions the responsive copy/paste function, which “helps a lot when doing EQ and compression changes on a vocal mic where I want to update my spare and effect channels.”

Topping the dLive’s extensive functions is its userfriendly nature. “It’s intuitive to use, I could find anything I was looking for almost instantly” reveals Meyer.

For a relatively new product, the two-year-old dLive has made a great impression on both engineers and audiences alike, for its ease of usability and the mixes it creates. And with A&H offering impressive add-on products and improvements aplenty since the dLive’s launch, we look forward to seeing how much further this ‘ultimate’ digital mixing system will come during the next two years. n

Rock icon Bryan Ferry is currently touring with a 10-piece band

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21/07/2017 15:24:53 10:37:11 19/06/2017

Backtalk

P53 AUGUST 2017

Toby Alington One of the industry’s most experienced and revered broadcast talents, Toby Alington has worked on some of the biggest broadcast audio jobs on the planet. Here, he talks us through his glittering and illustrious career…

T

hink of just about any major TV show or live event that has involved music and it’s likely that Toby Alington was the man behind the desk mixing audio for the broadcast. Over the past 30 years he has notched up a staggering 23 BRIT Awards, 17 MTV Europe Music Awards, and has helmed the BBC Music Awards since it started in 2014.

He has also handled sound for The Voice, the Queen’s Diamond Jubilee concert, and has produced TV and DVD soundtracks for a glittering array of artists, including Adele’s Live at the Royal Albert Hall. Most recently he was tasked with taking on the One Love Manchester show - the most watched music event of the year to date. Here, Alington takes a retrospective look back at some of his many career highlights and shares some of his most memorable moments over the past three decades...

What made you want to work in the industry?

Music was a big part of my childhood, learning piano and violin from age four. I was leader of the local Youth Orchestra and achieved Grade 8 on both instruments while at school in Gloucester. Some work experience at the local radio station, Severn Sound, triggered an interest in the technical side of broadcast audio, and I got a place on the BBC’s Studio Manager course when I was 18.

The BBC and I parted company after a year; I don’t think I was the most compliant student they had tried to instil BBC training into, and I was disillusioned as to how long it would take me to be working solely in the music areas. I managed to persuade Keith Grant to take me on as a tape-op at Olympic Studios in 1981, and spent six years there working on a mixture of film scores, rock’n’roll albums, TV music and adverts, learning from Keith and other great engineers.

How did you get involved with pro audio and the broadcast sector?

I went freelance when Olympic was bought by Virgin in 1987, working on film and TV music, and rock/pop albums. The turning point was when someone asked me to come and do a live TV broadcast with a band whose album I was working on, and I just loved the experience. It was a combination of live performance, live broadcast, working to picture – a culmination of all the things I had enjoyed over the previous 10 years. Moving more into location and live music recording over the next few years, I was asked to take over the BRIT Awards live sound in 1995.

Tell us about your most recent project and what it involved?

I am just back from a weekend in Paris, recording Coldplay’s Head Full of Dreams tour at the Stade de France for DVD with Rik Simpson and Tony Smith.

We used a de-rig system with a Lawo MC2 56, and my usual selection of outboard equipment. We also produced a live feed for online broadcast, with a quick remix of one track at the end of the show. I have worked with Coldplay since around 2001 on various broadcasts and recordings – it’s always a lovely experience with a great sound team. I am hoping to be out in Chicago with them for a live broadcast next month.

You have worked on some huge events in your career. Which for you stand out as the biggest?

Collectively, the annual shows combine to give me an amazing number of high-calibre artists to work with. With the Brits, MTV EMAs, BBC MAs and other annual multi-artist shows, such as Children in Need

Rocks, I guess I mix around 40 top Anglo-American artist performances every year. Probably the biggest in terms of number of inputs, quantity (and quality) of artists, length of show and complexity was the Queen’s Diamond Jubilee concert, broadcast live from outside Buckingham Palace in 2012. That was an adrenaline rush and a half!

What is the most challenging project you have worked on to date?

During a Q&A session at a conference, someone said, “it sounds like you do the shows that no one else wants to do”! Multi-artist, live-to-air shows are all very challenging, but I would put the Diamond Jubilee (around 500 inputs), and One Love Manchester pretty high up the list of challenging shows. Working in unusual territories can also add to the stress levels – Russia, Mexico City, St Lucia and Delhi spring to mind as high-blood-pressure moments!

How difficult was the Manchester show, given the extremely limited preparation time?

I was asked to mix the show for the BBC and international broadcast. With one week’s notice, we put together a live broadcast solution for this amazing multi-artist show with an estimated audience of well over a billion. We had three days to source crew and equipment, and define the interface between PA (Britannia Row), us and the OB (Arena).

I used the Floating Earth mobile, with its SSL C200 console, and a great crew who had all worked with me on countless multi-artist shows before. We were live on air for five hours – although it felt like far less than that! – with some acts unable to soundcheck for us before we were live to air. Quite a challenge, and a remarkable achievement from everyone involved.

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P54 AUGUST 2017

Backtalk

Mix master: Toby Alington

between a HUI layer for premixing “in the box”, and the 96 audio channels on the desk for traditional mixing, is really well designed. I think I’ll be moving to Nuage and Nuendo in due course. The speed and reliability of these tools, coupled with great sound, is so important.

But if it was just about three pieces of kit, Nuendo, Yamaha DM2000 and TC System 6000. Oh, plus great monitoring (I am a B&W fan). And great crew.

And Lexicon reverbs. And dbx902 de-essers. And EL Distressors… it’s a long list!

What advice would you offer to your younger self at the start of his career?

Is there a project you are most proud to have worked on?

There’s a correlation between “most challenging” and “most proud of”. Surmounting technical difficulties, pushing the boundaries and capabilities of everyone involved, deploying equipment and people to avoid single-points-of-failure, and at the same time working with some of the best artists in the world, definitely makes me feel proud to be involved in the live music broadcast industry on every show I do. Meeting Her Majesty the Queen after the Diamond Jubilee concert certainly added to the pride of working on that show!

Tell us about the biggest changes you have s een in the industry during your career.

I have seen the industry move from analogue to digital, and from tape to hard-disc, both in audio and video.

When I first started at Olympic in 1981, it was all analogue tape, and timecode synchronisation was just starting to come into the studios. Our picture source was on 16mm or 35mm film, and all editing was done with razorblades. Move forward 35 years, and it’s rare to find anything on tape – and certainly not a razorblade in sight! The progression of DAWs has been extraordinary,

and the latest version of Nuendo (my tool of choice) has features which we hadn’t even dreamt of 20 years ago.

Consoles have changed beyond recognition, and it’s almost impossible to find one of the new-generation desks which you can switch on and start making noises without some complex routing and setup. Luckily in my role, there’s always a good guarantee engineer who knows how to get things going. I must work on 10 different consoles each year, and trying to remember the foibles and shortcuts on each of them is a challenge.

What are your most essential pieces of kit?

I think I need to split these into two groups – live broadcast and post-production.

For live broadcast, I love the SSL C200: it sounds great and has full channel strips with a full complement of rotaries and buttons – you need a lot of knobs at your disposal when you’re working at high speed on a live soundcheck or broadcast. Next would be the TC System 6000 – in my opinion one of the best audio tools ever made – which I use for effects and output mastering.

And finally, either Nuendo or Pyramix multitracks for recording onto, as they’re so reliable.

For mixing and post-production, I love the combination of the Yamaha DM2000 with Nuendo. Being able to flip

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If someone had said, “follow your passion”, I wouldn’t have done anything differently, as I feel that’s exactly what I have done. I love the responsibility of the big broadcast shows, their technicality, and the privilege to work with some of the best artists in the world. It’s a real buzz when the mix comes together in a structured and emotional way, and you know you’re hitting the right buttons on the wider audience. I certainly could have made better business decisions along the way, but then hindsight is a wonderful thing!

What are your predictions for the next few years in audio broadcast?

I can see networked audio becoming central to the way we work in live recording, but it also creates a lot of new headaches and requirement for investment, and – yet again – we don’t yet have an agreement on a standard.

I am very happy working with 48kHz 24bit signals, and find the altruism of 192kHz 32bit somewhat overkill; these high-bandwidth data rates tend to cause more problems than they fix at the moment. But in time, I can see a very fluid, real-time cloud-based solution for a lot of what we do in broadcast. I feel it’s very important we don’t discard the good heritage of working methods and equipment ergonomics – there has been a very useful progression with much input from great people over the last 100 years which should be carefully reviewed when developing new work-surfaces. n

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