PSNEUROPE JANUARY 2015
www.psneurope.com
THE BUSINESS OF PROFESSIONAL AUDIO
Baby love First look at Runcorn’s new AMS Neve studio, Analogue Baby
p18
ISE preview NAMM preview
Plunder phonics! Recording Vikings for TV
p38
p54 p6 & 16
Conference: April 11-16, 2015 • Exhibits: April 13-16
For information and your FREE Exhibits-only Pass See pages 30-31
January 2015 l 03
www.psneurope.com
welcome Photo: Jake Young
EDITOR’S COMMENT
“His uncle the submariner, his life in haulage... and his purchase of a rather expensive console”
WAS IT really nearly three years ago I found myself sitting next to that unexpectedly friendly, animated and effusive character at the MPG Awards? That bloke who told me unlikely tales about his uncle the submariner, his passion for the guitar, his life in haulage... and his purchase of an expensive console? Blimey. It was. Here we are then, 35 months later, and Mr Andrew Bramhall has kept the promise he made to me on that boozy February night in the Café de Paris. After setbacks and side issues, Andy is finally ready to open the glorious, spanking (sorry) brand new Analogue Baby for business. As the man himself enquires, how often does a commercially driven studio, with an AMS Neve 88RS console as its centrepiece, open outside London? We’ll be visiting Baby again later in the year, at the official launch, but you can catch the start of the story on p18. What else can we expect in 2015? Fairlight back on track and making a bid to raise its profile after a few years of dwelling out of sight, perhaps – see if you agree by reading Phil Ward’s interview (p32). The further shake-out and re-positioning of AVB, maybe: David Davies’ story over the page, and Kevin Hilton’s take on networks in broadcasting (p28) might provoke a reaction, I would suggest. We’re going to read a lot more about cinema, that’s for sure, as Dolby Atmos and 4K gradually take over the world: Marc Maes witnessed the beginning of another European wave on p50. And with NAMM, BVE and ISE all on the way, we’ve got plenty in the diary... so see you at the show(s)! Dave Robinson
IN THIS ISSUE... BUSINESS 4 AVB goes industrial and Focusrite floats 5 Audio content bolstered for BVE 2015 6 Mackie DL32R and Underworld 8 Industry appointments 10 Events and expos 12 PSNTraining 14 New products
16 Show preview: NAMM STUDIO 18 Analogue, Analogue Baby! 20 Remic’s Danish microphone revolution 22 Everybody’s Tolkien about The Silmarillion 24 Feature: Studio monitors BROADCAST 28 Is broadcasting at a networking crossroads? 32 A quantum leap forward for Fairlight 36 OB11: Probably the biggest OB truck in Europe 38 The sound and the fury of Vikings LIVE 40 42 44 46 48
Red Bull Culture Clash Classical meets pop at Belgian Proms Hello, Hawthorn! London Speaker Hire moves west Feature: Wireless systems in a post-700MHz world
INSTALL 50 52 54
Kinepolis, Barco and Dolby create Laser UTRA AB goes d&b in Brussels Show preview: Integrated Systems Europe
BACK PAGES 57 58
Hither & Dither Industry talk: Martin ‘Youth’ Glover
4 l January 2015
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“The pro segment inside AVnu is still the largest, most active segment within the group by far, so it is definitely one that we are going to keep moving along”
business
Rick Kreifeldt, Harman International & AVnu Alliance
WORLD
AVnu goes Industrial with new AVB segment Robotic technology in factories could be a primary application for AVB extension TSN (Time Sensitive Networking), writes David Davies A RECENT DEARTH of major news has led some to suggest that the AVB (Audio/ Video Bridging) project could be in danger of losing momentum. But this month the AVBpromoting AVnu Alliance came out fighting with two significant announcements – the launch of the first certified audio endpoint reference platform and the formal creation of a new market segment, Industrial. AVnu already has a sizeable Automotive group, but now it is set to further expand its reach in non-pro-AV circles with the addition of three new members: industrial network infrastructure specialists Belden; electrical infrastructure leaders General Electric; and test, measurement and embedded systems provider National Instruments. Their contribution to the newly-defined Industrial segment will also be supported by existing AVnu Alliance members such as Broadcom, Cisco, Intel, Marvell, Micrel, Vitesse, Xilinx and XMOS. The use of AVB in industrial applications will be enabled by an extension of AVB dubbed TSN (Time Sensitive Networking), allowing the use of standard Ethernet to support precise synchronised networking appropriate for industrial control.
“In a factory, a robot arm or a bottle-capper machine – something that needs highly reliable messaging and timing – would be the kind of application where [TSN] would make sense,” says Rick Kreifeldt, AVnu Alliance chairman and president and VP, research and innovation, at Harman International. “But [on a larger scale] it could also provide automation capability in power plants. There are many environments in which TSN makes plenty of sense.” There were “quite a few discussions”, he confirms, about the concept of opening up a new market segment that could only be demanding of time and resources. In a broader context, the creation of a new segment might not help to dispel those suggestions that AVB is failing to live up to its promise in pro AV – but Kreifeldt is insistent that it will remain a core focus of AVnu activities. “If I put my Rick hat on, for Harman and for me personally [AVB in this space] is a very big deal – I have spent 15 of my 21 years at Harman working in the core pro market, so I cannot imagine not being there,” he says. “With my AVnu hat on, the pro segment inside AVnu is still the largest, most active segment within the group by
far, so it is definitely one that we are going to keep moving along. In fact, I’d argue that one of the benefits of these other segments is that you do get some big players pushing it along and making sure we get new solutions developed.” Underlining his point, AVnu Alliance and Bristol, UK-based semiconductor company XMOS have released details of the first certified audio reference platform. Having passed through testing undertaken by AVnu’s long-running certification collaborator, UNH-IOL (University of New Hampshire InterOperability Lab), the hardware and software platform is designed to allow customers to ‘quickly and easily’ build a wide range of AVB-enabled audio products – running the gamut from single speakers and microphones to mixing desks and multi-port conferencing systems. Revolabs and Pivitec are among the manufacturers to have already made use of the platform, says Kreifeldt, adding that the “silicon itself is really cool – it has the performance of an FPGA but the simplicity of C tools. The result is that it will be even easier for pro-audio networking manufacturers to add AVB to their product lines.”
Rounding out an eventful month for Ethernet-based networking, UNH-IOL confirmed its plans to offer expanded interoperability testing and support for 40 and 100 Gigabit Ethernet (40G/100G) including 25Gb/s serial-lanes, Power over Ethernet (PoE), Backplane Ethernet and Automotive Ethernet. This activity will take place within several of UNH-IOL’s consortia and collaborative testing programmes. Q www.avnu.org www.iol.unh.edu
Rick Kreifeldt
A robot, yesterday
UNITED KINGDOM
Shares up as Focusrite plc begins trading By Dave Robinson SHARES IN FOCUSRITE PLC rose by up to 10 per cent on the company’s first day of trading on the London Stock Exchange’s Alternative Investment Market (AIM). Stockbroker Panmure Gordon floated just over 30 per cent of the company – 17.8 million shares in total – at 126p per share, giving the company a market capitalisation of £73.2m
and raising £22.4m before expenses. Of the three businesses which began trading on 11 December (Quantum Pharma plc, Management Resource Solutions plc and Focusrite plc), Focusrite shares fared the best, according to business news service Alliance News. “This is a momentous day for Focusrite and I’m delighted that we’ve been able to successfully complete
our flotation,” says founder and executive chairman Phil Dudderidge (pictured here with CEO Dave Froker, left). “We look forward to rewarding both our new and existing shareholders with continued growth in revenue and profits, and increasing our market share.” At the time of writing, Focusrite plc (TUNE) was trading at 141.75p. Q www.focusrite.com
January 2015 l 5
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business ExCeLlent: i2i targeting best-ever BVE in London
UNITED KINGDOM
BVE promises increase in audio content for 2015 expo By James Groves The organiser of the Broadcast Video Expo (BVE) has vowed to increase the focus on audio content at the 2015 show at ExCeL London in February. The move comes after the show was made aware of a “perceived lack of audio coverage” at last year’s event. “To strengthen our audio offering at BVE 2015, we
have created a multi-theatre approach to delivering seminar sessions and training master classes in audio,” says Sindy Cain, senior content manager at i2i Events Group. Malcolm Johnson, head of the secretariat of the Institute of Professional Sound, has been added to their advisory panel to “ensure what we [BVE] deliver provides insight, solutions and a platform to network
and exchange ideas for audio professionals.” Johnson highlights the two most important issues present in broadcast audio as the universal adoption of loudness and the R128 format, as well as embracing new networking technologies. Those attending can expect these issues to be tackled throughout various seminars. The event, which will be held
from 24–26 February, will offer a range of seminars, including The Future of Radio and Insight into Testing Surround Sound, Live Classical Music Meets Broadcast Audio, Self-Shooters and Good Sound on a Budget. Alison Willis, newly appointed event director following the departure of James Rowley-Ashwood to PLASA, adds: “It’s increasingly important to have an event
Alison Willis is BVE’s new event director where people from all areas can come together to discuss their experiences, share their knowledge and learn from each other, and our aim with BVE is to ask the right questions and bring in experts who can answer them.” Q www.bvexpo.com
6 l January 2015
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business UNITED STATES
NAMM shocker: Mackie eliminates FOH! Not really. But the new DL32R aims to you mix away from the traditional position and beyond, discovers Dave Robinson AT NAMM, in the Anaheim home of Disneyland in January, you can expect Mackie to be making a big song and dance about the DL32R Digital Live Sound Mixer. Launched in October last year, Mackie introduced the DL32R as a “powerful new 32-channel digital mixing system completely controlled wirelessly from Mackie’s intuitive Master Fader iPad app, freeing users to get in the mix like never before”. Effectively, Mackie said, it was about “controlling everything from anywhere”. The core of DL32R is a mix of flexible, professional I/O in a compact 3U rack. Each of the 32 inputs (24 XLR, 8 XLR/ TRS combo) feature Mackie’s proprietary Onyx+ recallable mic preamps, with “a frequency response that goes all the way down to 20Hz within 1dB at all gain settings,” according to senior product manager Ben Olswang. “Noise is minimised at every gain setting. DL32R’s gain changes are completely silent.” Each of the 32 inputs features a four-band parametric EQ with a separate high-pass filter plus gating and compression. Each of the 14 aux sends, six matrix busses and main L/R busses feature a four-band parametric EQ, 31-band
The package: DL32R rack plus Master Fader iPad app
GEQa compressor limiter and alignment delay. Six subgroups feature EQ and compression. What’s more: “Only the DL32R delivers professional mixing tools like VCAs, subgroups and matrix busses at this price point,” comments Olswang. “And there’s no configuration or trade-offs. Every input and output has all the processing you need for your professional application.” But it’s with wireless control of the system using the Master Fader iPad app that “a new world of mixing possibilities opens up”, and this is where Mackie are hammering home
the message during NAMM and into 2015. And, why Mackie’s Ben Olswang is so keen to point out why this is such a paradigm shift form the DL1608 iPad/ mixer combo the Woodinville, Washington, USA company launched two years ago. “The real leap here is the no-compromise dedication to 100% control from a wireless device,” opines Olswang. “There are a lot of digital mixers out there with some level of wireless control, but there are often compromises in what features you can control. “A good example is DL32R’s wireless control over direct-
UNITED KINGDOM
THE CARLING-sponsored Black Label Project kicked off last month with an exclusive performance by dance icons Underworld (pictured) and pop-producer duo Gorgon City at Abbey Road Studios. The spirit of the night was recorded direct to vinyl by Abbey Road mastering engineer Miles Showell, last seen in October’s PSNEurope. www.abbeyroad.com
to-disk recording. With other similar consoles, you have to connect a laptop or invest in additional hardware for any multitrack recording, and none of them let you control it from your wireless device. It’s control like this that sets the DL32R apart from the pack.” With the ‘Control Everything from Anywhere’ slogan, Mackie really does believe it offers more than any other similar mixer available. “At this level, you can truly get rid of a traditional front of house location,” offers Olswang. “Set the DL32R by the stage, plug your inputs in and never go back to the mixer again during the show. After all, even when there is a FOH position at many places that need a 32-channel mixer, it is very often in a bad place – off to the side, under a balcony, behind a bar. Besides all the sonic benefits you get from mixing from the room’s trouble spots and being able to ensure that everyone in the venue is getting the best possible sound, not being fixed to a FOH position is really freeing for most engineers.” What if your iPad fails in some way, wondered PSNEurope? The audio will continue uninterrupted at whatever settings it was running at the time, says Olswang. “And iPad would need to come back on line to gain control over settings.” What about the maximum
Olswang: “Dedication to 100% wireless control” distance for control for your iPad? “The maximum is set by the wireless router being used. That’s one benefit over having a built-in Wi-Fi interface: users can select the right router for their budget and application needs and even get additional routers to add coverage area. There are routers available that will provide from 30 to 300 feet (9–90m) or more.” Olswang confirms the Master Fader is built specifically for iPad at this point, but Android is “not off the table”. DL32R is shipping now and “we have already seen some great feedback from users out in the field,” he says. The final word? “In a nutshell, the DL32R does not eliminate FOH position…” he says, “It turns the entire venue into your FOH position.” NAMM in Anaheim (see also pp16-17) is offering a lot of network-ready kit and upgrades but nothing PSNEurope has heard of with the swagger of the DL32R. Let’s see if Mackie can really put on a show on a scale to match a Disneyland spectacular. Q www.mackie.com
8 l January 2015
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industrymovers
Stagetec has a Weiss Christmas
Rainer Weiss and Stefan Laubereau will assist Wolfgang Salzbrenner as joint MDs STEFAN LAUBEREAU AND RAINER WEISS have been appointed managing directors of Stagetec. The pair will assist Wolfgang Salzbrenner in the management of the audio technology specialist, part of Salzbrenner Stagetec Mediagroup. Weiss has served the company in a managerial capacity since 2000. “The company’s objective
for the coming year will be to spearhead digital innovation,” he says. Formerly in charge of international projects, Laubereau joined Stagetec 1998. He previously acted as branch manager of the Salzbrenner Stagetec Audio Video Mediensysteme affiliate in Berlin. www.stagetec.com
Jon Britchford has joined Polar Audio as business development manager for the installation sector. Britchford moves from AVM Impact, where, as account manager, he specialised in the education and public-sector AV markets. He comments: “The multifaceted nature of the installation sector is demanding and exciting and I’m already enjoying the challenges.” www.polaraudio.co.uk
Audinate has announced the appointment of Joshua Rush as vice-president of marketing. Rush brings over 20 years’ experience in business, consumer and channel marketing in a variety of industries. “I am excited to be a part of this company that is transforming the AV industry,” he says. www.audinate.com Riedel Communications has announced the appointment of
Jake Dodson as its director of product management. Dodson has more than 25 years’ experience in the telecoms, military, broadcast and live sectors. “Over Jake’s career, he has been a founder and leader of successful leading-edge technology firms,” says Thomas Riedel, CEO of Riedel Communications. “His unusual and exceptional track record will certainly be an asset.” www.riedel.net
Sound Devices has named Ed Capp as its new VP of sales. Matt Anderson, President of Sound Devices, comments: “Ed has always been a solid member of our sales team and company. We look forward to his continuing leadership and commitment to fostering big growth for Sound Devices.” www.sounddevices.com Jimmy Potter has returned to Marquee AV to take on the role of sales manager.
Potter (left) spent 11 years with Nomis Studios before moving to the sales side of the pro-audio industry to work with Sensible Music, Marquee Sales and Fuzion. “With former colleagues, a great atmosphere and the love for what we do, there’s an element of coming home,” says Potter. “But it’s now a company that has developed its standards and works even better at a higher level of professionalism.” www.marqueeav.com
Presteigne Broadcast Hire has appointed David O’Carroll as its new head of technology. He joins from outside broadcast company NEP Visions, where as technical manager he was responsible for projects including the BBC Proms and Wimbledon. “This new job [is] an exciting challenge – to understand how we can all work together to create compelling and technically excellent television.” says O’Carroll. Q www.presteigne.tv
10 l January 2015
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expos&events
For the latest events news www.psneurope.com/events
EDITORIAL PLANNER
SPOTLIGHT MPG AWARDS 12 February 2015 London, UK www.mpgawards.com
FEBRUARY 2015
The Music Producers Guild (MPG) Awards, taking place at the Park Plaza Riverbank hotel in Vauxhall, London, recognises the achievements of Britain’s leading producers, engineers, remixers and mastering engineers. As in previous years, the winner of the 2015 MPG UK Producer of the Year category will also be awarded the Brit Award for Best Producer. “We’ve had a great response to our call for nominations, and there are some really diverse projects and individuals on the nominees list,” says MPG chairman Steve Levine. “Being judged worthy by your peers is always the highest accolade, especially in a field like music production, where you need to understand the recording process to truly recognise what our nominees have achieved.” At the time of writing, the winners were yet to be announced by the MPG judging panel, although a full list of shortlisted nominees can be viewed at www.mpg.org.uk/mpg-awards/2015-short-lists. The 2015 Music Producers Guild Awards features 15 categories in total, three of which are chosen by the MPG Awards committee. The remainder are voted for by MPG full members. www.mpgawards.com www.mpg.org.uk
Awards host Rich Hall
Howard of Disclosure
Cinema sound PSNE goes to the flicks Online marketing Best practice on the infobahn NAMM review Did the industry start 2015 with a bang? ISE review Audio firsts from Amsterdam
MARCH Amplifiers Radio accessories Prolight + Sound preview
APRIL Flood, Alan Moulder and Foals’ Edwin Congreave
Training Networking update Prolight + Sound review
EVENTS Your complete calendar of expos and conferences for the months ahead International CES 6–9 January 2015 Las Vegas, US www.cesweb.org
LLB 17–19 March Stockholm, Sweden www.llb.se
Rock am Ring 5–7 June Nürburg, Germany www.rock-im-park.com
EPIC 15–17 January Groningen, Netherlands www.eurosonic-noorderslag.nl
NAB 11–16 April Las Vegas, US www.nabshow.com
Rock im Park 6–9 June Nuremberg, Germany www.rock-am-ring.com
BETT 21–24 January London, UK www.bettshow.com
Prolight + Sound 15–18 April Frankfurt, Germany www.pls.messefrankfurt.com
MIDEM 5–8 June Cannes, France www.midem.com
PALME Middle East 11–13 May 2015 Dubai, UAE www.palme-middleeast.com
Isle of Wight Festival 11–14 June Isle of Wight, UK www.isleofwightfestival.com
PLASA Focus 12–13 May Leeds, UK www.plasafocus.com
Download Festival 12–14 June Donington Park, UK www.downloadfestival.co.uk
The Great Escape 14–16 May Brighton, UK www.greatescapefestival.com
Pinkpop 12–14 June Landgraaf, Netherlands www.pinkpop.nl
Eurovision Song Contest Grand Final 23 May Vienna, Austria www.eurovision.tv
InfoComm 13–19 June Orlando, US www.infocommshow.org
NAMM Show 22–25 January Anaheim, US www.namm.org Integrated Systems Europe 10–12 February Amsterdam, Netherlands www.iseurope.org Grammy Awards 5 February Los Angeles, US www.grammy.com Music Producers Guild Awards 12 February London, UK www.mpgawards.com
BVE 24–26 February London, UK www.bvexpo.com Brit Awards 25 February London, UK www.brits.co.uk ISCE 3–4 March Binley, UK www.isce.org.uk Event Buyers Live 4–5 March Luton, UK www.eventbuyerslive.com PSNPresents... 12 March London, UK www.psneurope.com
12 l January 2015
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PSNTraining Britannia Row extends job offer programme
DIARY
By Jon Chapple
Sennheiser: Basic Wireless Mics
BRITANNIA ROW PRODUCTIONS is to extend its offer of one-year work contracts for a top graduate from each of its 2015 live sound technology courses. “The three top graduates from each of our 2015 courses will be given the opportunity to have an interview at Britannia Row Productions,” explains the live sound company, which also offers training courses, “[and] one of the three graduates will be offered a oneyear contract with Britannia Row Productions.” The first Britannia Row graduate to be given a contract with the company was Gonzalo Lopes, who finished his one-year term in September 2014. Since then, Lopes has worked on NFL International Series American football games and pre-game shows at Wembley Stadium, London, and with singer Tom Jones at a recent performance.
The next one-year full-timer is Jason Thomas, whose year finishes in December. Recent work for Thomas includes working on shows by Belle and Sebastian, The Maccabees and Bocelli, and at the album launch for new Pink Floyd album The Endless River. He will also be working with Noel Gallagher’s High Flying Birds and Florence and the Machine early next year. Third top graduate Tim Lawson-Mole’s year would have run from April 2014 to March 2015 – but he accepted a full time position in Britannia Row’s operations department in May, where “he is already a very valuable member of the team”. “Could you be the working at Britannia Row at the beginning of April?” asks the company. “If the answer is yes, call 0208 874 0182 or visit the Britannia Row Productions Training website.” Q training.britanniarow.com
14 January 2015 and Monitoring Where: Theatr Clwyd, UK en-uk.sennheiser.com
29 January Yamaha Live Sound Surgery (Wembley Music Centre) Where: London, UK www.wembleymusiccentre.com
Evgeny Tolmachev, the top student from the July live sound technology course, being awarded his certificate and a one-year placement with Britannia Row Productions
29 January Adlib: L-Acoustics K2 system training
Photo: John S. Turner
New Sennheiser UK sessions in Bucks and Flintshire Theatr Clwyd
By James Groves SENNHEISER UK has released the dates for its first training courses for 2015, which include new location Theatr Clwyd in Mold, Wales. Training is available for any skill level. For new and existing users wishing to further their understanding, the Basic Wireless Mics and Monitoring course is available at the Theatr Clywd, Mold, on 14 January or Sennheiser UK’s headquarters in Marlow, Buckinghamshire , on 14 April.
For the more advanced user, the Wireless Mics and Monitoring: The Master Class course will run on the 15 March at Sennheiser UK in Marlow. This two-day course is designed for those who have already completed Basic Wireless Mics and Monitoring. Both courses are run by Sennheiser UK’s engineering and technical sevices manager, Tim Sherratt, and chief engineer Andy Lillywhite. For more information, or to book a place, visit en-uk.sennheiser.com/about-sennheiser-pressshows-events-sound-academy. Q
Where: Liverpool, UK www.adlib.co.uk/events
4 March Stagetec: HighTecDay Where: Buttenheim, Germany www.stagetec.com
A range of commercial packages are available Contact advertising manager Ryan O’Donnell on +44 (0) 20 7354 6000 or rodonnell@nbmedia.com
Soundcraft Vi series The Essentials: training dates announced for 2015 8 rules for bands on the road By James Groves
Peter Sotos is the owner and co-founder of Epic Proportions Tour, a music concert series which books national tours for unsigned bands and artists in the US. Here are his eight top tips for touring bands and their sound crews 1. Pack light Let’s face it: you’re just going to wear the same two pairs of skinny jeans all tour long, so bring some of those laundry soap pods for quick and easy washes. 2. Network with other bands Find some good-drawing bands and have them help put the show together for you. You should be doing the same for other small touring bands coming through your city. 3. Concede, concede It’s not always necessary to be right all the time – keep the peace and the tour will go smoothly! Q Read the full article at www.psneurope.com/training
UK AND ROI SOUNDCRAFT distributor Sound Technology has announced further training dates for the Vi series of consoles for 2015. The course is held at Soundcraft’s Potters Bar, Hertfordshire, head office and factory, with an opportunity to visit the factory floor to see the Vi manufacturing process. The exception is the January 2015 session, hosted by Adlib in Liverpool. Presented by experienced Vi series engineer and Adlib director Dave Kay, the training is relevant to the Vi6, Vi4, Vi3000 and Vi1 desks, and also covers the new Soundcraft Realtime Rack plug-in engine. The course is free and open to engineers, venues and hire, as well as installation and production companies. Q www.soundtech.co.uk/professional-audio/soundcraft www.adlib.co.uk/department/training
14 l January 2015
www.psneurope.com
technologynew products James Groves compiles this month’s list of hot new products SHURE
5575LE What is it? A limited edition Unidyne dynamic microphone, marking the 75th anniversary of the iconic Shure 55 Unidyne in 1939, used by celebrated figures including Elvis and Frank Sinatra. Details: The 5575LE features current Unidyne III cardioid element, the instantly identifiable large outer grill, vintage badging, and a zinc die-cast finish, with a silver-finish desk stand. And another thing: Available in a numbered manufacturing run of just 5575 pieces, the 5575LE is supplied in an aluminium flight case with a 75th anniversary logo, including a certificate of authenticity. www.shure.co.uk AUDIONAMIX
ADX TRAX PRO
CYMATIC AUDIO
UTRACK24 What is it? A universal hardware recorder/player/interface in q 19” format.
www.audionamix.com What is it? The Pro version of award-winning automated melodic audio source separation software ADX TRAX. Details: According to Audionamix, Pro gives users the ability to edit their results by time and frequency, adjust gain, attenuate or remove sounds and correct audio anomalies using effective restoration tools. And another thing: The program’s spectral editor has the ability to work between two files simultaneously, giving users the ability to switch back and forth between the music and vocal tracks to refine any isolation.
STEINBERG
UR12 What is it?A USB 2.0 audio interface with microphone and line inputs, class compliant support and premium audio.
Details: Featuring 24 analogue inputs and outputs, the uTrack24 allows 24 tracks of simultaneous recording direct to any USB hard drive. It features a DSP mixer, which allows for a dedicated mix down and monitoring of all 24 tracks over headphones and control room outputs. And another thing: Dedicated metering LEDs provide input level monitoring for all channels and two units can be synchronised to provide 48 independent tracks. A USB interface allows for use as a 24 x 24 interface with Mac, Windows and iOS. www.cymatic-audio.com
AKG
APS4 ANTENNA POWER SPLITTER What is it? A wide-band UHF active antenna power splitter feeding up to four receivers.
Details: The UR12 features 192 kHz audio quality alongside a microphone input with D-PRE preamplifier, one high-impedance line input, plus line outputs.
Details: The APS4 can be operated in an extended frequency range of 470 to 952MHz for maximum flexibility and is available for DMS700, WMS4500, WMS470 and WMS420 receivers. Adjustable RF-level attenuation settings guarantee maximum operating distance. The APS4 works with all active and passive AKG antennas available on the market.
And another thing: It has a Neutrik XLR connector for microphones, and a high-impedance jack input, each with gain control and peak indicator, along with a headphones output, a master output volume control together with a direct monitor switch for zero-latency monitoring of the input signal.. www.steinberg.net
And another thing: For easy system setup, the APS4 is shipped with additional accessories, including 10 BNC antenna cables, plus a rackmount unit, including two antenna front-mount cables. www.harman.com
16 l January 2015
showpreview
www.psneurope.com
NAMM
When? 22–25 January
Wham, bam, thank you, NAMM James Groves looks at the pro-audio companies kicking off 2015 in style at the Anaheim Convention Center NAMM 2015 is upon us, offering all the latest music products and sound innovations over a four-day event in Anaheim, California, US. The show gets underway on 22 January, with more than 1,500 exhibitors representing over 5,000 brands over the course of the event. Also on offer are over 70 free educational sessions at the HOT (Hands-On Training) Zone, featuring such music and sound luminaries as Stewart Copeland, John Meyer, Dave Pensado and Herb Trawick. While NAMM is an exclusive, trade-only music products event, there are a limited number of badges available for qualified buyers seeking out the latest products in pro audio, sound and lighting. Here’s a round-up of what you can expect to see in Anaheim…
AirTurn will showcase goSTAND, a portable microphone stand that supports digital tablets and other gear used by musicians, speakers and presenters. At less than 18” (45cm) when folded, the goSTAND fits into most backpacks and carryon luggage. The goSTAND adjusts to uneven surfaces and varying base circumferences, with a 2.6lb (1.18kg) stand that keeps attached objects stable and secure. Gear can be mounted on the stand using a standard 5/8”–27 mic thread fitted on top with a locking nut. The goSTAND is suitable for both seated and standing musicians and works with all AirTurn tabletmounting systems. Additionally, Airturn is offering the goSTAND Telescoping Boom, a collapsible accessory. The boom, which can also be mounted using a standard 5/8”–27 mic thread, is 16” in length and weighs less than 1.3lb. Blue Microphones is to present Hummingbird, a Class-A smalldiaphragm microphone. With a precisely tuned diaphragm based
on Blue’s B1 capsule, Hummingbird is ultra-responsive and delivers extended frequency response for drum overheads, acoustic guitar and “any other instrument with fast transients and rich overtones”. It features an adjustable pivoting head that allows for 180 degrees of rotation, so users do not need to adjust the stand. Blue will also showcase its Mo-Fi audiophile headphones with built-in headphone amp. Harman brand dbx will showcase its AFS2 Advanced Feedback Suppression (AFS) processor. Designed to eliminate feedback from a PA system, Harman describes it as “is ideal for bands, DJs, live sound and fixed installation applications”. Newly upgraded features include the Wizard auto-setup function and a completely redesigned AFS module. The AFS2, the successor to the AFS224, features a full LCD display, 24 LED meters per channel for setup and monitoring and up to 24 programmable filters per channel with filter Qs up to oneeightieth of an octave, while a new
DPS module provides for “faster and more focused filter sets” in both fixed and live mode. IsoAcoustics will present Aperta, its new line of sculpted aluminium acoustic isolation stands designed for medium-sized studio monitors and speakers. Aperta, Italian for “open,” is intended to describe both the stands’ design and the sound. According to IsoAcoustics, Aperta stands “set a new standard for acoustic isolation and performance”. The product features an innovative integrated tilt adjustment that enables the user to dial in the optimum tilt angle, with gradation markings provided to ensure the precision of the angle adjustments. Mogami is to introduce a new series of platinum cables for guitarists. The Overdrive range includes both guitar and speaker cables, available in a variety of lengths. Overdrive cables contain no electronics (“just pure copper”) and were developed to “deliver the original sound of the instrument with no coloration”. According to Mogami, Overdrive speaker and platinum guitar cables work well independently of one another, but when combined offer “maximum, uninhibited performance from both”. (Pictured, top of next page!)
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NAMM
showpreview
Fee-standing use has no impact on its bass response.
New from MXL is the GOLav lavalier microphone, which enables GoPro users to record their own commentary onto their cameras. The GOLav, which has a lowprofile, right-angle connector compatible with GoPro cases, works with the GoPro Hero3, Hero 3+ and Hero4 cameras. It is the first lavalier microphone for GoPro that has a right-angle mini-USB connector built into the microphone cable, meaning adapter is needed. Complementing the release of GOLav is the MM-C003GP microphone adapter, which allows any microphone with a 3.5mm connector to be used with the GoPro Hero3, Hero3+ and Hero4 cameras, and the MM-4000 mini mixer for mobile phones, tablets, DSLRs and computers. With the MM-4000, users can record audio to a device using up to four electret microphones simultaneously, turning four analogue inputs into one analogue or digital output. The MM-4000 is compatible with all MXL Mobile Media microphones, and also allows users to record multiple microphones on the go.
PMC will be launching a new addition to its twotwo range of active nearfields at the NAMM Show. The sub2, a subwoofer designed to provide greater headroom and dynamics than its smaller sibling, the twotwo sub1, is a low-distortion, active subwoofer featuring PMC’s ATL bass-loading technology, Class-D amplification and DSP-based filtering and bass management.
The sub2 can be deployed in a 2.1 configuration with twotwo series monitors to gain extra bass extension and headroom. The system is designed for situations where midfield performance levels are required, but larger monitors are inconvenient. It features an AES3 input with built-in, highquality sample rate converter, meaning it can accept digital signals at sample rates between 32 and 192kHz. In addition to the full twotwo range, PMC will also be demonstrating the recently launched QB1-A main studio monitor. It includes a Class-D active ATL speaker with analogue and digital inputs, along with headroom (4825W per channel) wedded to pinpoint dynamics for “speed, depth, accuracy and power”. The QB1 has a maximum SPL of 132dB at one metre.
Sonnox will introduce the Fraunhofer Pro-Codec version 3, which represents a significant update to what the company calls the “single most powerful audio encoding plug-in for digital audio workstations”. V3 features a standalone ‘manager’ application which facilitates metadata editing and batchprocessing capabilities, making the task of encoding multiple files substantially more efficient. Pro Codec version 3 (below) will be compatible with a number of DAWs, including Pro Tools, Logic, Cubase, Nuendo and Sequoia.
Triad-Orbit will showcase its range of Triad stand systems. The Triad Mini, T1, T2 and T3 stands, which range in size from 13.25” to 78.5”, utilise professional-grade clutches in lieu of knobs and thumbscrews to adjust and secure shafts and bases, and knurled metal clutch barrels are coated to provide an ergonomic grip that the company says yields more torque. Each leg of a Triad base has four ratcheted positions that provide a pitch of up to 65 degrees to accommodate boomless front lines, uneven surfaces and stacking. A foot-actuated latch on each leg provides hands-free adjustability. Q ww.airturn.com www.bluemic.com www.dbxpro.com www.isoacoustics.com www.mogamicable.com www.mxlmics.com www.pmc-speakers.com www.sonnoxplugins.com www.triad-orbit.com
Slash to receive Les Paul Award at 30th Annual NAMM Tec Awards, Sinbad to host Former Guns N’ Roses guitarist Slash (pictured) will receive the Les Paul Award at the 30th NAMM Technical Excellence and Creativity (TEC) Awards on 24 January. The NAMM TEC Awards, held on the third night of the NAMM Show, in Anaheim, California, honour individuals and companies across 30 categories for outstanding achievement in professional audio technology and production. The Les Paul Award – named for the legendary guitarist and inventor – recognises individuals or institutions that “have set the highest standards of excellence in the creative application of audio and music technology”. First awarded in 1991, previous winners include Pete Townshend, Paul McCartney, Brian Wilson, Stevie Wonder, Neil Young, Todd Rundgren and Peter Gabriel. The awards, hosted by American comedian Sinbad, will also see engineer and mixologist Ed Cherney and bassist Nathan East inducted into the TEC Awards Hall of Fame.
Audio essentials with Wes Maebe FOH engineer Wes Maebe will present a HOT Zone session at NAMM this year, offering guidance on how to provide the best services and products possible. The session will describe how to get the best out of the current climate of lower budgets, addressing issues such as what exactly is needed in the studio and the live venue; whether or not a your company needs the latest versions of equipment; and how to attract repeat business. Maebe is a board member of the APRS and has worked as a FOH engineer at over 300 venues and festivals all over Europe, touring with artists such as Sting, Chaka Khan, Hugh Cornwell and Paul Rodgers. www.wesonator.co.uk
18 l January 2015
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studio SOUNDBITES
Avid has regained approval to list its common stock on the NASDAQ Stock Market, the US’s largest stock exchange. The audio and video technology company was delisted by NASDAQ’s listing qualifications hearings panel in February after it missed a deadline to restate a number of financial statements. John Frederick, executive vicepresident and chief financial and administrative officer of Avid, remarks: “We look forward to generating sustainable, profitable growth as we execute our plan to unlock the full potential of Avid.” www.avid.com
The Audio Engineering Society held a successful interoperability testing event, or ‘PlugFest’, for its AES67-2013 networking standard at the Institut für Rundfunktechnik in Munich in October. The PlugFest offered the chance for manufacturers to test and experiment with AES67 protocols in a controlled environment. The AES67 standard offers highperformance streaming via audio over IP networks across a wide range of platforms and products, with a focus on “comprehensive interoperability recommendations” in synchronisation, media clock identification, network transport and connection management. www.aes.org Manley Labs has announced the appointment of SEA Vertrieb and Consulting as the company’s new distributor for Germany, Switzerland and Austria. “Manley products have always been some of the most respected in professional audio, and now that we have had an opportunity to work with them directly, it’s obvious to see why,” says Kirchfeld. www.manley.com www.sea-vertrieb.de Scrub, a division of HHB specialising in post-production, has supplied London’s Silverglade Post Production with a 16-fader Avid S6 M10 control surface for its 5.1-equipped audio dubbing studio. Scrub’s Devin Workman comments: “Silverglade is one of London’s leading documentary and short-form post facilities, and the addition of the S6 makes its South Bank studio truly state-ofthe-art.” www.hhb.co.uk
For the latest studio news www.psneurope.com/studio
UNITED KINGDOM
Real-life recording reborn in Runcorn Andy Bramhall expects his new Cheshire studio, Analogue Baby, to strike a chord with orchestral overdubbing and mixing clients, writes David Davies DEVELOPING A NEW studio would be a long, arduous journey for anyone in the current climate, but even by these standards Andy Bramhall has faced some remarkable challenges on the road to completing his new facility in the Cheshire town of Runcorn. However, after more than four years’ work, Analogue Baby is finally getting ready to greet the world. The founder and owner of prominent northern English haulage firm Bramhall Commercials, Bramhall has always maintained a passionate interest in music, playing guitar professionally and experimenting with loop and sampling technology. He created his first studio – primarily for use by his own band – in the late 1990s, but it was only much more recently that he decided to take the not insignificant step of developing a full commercial facility. Now Bramhall has gone about shaping a studio that he feels is “really unique outside of the M25. The specification we have here – based around the AMS-Neve 88RS – means that for mixing, in particular, I think we have no competition outside of London.” The current drift away from using commercial studios for rock bands means that Bramhall has limited hopes for that demographic – “although clearly we would love to have some great projects like that here”. He is more hopeful of being able to attract orchestral overdubbing sessions for film and gaming projects, not least
No shortage of outboard, then!
because Analogue Baby falls within a handy catchment area for several internationally respected ensembles, including the Liverpool Philharmonic and the Manchester-based Hallé Orchestra. But it is mixing and mastering where Bramhall thinks he could “really make an impact”. Celebrated recording and mix engineer Geoff Foster is set to be one of the first clients to make use of a 500sqft daylightlit control room that includes a 60-channel AMS Neve 88RS with SP2 scoring panel, stem maker and 5.1 ATC main monitoring system. Expect a more detailed examination by PSNEurope of the new studio later in the year, but for now Bramhall is understandably delighted to have finally completed a studio that he believes “brings something fresh to the studio scene in the north of England. We have a great team of
“The specification we have here – based around the AMS Neve 88RS – means that, for mixing in particular, I think we have no competition outside of London” Andy Bramhall, Analogue Baby owner Geoff Foster will be here in 2015
engineers from LIPA that we can call on, and we are all looking forward to getting started.” Q
www.analoguebaby.com www.facebook.com/ analogue-baby debs@bigsoundpr.co.uk
20 l January 2015
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Remic microphones captured the sound of the stringed section of the Aarhus Symphony Orchestra playing music from the Pirates of the Caribbean films on 30 and 31 May 2014
studio DENMARK
Mic and the mechanic Jon Chapple meets veteran engineer Thorkild Larsen, who promises a huge leap forward in mic technology with his new company, Remic Microphones “WE HAVEN’T found any record of any attempt to do as we do,” Thorkild Larsen, founder and CEO of Remic Microphones, tells PSNEurope. The Silkeborg, Denmark-based based manufacturer, founded in 2012, promises to offer the revolutionary – “the best suppression of acoustic feedback ever achieved” – with its line of microphones for classical musical instruments. “The reason for this is that microphone evolution has stalled for the past 90 years,” he continues. “Manufacturers has been looking to one another: some new materials and designs have been implanted, but none have taken it to the point [where they can] find out how the individual instrument works in an acoustic matter – and how the artist and sound engineer ‘feels’ or ‘experiences’ the sound of these instruments amplified in stage monitors or PAs compared to the sound of the acoustic instrument.” Powered by SAM (Soundboard Area Microphone) technology – which Remic states allows the sound of an instrument to be “partly captured immediately after the first air molecules are set in motion by the soundboard of the instrument” and partly “in a limited and strongly controlled nearfield, which captures the overtone registry of the instrument” – the aim is, of course, to eliminate pollution from unwanted sources of sound, like reflections from the venue, PA system, stage monitors and other instruments. To this end, the company has based its microphones, designed in collaboration with musicians, instrument-builders and sound technicians, on individual instrument groups – so, there are microphones for violin/viola, cello/violone and double bass, as
well as live and studio kits for a string quartet (each microphone comes in two models: a live version and a studio version). The microphones are condenser microphones, as opposed to dynamic or piezoelectric models, and, as such, deliver sound that is “incredibly honest towards the instrument”, says Larsen. Doesn’t Larsen worry that artists and engineers will baulk at paying out a not-insubstantial sum – each mic retails for $900 (£575/€730), while the string quartet kits will set you back $3,800 (£2,430/€3,075) – for individual instrument microphones when a universal mic will, for most people, do? “We are aware that this might be a big mouthful for both musicians and sound technicians who have been accustomed to so-called universal microphones that can be utilised for strings, piano, drums, horns, etc,” he explains, “[but] no instrument is the same. The reason for the numerous and specially designed microphones for each instrument is to be found in the fact that every instrument behaves wildly differently, which entails a different signal-wise treatment of the instrument in question. “We know that musicians invest vast sums in finer instruments, and for the same reason we believe that they should also have the opportunity to choose the perfect solution for a precise and more refined tonal reproduction.” But he does concede that “yes, [the cost] sometimes becomes an obstacle”, as “many have been raised to use a universal mic, even though it often causes a lot of problems, especially in live productions”. An electronic engineer, musician and sound technician (live and studio), Larsen
founded 2R Danish AV Research – which specialises in audio and video equipment for broadcast, including project design for Danish national TV and radio – in 1995. He built his first microphone, the IM164 series, for studio and live recording, the same year. “It [originally] sounded funny,” he says, “but I kept on working on it until I finally had a mic sounding absolutely perfect – a universal mic that could be used for all kind of instruments.” The IM164 was later sold to Carl Martin, which manufactured it as the 2R IM164L from 1999 to 2003. Larsen “started all over again” in 2009 after “many artists and techs asked us for more mics”, sowing the seeds of what would become Remic. “We started research involving classical instruments, bowed instruments and the grand piano to find out how these instruments actually worked,” he explains. “In this way, we could design the final mics for these instruments. “We got in touch with instrument builders, artists and sound engineers to gather
The Remic Microphones L series for bowed instruments
info regarding each instrument and how the artist and sound engineers actually experienced their sound. We also worked closely together with worldfamous Danish jazz pianist Niels Lan Doky in the process designing the first prototype of the P6000 microphone for grand piano. Finally, after thousand of hours of research, we came up with some good results.” Those good results are currently available for classical bowed string instruments (although Larsen says “pop, rock and heavy metal bands [already] use our mics” onstage for bowed instruments), but the company recently announced the launch of prototypes of drum and brass/woodwind mics, on sale in Q1 2015, and a vocal mic is “in progress”. Dealers in Denmark can order Remic products through
its Danish distributor, Alfa Audio, while customers in the rest of Europe and the US can buy direct from Remic. (Larsen is, however, positive about the company’s fledgling “connections with stores in the UK, [Republic of] Ireland and Sweden”.) So, that’s Remic, then – another innovative manufacturer spawned by a country that seems to be a breeding ground for microphone companies. Is it something in the water? “It’s definitely in the water – in the water of the Danish beer!” laughs Larsen. “No, we have a long tradition of developing audio, [with] companies like B&O, Brüel & Kjær, Lyngdorf Audio, Wilson Pickups and more, so maybe it’s in our genes!” Q www.remic.dk www.alfaaudio.dk
Alphabeat’s Stine Bramsen tests the SE4077 vocal mic
22 l January 2015
The G. Lettimi Orchestra Photo: Gianluca Gardini
studio
ITALY
Everybody’s Tolkien Young Italians set the Middle-earth of The Silmarillion to music, finds Mike Clark FOUR YOUNG Italian musicians and composers recently saw a dream come true with the recording of their original music inspired by the Music of the Ainur, the first part of JRR Tolkien’s The Silmarillion, in the suggestive location of the 15th-century Scolca Abbey on the hills overlooking Rimini. The recording, by the 23-piece G. Lettimi Orchestra, featured members of the church’s musical chapel and comprised five first and four second violins, two violas, four cellos, double bass, two flutes, oboe, clarinet, french horn, trumpet, tympani and piano. For the project, based on an idea by Ivan Tiraferri in collaboration with Nicolò Facciotto and Federico Mecozzi, the music was composed by the threesome and Mattia Guerra, the orchestra’s pianist. Called in for the recording, Cristian Bonato, musician, sound engineer and owner of the Numeri recording studio (Cavallino), fielded a Pro Tools HDX system with an Avid 16x16 card and an interesting series of microphone preamps. The pres ranged from a Millennia HV-3D to a Neve 1073 DPA, an Amek Neve 9098,
Cristian Bonato and Fulvio Mennella prepare for recording
a pair of Avalon VT737sps, an API 3124+ and a Brunetti PAR 400. The last of these is an original version of a unit that made such a name for itself when launched in the ’90s by a small company from Modena that it became a collectors’ item, and an updated version has recently been launched. Bonato explains: “Apart from the Millennia, which is very linear and particularly suited to classical music, I purchased the units in various periods and discovered the Brunetti thanks to a colleague who let me test it. Although not well-known outside Italy, I find it really great and not too ‘soft’.” For the event, Bonato called on the assistance of Fulvio Mennella, who, as well as his considerable experience as a sound engineer, could also be counted on for his musical ear, being both a musician (bass and electronic music) and composer, with several soundtracks to his credit. The contemporary classical ‘soundtrack’ written by the young composers/musicians (Tiraferri and Mecozzi played violin in the orchestra and Facciotto conducted) perfectly reflects Tolkien’s atmospheres, which narrate how the Ainur (or ‘Holy Ones’) were the first
“Melkor weaves opposing music”
sketch by Ted Nasmith beings created by Eru Ilúvatar (‘The One’ or ‘Father of All’) before the universe was created (with Arda, or Earth, at its centre) by the music sung by the Ainur in response to themes introduced by Ilúvatar. Bonato therefore studied microphone choice and placement carefully to cater for the great variety of atmospheres created by the orchestra; from
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studio The Ainur by Jef Murray (www.jefmurray.com)
The recording session viewed from the organ loft the galloping horse of Oromë, the huntsman, to the touchingly ethereal parts and the chaotic jarring music of Melkor. He explains: “I used Shure
SM 137 mics on the flutes, as they combine a smooth high end with a tight, controlled low end and are suited to both acoustic and high-volume performances.
I used Neumann KM 184s with XY mic technique, plus a pair of Neumann U 87s for A/B stereo. The spot mics on the strings were AKG C414
XLS multi-pattern condensers, which are very versatile so were also used for oboe, clarinet and French horn. The trumpet had a Voodoo VR1 ribbon microphone from sE electronics, which I chose for its superb detail and open natural sound. The tympani, placed behind the altar to reduce sound spill, each has a Sennheiser 421, and for a little additional ambient, we placed a Røde NT1at the end of the nave.” Thanks to the painstaking placement, the sessions went perfectly. “The church may be
old, but it’s got a really good sound,” Bonato concludes. “A lot better than the majority of modern ones!” Q www.akg.com www.amek.com www.ams-neve.com www.apiaudio.com www.avalondesign.com www.avid.com www.brunetti.it www.mil-media.com www.neumann.com www.rodemic.com www.seelectronics.com en-de.sennheiser.com www.shure.com
24 l January 2015
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studiofeature
Monitoring: the situation What resolutions could the monitoring market make in 2015? As Erica Basnicki discovers, that just might not be necessary…
IT’S THAT time of the year when well-intentioned people crowd into fitness facilities and buy loads of gluten-free organic probiotic paleo-friendly snacks (read: kale) all in the name of feeling better about themselves. Meanwhile, the monitor sector seems to be enjoying an enviable sense of satisfaction about the way business is going – without having to resort to ‘whole food’ measures (or any other, for that matter). To what does this particular
market segment owe so much contentment? PSNEurope spoke to some of the manufacturers who have made headlines recently in order to find out. VARIETY FOR EVERY TASTE With apologies to anyone who has resolved to drink less this year (or at least this month) imagine a world with just half a dozen bottles of wine available: red, white, rosé, sparkling, sweet and fortified. How terribly
dull! Our tongues are tempted by nuance (even if not all of us have tongues refined enough to taste it). This is why there can never be too many vintners; there is a flavour for every palate, every meal and every budget. Wine is to a drinker’s tongue as studio monitors are to an engineer’s ears; it’s an incredibly nuanced piece of kit available in a myriad of sonic flavours to suit any audio project going, and there is room for everyone
in the market. At least, this is the impression given by some of the monitor manufacturers who released new products in 2014: “The market is pretty segmented,” says Lars-Olof Janflod, Genelec’s marketing and PR director. “We are moving in the higher end and do not really compete with lower cost products in the MI sector. We are also selling more than a product; we solve problems for customers and also sell a service.” At the 137th AES Convention in Los Angeles, Genelec launched the 8351 Acoustically Coaxial three-way Smart Active Monitor system, and the reaction has been very strong indeed, says Janflod. “We are even getting orders from end users who have not even heard them, so that’s got to be positive enough.” According to Genelec, the new monitor was developed “in response to the need for increasing audio perfection in acoustically challenging production environments”. Its main feature is the tight link between the mechanical, acoustical and signal-processing designs, creating a new monitoring system unlike any in the professional audio industry. Also launched at AES were the first two models of JBL Professional’s new 7 Series Master Reference Monitors, the 708i and the 705i. According to Peter Chaikin, senior manager, recording and broadcast Marketing, at JBL Professional, the response from users was equally as enthusiastic: “We received a tremendous response to our new 7 Series studio monitor line at AES, particularly from members of the post-production and broadcast communities. Attendees auditioned new fiveinch and eight-inch models alongside our 15-inch M2 Master Reference Monitors. The low-frequency performance of the 7 Series Monitors is so impressive; I’m not exaggerating when I say some listeners assumed they were hearing the big M2s when in fact we were playing a pair of the little fiveinch 705is. That’s how powerful the 7 Series monitors are.” In the UK, PMC boasts a unique relationship with the National Physical Laboratory (NPL), which has developed a laser-based acoustic measurement technique called Rapid Acousto-Optic Scanning
All SP Acoustics monitors are hand made by managing director Steve Phillips...
...soundtrack composer and writer Marc Canham is a big fan
Not “dumbing down”: PMC’s Keith Tonge shuns courting mass-market appeal
JBL’s Peter Chaikin: “Expectations for studio monitor performance are also on the rise”
26 l January 2015
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studiofeature that has helped develop the company’s new QB1-Areference monitors (among others). The first pair of PMC’s ultrahigh-resolution monitors was recently sold to the legendary Capitol Studios in Los Angeles in October 2014, home to legendary artists such as Frank Sinatra, Nat King Cole and The Beach Boys. “It’s a large-scale studio monitor of the highest possible quality in terms of resolution, transparency, dynamics and frequency response, and is honed to reduce any type of colouration to insignificant levels, which might be why Capitol Studios have chosen it for Studios A and B,” says PMC creative director Keith Tonge. “It incorporates various recent design advances, such as the ‘light-touch’ DSPbased crossover management we included in the IB2 XBD-A and twotwo. Generally, the design required us to holistically refine every element that has a bearing on speaker performance, including drivers, cabinet, crossovers, and our core ATL transmission-line technology.” PMC’s new year celebrations are being extended to this year’s Winter NAMM Show, where the company will be launching its new twotwo sub2 active subwoofer (see the NAMM preview on pages 16 and 17). EVEN FOR SMALL BATCHES “Nothing that I do is particularly
DYNAUDIO: NEW YEAR, NEW OWNERS, NEW OPPORTUNITIES Dynaudio Professional begins 2015 under a few months under new ownership, having been sold to Chinese consumer electronics company GoerTek in October. The deal will see Dynaudio’s co-founder, Wilfried Ehrenholz, remain a minority shareholder who is said continues to contribute to product and marketing strategies. At last year’s Prolight + Sound in Frankfurt, the company launched an expanded version of its BM range of studio monitors. New to the lineup are the BM Compact mkIII, BM5 mkIII, BM6 mkIII and BM12 mkIII and the BM9S II and BM14S II subwoofers. The new range features expanded frequency response and improved SPL due to the addition of Class D amplifiers and improvements to the design.
The original BM Series was launched 15 years ago. In a statement from Dynaudio, CEO Lars Prisak (pictured right) suggests that under control of GoerTek, some brand new products may be available in the nottoo-distant future: “This is a unique opportunity for Dynaudio. We have developed and produced the world’s best speakers for many years and, based on our strong DNA and culture, I look forward to developing and launching Dynaudio version 2.0. We are already well on our way in the launching of new technological platforms, and with our new owners we will get brand-new opportunities – and the ambition is clear: Dynaudio will develop and deliver the world’s best sound systems for sound studios, homes and cars.” www.dynaudioprofessional.com
technologically advanced,” admits Steve Phillips, managing director of Stroud-based SP Acoustics. Two of the company’s products – the SP1 and SP25 monitors – have gained enough popularity to have been developed into a range distributed in Europe by KMR Audio. But for the most part, Phillips specialises in bespoke, ‘single batch’ offerings of the highest standard. The ice wine of studio monitors, Phillips’ approach depends first and foremost on high-quality components.
New Genelec 8351A monitor: “We are even getting orders from end users who have not even heard them,” says Lars-Olof Janflod
JBL’s new 7 Series monitors are designed to take on immersive audio formats, and in “challenging” production environments
“The wheel on your car is still a wheel, which was designed a long time ago, but there’s a difference in technology of the materials. There is a point when the material becomes part of the technology I think, and that’s what I do. I try to use the best possible materials, and everything is handmade.” Phillips formed SP Acoustics after years spent as a live sound engineer, followed by a 15-year stint at Acoustic Energy, primarily working as head of R&D. He may not sell monitors by the thousand, but the demand for his work is there. Recently, composer and writer Marc Canham installed a pair of SP Acoustics SP25M monitors and SP2250 amplification in his studio based just outside Oxford.
Canham’s music can be heard on well over 100 soundtracks for film and video games, including inFamous: Second Son, Far Cry 2 and The Disappearance of Alice Creed. “Working on the SP25M monitors is a joy,” says Canham. “The detailing and openness is phenomenal... I can sit in my studio for 18 hours solid when I’m in crunch mode and they are still a pleasure to work with and deliver sound I can trust 100 per cent.” Unlike the major players who are continuously seeking out the latest and greatest monitor design technology, SP Acoustics’ focus has always been in the simplest kind of cabinet; the infinite baffle. “Everything I make is all sealed box because that’s the way I think it should be done. The design principles I’m using go way back to the 1950s. There’s no major leap in technology, but there is an awful big leap in materials. In the past people stopped using sealed box because they wanted to get more bass
SP Acoustics SP25M
from the monitor, or wanted it to be smaller and more efficient. I can now provide that bass extension and that efficiency. The drawback with that is I have to do that using really modern components… and they’re expensive. But you get what you pay for.” THE FUTURE IS ROSÉ If the monitor market has a comfortable feel to it, that certainly hasn’t made manufacturers complacent in their pursuit of ‘perfect’ sound reproduction. Even with fresh products on the market, Genelec, JBL and PMC are all considering their options for the future, and how engineer’s tastes might change. “In the 90s a lot of the focus was on higher SPLs – luckily some sense came into the market and this need has been somewhat dampened for some time, but now seems to be coming back again,” says Janflod. “I am not sure why, but it may have something to do with the fact that the EDM scene has grown in to such prominence. This will have consequences in the future for many people working in this industry and their hearing.” Ultimately, what consumers are listening to is also having an impact on what is required in the studio. Chaikin sees a market that is growing, and along with that “expectations for studio monitor performance are also on the rise. The new 7 Series is JBL’s response to the call from broadcast and post production facilities for a next-generation,
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studiofeature world-class monitoring system, to take on immersive audio formats, in a broad range of challenging production spaces.” Ultimately, there is a sense of freedom within the market for individual companies to put the damn kale down and continue to do what they do. Summing up this feeling, Tonge concludes: “We decided long ago that there’s no sense in competing at the low end of the market – there will always be someone who can build a speaker more cheaply. Our existing customers, in both the professional and hi-fi markets, demand the highest possible standards, and that’s what future customers look to us to provide. So far from dumbing down or courting mass-market appeal, we’re heading in the opposite direction.” Sounds good to us. Now pass the cabernet… Q www.genelec.com www.jbl.com www.pmc-speakers.com www.spacoustics.co.uk
HAPPY NEW YEAR? ADAM AUDIO HOPES SO... In November 2014, ADAM Audio announced it was restructuring its business after having filed for bankruptcy. At the time, CEO Klaus Heinz told PSNEurope in a statement that “too fast a growth with too many products created a capital demand we could not raise”. Although the news worried ADAM customers, as evidenced by comments left on the company’s social media profiles, a month after the initial announcement ADAM maintained its position of confidence that it will be business as usual in early 2015. And then – sure enough – two days before this month’s magazine went to press, the good news. New German investment company CWM acquired all of the assets of loudspeaker manufacturer ADAM Audio) on Friday 11 December, with the twofold plan of to bringing production back up to speed and investing in new product. CWM is a Munich-based holding company formed by financial
entrepreneurs Sebastian Canzler and Ferdinand von Wrede. Canzler says: “ADAM Audio is known worldwide in the pro-audio industry for its superb speakers. Due to the high precision and quality of the products as well as the large technical expertise of its employees, the company has become very quickly a leading supplier of professional audio monitors. All of this provides a very good basis for further growth, which we strive for together with the existing team.” Sven Schmöle, managing director of ADAM Audio since February 2011, says: “With CWM we have a partner on our side that supports our passion for innovation and helps us realise our full potential. Our task now is to resume production as soon as possible in order to supply our customers with products again.” ADAM is represented in more than 75 countries and works with its own subsidiaries in the USA, the UK and China. www.adam-audio.com
ADAM Audio A7 monitors at the end of the produciton cycle
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For the latest broadcast news www.psneurope.com/broadcast
broadcast SOUNDBITES
RTW, the market leader in visual audio meters and monitoring devices, will implement the Institut für Rundfunktechnik (IRT)’s patented Continuous Loudness Controller into future broadcastfocussed audio equipment. RTW says the partnership, announced at the 28th Tonmeistertagung, will “expand the [its] line of products, further supporting the changing industry needs of the state of loudness control”. Continuous Loudness Controller technology allows users to continuously readjust the level of audio material against a given programme loudness value and definable loudness range in real time, with “minimal artefacts”. www.rtw.com
BBC S&PP’s Andy Tapley and freelance lead sound supervisor Tony Revell evolved what they describe as an “elegant workflow” for Strictly Come Dancing’s Blackpool show in November, mixing it entirely on three Studer digital consoles. For the first time, the topology was based on a conjoined Vista 8 and Vista 5, which together carried all band, orchestra and music circuits, as well as the audience mics, presenters’, judges’ and vocal mics. www.studer.ch A Neumann 5.1 surround system has been installed at Calrec’s headquarters in Hebden Bridge, Yorkshire. The new install will, according to Neumann, “allow [Calrec’s] clients to accurately experience the superior audio quality of Calrec broadcast consoles through Neumann KH Series studio monitors”. www.calrec.com www.neumann.com The International Association of Broadcasting Manufacturers (IABM) has concluded its 10th Annual International Business Conference and Awards, releasing key findings from its research study. These included year-on-year sales growth of 7.7 per cent, year-on-year profit growth of 11.2 per cent and 68.1 per cent of companies in profit. “The industry is still in a state of unparalleled change,” says CEO Peter White, “and while we deal with the challenges associated with this shift, it is heartening to see that overall the outlook is positive. www.theiabm.org
UNITED KINGDOM
Broadcast at the networking crossroads? IT infrastructures and networks have been concentrating the minds and facilities of broadcasters in recent years but, as Kevin Hilton reports, there is still some way to go THE MOVE TO file-based operations in broadcasting has highlighted the importance of networking for interconnecting both within and into television and radio centres. The assumption is that this way of moving audio, video and data is now well established but, as highlighted by a conference on the subject held during December and another to be staged by the UK Digital Production Partnership (DPP) later this month, there is still discussion over how much is being done and what might happen in the future. In his introduction to the Audio Networking Forum in London, event chairman and Audio Engineering Society standards manager Mark Yonge commented that although networking was now in the spotlight, there was still some confusion and debate over what it was about. “It’s streaming audio over a network,” he clarified, “not file exchange, which is pretty much known, or voice over IP. And it means production grade audio, PCM at 48kHz and 24-bit, or better, for broadcast, music or live sound.” The different formats – both protocols and standards – vying for supremacy claim to deliver this and were presented to an audience of engineers from all three sectors. The early front runners in the networking race are seen as the two audio over IP (AoIP) contenders, Dante and RAVENNA, but the perceived also-ran, AVB, was given a strong push by Jan Eveleens, chief executive of
Axon Digital. Eveleens outlined the technology and intentions behind AVB, including its potential as a replacement for SDI (serial digital interface) system in broadcasting. He added that the proposed IEEE 1722 layer-2 transport standard is aimed squarely at AV applications, countering suspicions that AVB and its second generation manifestation, TSN (TimeSensitive Networking), was concentrating on the industrial/ manufacturing side of its remit (see also p4). While a recent survey, presented by audio consultant Roland Hemming, showed that 58 AVB-compliant products were on the market, 32 were from just two manufacturers. This “skewed data” also applied to other formats, Hemming said: for example, 25 of 104 CobraNet amplifiers were made by one company. Hemming observed that a possibility was the creation of “protocol fiefdoms”, with “each being used for its benefits”; RAVENNA mainly for broadcast, Dante covering front of house and monitors and Q-Lan on back of house: “The question is whether AES76 [the AoIP interoperability standard] will be in the middle as the lowest common denominator. Patrick Warrington, technical director of Calrec Audio, outlined the development of the console manufacturer’s Hydra 2 routing and networking system and suggested that in future there might be “hybrid networks”. These would have
Hydra 2 for the studio centre or OB vehicle and then connect to an AoIP distribution network, which, he said, would “leverage the benefits of audio over IP.” A practical example of this was given by Martin Black, senior sound supervisor and technical consultant with BSkyB. Sky Studios features Calrec consoles in the sound galleries with two bays of Hydra 2 cores feeding them. In this way, Black explained, any control area could be used with any studio. Asked if it was inevitable that broadcasting would fully adopt AoIP as the basis of networking, Black said that some form of the technology would be used but “how long that would take is the $64 question”. Dan Page, sales application specialist at DiGiCo, described the company’s involvement in big events such as The Lion King and London 2012 using systems including Waves SoundGrid, BroaMan and Optocore carrying MADI over Cat-5 cabling. “No single network or protocol is able to deliver all the required features for every production,” he said, “so people will continue to use different network systems.” Roland Hemming said the impression he got from the conference was that although audio networking is less common in broadcast the sector “is better positioned to mass adopt audio networking” and that once control and interoperability of devices has been established, installation of networks “will happen quite quickly”.
Mark Yonge: “Still confusion”
Martin Black: AoIP question Claude Cellier, president of Merging Technologies, discussed using RAVENNA on the 2014 World Cup in Brazil, which involved 240 IP-based Lawo commentary units and 48 consoles, and concluded that the new step for networking should be “control, control, control”. Mark Yonge confirmed that the AES was working on control standards right now. The DPP, which has set the file delivery specifications for UK broadcasters, will be looking at broadband and network connectivity on 28 January at Channel 4’s headquarters in London. Q www.audionetworkingforum.com www.digitalproduction partnership.co.uk
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broadcast EUROPE
Quantum leaps Phil Ward analyses the new regime at Fairlight as the company targets live events FAIRLIGHT IS one of those names that strike a chord. Several chords, actually, to which 1980s pop testifies. But once the orchestral stabs of the groundbreaking CMI sampling keyboard had tailed away, a new age demanded a new business, and Fairlight’s digital audio roots germinated a fresh start in broadcast and post-production. In fact, the company has become somewhat a specialist in fresh starts, with successive generations of management navigating the brand from harbour to harbour through some choppy, and, dare we say it, SHARC-infested waters. The habit of renaissance persists. Last May, Fairlight consolidated a move into the live arena with the announcement that Philip Belcher, an experienced IT executive, had been appointed CEO following what was described as a “12-month recapitalisation, restructure and product development period”. According to Belcher, this has been a process that, once again, redefines Fairlight as a highly innovative pro-audio business. “The recapitalisation period commenced with Fairlight becoming wholly owned by KFT Investments – a private investment company – which has enabled substantially greater focus for the business.” he says. “Various initiatives were introduced, including an organisation restructure, the appointment of a new CEO and the resultant adoption of a renewed strategy that has strong emphasis on quality of both products and customer-focused processes. “In the past 12 months, we’ve
Fairlight EVO.LIVE 36-fader production console
launched a raft of new products, including new live consoles in the EVO.Live and QUANTUM.Live; a new version of our operating software; CC-2, a brand-new, second-generation audio engine that incorporates 1,000 playback channels, 100-plus output busses and 100 live inputs; and our 3D Audio Workspace platform. “The company is also about to expand its customer support offerings. These will enhance the provision of products that form part of the critical infrastructure for customers, many of whom are global industry organisations. In addition, we’re winning major industry awards, expanding our presence in new territories – in particular Asia and India – and we’re getting fantastic feedback from the market. Fairlight is definitely back to full strength and well positioned for a period of significant growth.”
As Belcher also points out, KFT Investments is a privately held company that does not divulge specific details about its business or the companies that it holds. It was founded by George Kepper, who previously founded and built Datacraft, a highly successful Asia Pacificwide data communications manufacturer and integrator which was listed on the Australian and Singaporean stock cxchanges. KFT has a broad range of investments with emphasis on companies that develop and market cutting-edge technologies to their respective industries: as well as pro audio they include biotech, aviation, agriculture, hospitality, aged care, property development and venture capital. At Fairlight, talk now is of the “next significant growth phase”, although, Belcher insists, this is not necessarily cornered on the live sector. “While live audio
and installation is definitely a key part of our strategy, we also see significant growth opportunities in the post arena,” he continues, “driven to some extent by initiatives for cloudbased collaboration platforms from Adobe, Quantel and Avid.” Other significant postrelated growth opportunities for Fairlight include the rapid increase in demand for channel and buss capacities, as well as the emerging 3D and objectorientated audio formats. The live sound market, Belcher adds, is a significant opportunity because its technical requirements are at a level that cannot be fulfilled using a basic, off-the-shelf PC. “Live sound demands systems that are highly dependable, always available, and that have a very fast response,” he says. “We’re coming in to this arena with a very different attitude and a different background to a lot of the
“While live audio and installation is definitely a key part of our strategy, we also see significant growth opportunities in the post arena” Philip Belcher, CEO, Fairlight
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broadcast The company has come a long way since the days of the Fairlight CMI sampler! other companies in this field. Fairlight is entering the live market with a demonstrated background of success in audio production. Our approach is to provide more than a live desk: the offering is a dualfunction console where you do your live production, record it and then afterwards do your post-production, all on the one machine.” Tino Fibaek, Fairlight’s Danish-born chief technical officer, acknowledges that the new generation of consoles is determinedly lateral while avoiding, at this stage, hardcore touring. “We are specifically targeting TV production, OB trucks, houses of worship and similar applications,” he says. “The range starts with the QUANTUM.Live with 12 faders – which is very compact and at a very affordable price point – and then moves through various other configurations to the largest EVO.Live console, with 60 faders. It’s a wide range,
but it’s all based on productions that are semi-stationary installations. “We’re going for economies of scale because we’re leveraging technology that we have already developed and are selling into the post-production market. When we originally designed the system, our long-term vision was to move into the live production market as well. We get economies of scale by taking one development and ‘productising’ it into two markets.” Other bits of lateral thinking are beginning to emerge. OEM, control surface and licensing revenues are now being generated in an imaginative diversification quite new to pro audio. “Fairlight has developed a lot of IP over the years, IP that we’re productising, manufacturing and marketing into the audio post and live audio markets as our primary business,” confirms Belcher. “A lot of the technologies we’ve developed are applicable to
other industries that require fast, accurate control over a process or an event. Given that we’re a specialist provider to the audio production market, we do not have experience in these other markets so we partner with other manufacturers that license and leverage our technology. An example of this is an Australian gaming machine manufacturer that deploys our Picture Key technology into the gaming market. A large proportion of their product range is based heavily on this technology, and it has a positive impact on their revenues. Licensing our inventions to such companies provides additional profits that support our R&D – which, in turn, enables us to more effectively compete in the global audio production markets.” Fairlight is ticking another modern business box, too: the placing of a strong business ‘CEO’-type figurehead at the helm, as opposed to an inventor, engineer or someone similarly steeped in R&D. “As markets
mature and the companies that are involved in them develop, the need for experienced management capability is essential,” says Belcher. “Professional audio is an example of an industry that was pioneered by inventors who were often engineers with a heavy emphasis on research and development. The complexity of the technologies required to be competitive in this industry now means that, more than ever, the highly skilled engineers must focus on inventing, innovating and developing technologies that are integrated into products to meet the ever evolving needs of the end customers. “The experts must be freed from the burden of other essential business functions such as sales, marketing, customer support, finance, operations and human resource management
at a corporate level. It’s this need to focus that leads to the need for not only a strong, business-orientated CEO, but also for other professional managers within the business to enable the experts to focus and create. As with all industries, it’s necessary for the CEO to have a background and demonstrated successful track record of leadership in a high technology field, preferably aligned with the business they are leading, to enable them to understand the customers and the market. That way they can steer the business to success in a highly competitive environment.” Q www.fairlight.com.au
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broadcast UNITED KINGDOM
MADI confidence in “largest OB trailer ever” By Kevin Hilton ITS BUILDERS claim it is “probably” the largest outside broadcast trailer ever built but UK supplier CTV’s OB11 is also notable for its comprehensive routing and monitoring system, which includes 25 specially designed MADI monitor and linechecking units. The expanding 84sqm 5.1, 4k and HD vehicle is now in the general sport and entertainment production phase of its first months on the road, after being launched in May 2014 and spending the summer covering cricket for Sky Sports. Many European broadcasters, including Sky, are producing programmes and live events in 4k ahead of any standardisation and wide-scale implementation of Ultra High Definition television. OB11 is the first 4k truck for CTV, which is part of the pan-Europe Euro Media Group. There is currently discussion about the possibilities for spatial sound to accompany Ultra HD but CTV’s head of audio, Ian Smith, says that the new truck “is not a game changer” in this respect, with 5.1 installed to match the company’s other trucks. The audio room features a 64-fader Calrec Audio Apollo console with Hydra 2 routing. “We have two other Apollos and an Artemis, so this is maintaining consistency over the fleet for our staff and freelancers,” explains Smith. The Hydra 2 connects to an integrated Imagine Communications (Harris Broadcast) router, which is also linked to a MADI routing system. “The video router makes all the associations so there can be external control of the Calrec,” Smith explains. There is provision for 6 x 64 MADI streams in and out, with embedded signals in the video feeds. OB11 features CTV’s first implementation of
the Axon Cerebrum Windowsbased IP/Ethernet control and monitoring system. “This talks to the router and the sound desk and other systems, like the 272-port RTS Telex Omneo intercom,” says Smith. “It replaces an old school serial controller. We’ve never had anything so comprehensive before.” MADI is used for audio distribution within the truck on a 1,024 x 1,024 matrix. Smith comments that a four-channel MADI confidence monitor was needed to ensure that everything coming in and out is correct. “We wanted something that was nice and simple on one coax that would allow us to listen to feeds at any time,” he says. CTV has installed DirectOut technology for this on previous OBs but not in a truck. “We’ve used their products for some time but they tend to be either too complicated or too basic. So we spoke to them about a fourchannel unit for this job.” The result was the KYRA MADI monitor, which features a headphone output on the front panel, PFT (power fail through) technology to ensure signal distribution using BNC MADI in the event of losing power and a lockable channel selector. All MADI from the Apollo to the VT and disk recorders, stage boxes and the 25 monitors are router through a DirectOut M.1k2 system. The sound room features a Genelec 8040 5.1 loudspeaker system. Smith says this was chosen because the suite is “slightly smaller” than those in other CTV trucks but “still adequate”. Dolby E is used to transmit feeds out of the truck, particularly in the case of Sky productions. OB11 was built by coachbuilders A Smith Great Bentley in association with systems integrator ProjectBuilders, a division of Belgian Euro Media facilities company Videohouse. Q www.directout.eu
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broadcast IRELAND
The sound and the fury Lectrosonics radio equipment brings the saga of King Ragnar Lothbrok to life inVikings series three INSPIRED BY SAGAS of the legendary Norse king Ragnar Lothbrok, Vikings, the Emmy Award-nominated historical drama programme by the History Channel, is a must-see for fans of the genre – and a triumph for the show’s sound recordists, who braved inclement weather and rugged terrain to capture every bloody battle. Vikings, renewed for a third series last March, portrays Ragnar (Travis Fimmel) as a former farmer, restless young warrior and family man who longs to find and conquer new lands across the sea and claim the spoils as his own. He is supported by his family and fellow warriors, including his brother Rollo, his son Bjorn and his two wives, the shieldmaiden Lagertha and the princess Aslaug. It is produced by MGM Television, which also handles distribution outside of Canada and the Republic of Ireland. Vikings sound units for series three comprised Daniel Birchmain, unit sound mixer; Richard Hetherington, main boom operator; Conor O’Toole, boom op/second unit mixer and wireless prep; and Steve Jackson, sound assistant/ wireless prep. “We use Lectrosonics radio equipment,” Jackson explains to PSNEurope. “We have 23 radio transmitters: a mix of Lectrosonics SM, SMA, SMD, SMQV, um400 super miniature and older transmitters; four battery powered VR receivers; seven 411 receivers; two ifb transmitters for long range; six R5s; and various shark fins.” Birchmain adds that shooting took place in a variety of difficult terrains in Iceland and the Republic of Ireland, including muddy woodland, mountains, lakes and beaches – and even on the sea, in replica longboats. “They are very tough places to work and to record sound,” he comments. Every actor was miked wirelessly. The costumes are very heavy – often stiff leather or heavy cloth, and so quite noisy – so the sound team
Lothbrok and friends: Like a ninth-century So Solid Crew worked closely with the costume department, often designing small pouches or chambers in which to hide the mics and transmitters. Many chambers were designed so that equipment could be left sewn into the costume, rather than reinserting it for each shot. Most mics were DPA 4071 lavaliers, which the recordists found weree best for the period costumes (they have a high pass and are more robust than most). Most of the transmitters were Lectrosonics SMDs, with SMAs in some cases – especially for the female actors, as they are smaller and lighter. “We use Lectrosonics as they are very ruggedly built,” continues Birchmain. “The build quality and the design is the best available. Even the battery covers are well designed, and they work under the toughest conditions. “On the cart, I have two Lectrosonics Venues connected to 16 RF splitters for distribution via Lectrosonics amps, while the recorders include Zaxcom Deva and Nomad units. So, for example, when shooting scenes in the boats out on the lake or in very dense undergrowth, we used
Vikings unit sound mixer Daniel Birchmain on location
eight Lectro 411s through the Nomad. We also used Sharkfin aerials and Yagi antennas.” For the interior shots, the team used Schoeps MK41 hypercardioid mics. For many of the exterior shots, they also made use of Neumann 82 long shotgun mics. “With so many effects going on – fire, smoke, horses
galloping around and lots of battle sounds – we used a mic hidden in the surround in a Rycote ball painted brown and connected by wire to the cart,” continues Birchmain. “With all the shouting and screaming in the battle scenes – they really screamed their heads off! – we used DPA 4061s which, thanks to their low sensitivity, could
handle the volume.” Already boasting a strong following and a fan club in both Europe and the US, Vikings series three is scheduled to air in February on the History Channel. Seasons one and two are available on Amazon Instant Video and DVD. Q www.lectrosonics.com www.history.com/shows/vikings
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live SOUNDBITES
The new Jaguar XE was launched in Earls Court, London, amidst a fully produced musical theatre-style show in a 3,000-seat proscenium theatre. The performance involved 17 Jaguars through the ages, along with musical performances by Emeli Sandé, Eliza Doolittle and the Kaiser Chiefs. Sound designer Sebastian Frost and Imagination’s head of sound, John Del Nero, utilised a TiMax SoundHub audio showcontrol delay-matrix to create natural theatre sound and ensure the audience could “pin sounds to the source”. www.outboard.co.uk Pink Floyd’s David Gilmour made a rare live appearance during Bombay Bicycle Club’s gig at Earls Court on Saturday night – the last concert to take place at the venue. Gilmour, who first played the arena with Pink Floyd in 1973, was introduced to the stage by Bombay Bicycle Club guitarist Jamie MacColl. Gilmour played lap steel guitar on the British band’s song Rinse Me Down before picking up an acoustic guitar and singing his own Wish You Were Here. www.eco.co.uk The main image of Gino Paoli in last month’s PSNEurope article (‘Like a fine wine’) should have been credited to Gianni Mattonai. Mattonai is a photographer based in Montecalvoli, Tuscany. www.500px.com/ giannimattonai
For the latest live news www.psneurope.com/live
UNITED KINGDOM
Rebel yell for Red Bull Culture Clash 2014 another resounding success for all involved, says Dave Robinson REBEL SOUND were the victors at this year’s Red Bull Culture Clash, held at Earl’s Court at the back end of 2014. Four major crews ‘clashed’ in a night of major beats’n’bass, but neither A$AP Mob, Stone Love nor even 2012 champions Boy Better Know could stop Rebel Sound, formed of Chase & Status, Rage, Shy FX and David Rodigan, taking the win. The sound clash has its roots in Jamaica, where crew members from reggae and dancehall sound systems would use their skills to “defeat” their rivals. Red Bull has taken this to a whole new level with the fourth edition of the show: the late October event drew 20,000 fans to Earl’s Court, with the unbridled enthusiasm of the crowd after each act’s showcase transcribed into volume levels, measured and rated to find a winner over several rounds. Red Bull also offered music lovers around the world the chance to witness the action, with five live streams beamed out via redbullcultureclash.com.
Corporate events specialist Smyle did the heavy lifting on the night. “Red Bull are very hands on,” says Smyle’s Dominic Thomas-Smith, adding: “Smyle ran all creative, technical, staging and show production.” Cameras and broadcast were delivered by Fast Lane, while Jackshoot managed the streaming. Sound systems were provided by SSE Audio, Wigwam, Void Acoustics and Stage Core (for Noise Control Audio). Red Bull’s accompanying stats are impressive: nearly100 contractors were on-site for setup; 200kW of audio power used; and £6m worth of equipment. “Earl’s Court was a great venue which worked well for the creative direction of this show,” continues Thomas-Smith. “However, there were inevitably a number of challenges faced in trying to squeeze four individual stages, each with their own PA and lighting rig, into the space! “The main challenge therefore was trying to maximise capacity on the floor to deliver an
Rebel Sound were the victors at Culture Clash 2014 amazing experience to the public, whilst adhering to health and safety and squeezing all the basics of a standard rock’n’roll show, plus an additional three stages worth of gear!” Four stages means four of everything of course: four stage managers, four monitor engineers, four FOH… “The main challenge though was in working with Red Bull and Fast Lane to make sure we delivered an amazing experience to the live audience and the online audience,” comments Thomas-Smith. “Obviously this is generally two different disciplines, both of which are as important as the other, and
finding compromise in the technical production and show production was key to the all round success on the night.” Measuring was procedural and formalized, it should be noted: a B&K sound analyser and field calibrator were deployed for the job. “This is a really important part of the show and one both Red Bull and Smyle were keen to ensure was totally water tight and fair for the audience and all artists,” notes Thomas-Smith. Crowd noise on the night reached a staggering 108dB (LAmax)...! Q cultureclash.redbull.co.uk www.smyle.co.uk
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CeeLo Green takes to the stage at the Night of the Proms, Antwerp
BELGIUM
Classical goes pop at Proms anniversary
At Antwerp’s 30th Night of the Proms, PRG EML rolled out new Adamson and DiGiCo gear to reinforce its pop-meets-classical formula for success, reports Marc Maes IN ADDITION to the new Adamson Energia E15 speakers, already used at this year’s Rock Werchter, Pukkelpop and Suikerrock festivals, the new configuration for the Antwerp leg of the Night of the Proms – a series of 25 concerts in Belgium, the Netherlands, Luxembourg and Germany which draw crowds of over 275,000 to their signature mix of pop and classical artists – features E219 subs and a new sub-compact line array for front fill. (The new Adamson array will make its first public appearance at Prolight + Sound 2015 in Frankfurt.) The entire system is powered by Lab.gruppen PLM 20000 amplifiers. “The new material is part of PRG’s recent investment in audio,” comments Patrick ‘Duim’ Demoustier, PRG EML sound engineer and sound designer for the Night of the Proms, “and the Proms concerts are the first to benefit from the new Adamson inventory.” The E219 subwoofers mark PRG EML’s first commitment to Adamson subwoofers – in the past, EML has used its own custom-built sub speakers for touring and rental purposes. “With the front-loaded Energia E219 series, we now have a valid alternative for the EML subs,” explains Demoustier. “It’s the first time we have bought Adamson subs. Initially, we wanted to use them at the [Rock] Werchter festival, but we didn’t take
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live delivery until October. Trolleys and speaker covers will follow soon.” With Adamson’s new subcompact line array cabinets, PRG EML is marking a world first: for the Night of the Proms concerts, Demoustier is, months before its launch at PL+S, using 48 enclosures as front fills and balcony fills, with the latter replacing the existing Sportpaleis Martin Audio F2 kit. James Oliver, director of marketing and sales for Adamson, notes: “We have several partnerships around the globe with providers we trust to help us develop and finetune our products for the real world. We’re excited to debut this new product with PRG/EML in Belgium. We’re confident we now have a sub-compact line array, launching at Prolight + Sound, that is well ahead of its market competitors.” “The new Lab.gruppen PLM 20000-series amplifiers complete the configuration,” adds Demoustier. “The amps have plenty of onboard processing, and the loudspeaker preset database allows us to use one type of amplifier for all speakers. This offers a major advantage in terms of handling, planning and rental sales. “We now stuff our selfdesigned amp racks with up to four amps according to the job requirements. In the past, we used dedicated amplifiers for each speaker-type – when, for instance, the subs were not rented out, the amps remained inside as well. This new Lab. gruppen series boosts our flexibility; the intelligent speaker preset option reduces set-up time and facilitates control checks.” In addition to the DiGiCo SD7 and SD8 desks at FOH and
analogue Soundcraft MH3 and Midas Heritage mixing desks for the Proms choir and orchestra, respectively, Demoustier also replaced the D5 monitor console with a DiGiCo SD10, used next to an SD7. “The SD10 uses one engine instead of [the SD7s] two, and has slightly less processing on board. But next year, we want to step up to a 96kHz sampling rate – the older D5 still only has 48 – and that’s where the SD10 comes in,” explains Demoustier, adding that he also changed the existing microphone racks (D-Racks) for the new SD-Racks. “[It’s] quite an investment for a ‘hidden’ feature, but they have better pre-amps than the D-series, and they are crucial for when we introduce the higher sampling rate next year – they carry a decade of design and research inside.” A redundant Optocore fibre loop links the complete audio set-up, connecting the racks for stage and wireless, the FOH and monitor consoles and in-ear transmission – making use of almost all 512 channels in the loop. Using matched pairs of DPA 4015 and DPA 2011 microphones, Demoustier also upgraded the woodwind section. Demoustier, who has been mixing all of the Night of the Proms concerts for 20 years, is very happy with PRG’s commitment to audio rental. “We’re really proud,” he concludes, “and it’s been a while since we had so many novelties on tour!” In Antwerp, the 30th Night of the Proms featured, alongside the Il Novecento Orchestra, artists like Blue, Sam Sparro, CeeLo Green and Belgium’s own Hooverphonic. Q www.prg.com www.notp.com
Proms monitor and choir mixer Ben Artoir (left) with Patrick Demoustier and DiGiCo SD10
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live UNITED KINGDOM
Hello, Hawthorn! It is the UK’s largest independent provider of technical production services, but Hawthorn has long been missing from the pages of PSNEurope. Erica Basnicki discovers why… HAVING been in business since 1987, somehow Hawthorn has flown under PSNEurope’s radar for some time. With offices in Leicestershire, London and Cambridge and a dry hire inventory of around £22 million worth of sound, lighting, rigging and staging equipment, how could this be? Perhaps because although Hawthorn has been present at major gigs by Status Quo, La Roux and OMD, amongst other big names, its concert and touring division’s main focus is lighting. “It’s not a massive part of the business, attacking the touring market,” says Hawthorn director Peter Harding. “There’s so many players who have a vast inventory. Our focus is primarily on targeting the corporate market where ROI is still good.” Hawthorn recently expanded its offerings in that market segment by acquiring Cambridge-based events specialist Anagram in 2013, and will be rolling out a “brand refresh” of the group early in 2015. Not that there isn’t a large element of rock’n’roll happening at some of Hawthorn’s biggest shows. Case in point: Hawthorn supplied sound for Adobe Summit
EMEA 2014, which included an after party headlined by Rudimental – named by the BBC as the festival band of the summer in 2013. “We had a very large, complex PA design with perfect audio across a wide expanse of audience from a variety of sources: spoken word, headsets on performers and video playback,” explains Harding. “We also at the same time put in an audio system for an evening party in a completely separate hall for Rudimental. That was a great event.” Russell Bennett, design director at Taylor Bennett Partners (the event manager for the Adobe Summit), agrees: “We work in a fast paced industry where speed of reaction and solution finding is key. [Hawthorn] delivers high-end shows without fuss and with a ‘can-do’ attitude. Above all, I like working with people that take pride in the work they deliver and are always finding new and exciting solutions. Their approach to projects shows that it matters to them, it’s great to work with a crew that share a common goal, and the end results show that they care about delivery and excellence. Professional crews wanting to deliver not just for you, but for themselves.”
Hawthorn supplied kit for the Adobe Summit EMEA 2014, with dance act Rudimental as the entertainment For Hawthorn, providing excellent service means never compromising on sound quality. At the Adobe Summit, the main PA system was a d&b V-Series line array, a recent investment for Hawthorn. “Anagram itself was already using d&b, and when we were ready to invest we did a shootout between the various products and chose the V-Series,” explains Harding, who adds the final decision also took into account “the usual things: price, performance, quality, market penetration, availability of hiring more of the same. There are other boxes out there that don’t have the market penetration so cross-hire when you need a large amount of boxes isn’t easy, which is
another reason why we chose d&b.” The V-Series system is in addition to Hawthorn’s inventory of Martin Audio W8LM line arrays and boxes from d&b’s Q and E series. Desk-wise, the company has invested heavily in the digital realm, including DiGiCo’s SD8 and SD9 consoles, and Yamaha’s PM5D, M7CL and LS9 desks. In the radio microphone territory, Hawthorn primarily uses Sennheiser’s 2000 series, with systems from Sony and Shure also available. In November 2014, Hawthorn named DPA as its “microphone brand of choice”, investing in d:fine headset microphones, d:screet 4060
lavalier microphones and d:vote 4099 instrument microphones. “It all started a few years ago when we were looking for headset microphones to replace the brand we had previously been using,” says Jon Curnew, Hawthorn’s head of sound. “We discovered the DPA Microphones d:fine headset microphone range and were immediately taken with the fact that they came with single and dual ear attachments. That really appealed to us because it made them so versatile. We now have a stock of about 35 d:fine microphones, which we use all the time. They are much easier to position than any other headset mic we have tried and our customers love them.” Q www.hawthorns.uk.com
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Look, dad, (still) no wires! With Ofcom announcing plans in November for a further major spectrum auction, the outlook remains hugely uncertain for wireless audio users. David Davies reports on how manufacturers are responding to the turmoil with innovative, spectrum-efficient systems IT IS TEMPTING to describe these as challenging times for wireless audio system manufacturers and users, but, quite frankly, plus ça change. Pro audio has confronted the prospect of ever-diminishing access to UHF spectrum since Germany became one of the first countries to undertake an 800MHz spectrum auction in 2010. Many other European nations have followed, while the US has been arguably even more eager to auction off spectrum hitherto occupied by PMSE (programme-making and special events) to help feed the seemingly insatiable appetite of mobile service providers. In the UK, there was very little confidence that ‘that would be it’ when the 800MHz band auction was conducted by Ofcom in early 2013. This sense of trepidation was confirmed in November 2014 when the communications regulator confirmed that the 700MHz band would also be made available for mobile data from early 2022 – an announcement that inevitably presages another wearisome period of consultation with PMSE and the time/cost-heavy process of adapting or replacing existing wireless systems.
Lamenting the decision, British Entertainment Industry Radio Group (BEIRG) member and former BBC chairman Michael Grade highlighted the reliance of music festivals, conferences, theatres, TV productions and film companies on wireless microphones and other wireless devices. “If these devices are not guaranteed enough spectrum in which to operate, this really could mean lights out,” he said in a statement. “Ofcom has had years to sort this out and all we have is a promise of a solution. When the public can’t get the shows they have paid to see, we will know where the blame lies.” Not surprisingly, Ofcom has a different slant on developments (see ‘Right to reply’ box on p48). But wherever PMSE ends up, this continuing state of uncertainty constitutes a real dilemma for wireless audio manufacturers, whose products’ shelf-life could be severely compromised. PSNEurope’s conversations with a number of leading lights in this sector confirm that most are responding with a pragmatic approach that combines continued cultivation of existing spectrum access with the development of new
technologies that will be more applicable to the spectrumsqueezed future. BANDWIDTH EFFICIENCY In a manner that is typical across the manufacturer community at this stage, James Leach, European marketing manager, professional audio, at Sony Professional Europe, doesn’t attempt to downplay the extent of the challenges ahead. As he notes: “Looking ahead to the World Radio Conferences in November 2015, it’s possible to assume that we’ll lose the 694– 790MHz frequency in Europe, so it would be reasonable to suggest not buying a radio mic or in-ear system which works in a frequency range over 690MHz,” he says. For Sony, delivering wider bandwidth will be a continuing part of the strategy. “We understand that these changes represent potential issues for our customers, and, as a result, we’re working on wider bandwidth within our audio products,” says Leach. “With the high bandwidth efficiency on the Sony DWX [Digital Wireless System, offering a frequency range from 470 to 782MHz across four models] series we are well-prepared, but we will also
focusing on developing helpful features for our users to manage upcoming challenges.” Meanwhile, the latest offering to result from Sony’s wireless team is the UWP-D Wireless Microphone Series and SMAD-P3 MI Shoe adapter. The UWP-D series is offered with a frequency range from 470 to 790MHz, with coverage of 33 TV channels across Europe and users able to select from up to 2,880 operating frequencies within this broad range. The combination of “digital audio processing, clear channel scan, IR sync and micro-USB charging with the MI shoe adapter creates a truly wireless connection between receiver and the camcorder, creating the perfect solution for electronic newsgathering, field production and DSLR users,” says Leach. Sony is by no means the only manufacturer to be exploring the potential of bandwidthefficient digital wireless microphone systems. Over at Shure Distribution UK, pro audio group manager Tuomo George-Tolonen acknowledges that with the current landscape in mind “it becomes important to be able to ‘squeeze’ more channels into less spectrum, and this is where [Shure’s]
“We understand that these changes represent potential issues for our customers and as a result we’re working on wider bandwidth within our audio products.” James Leach, Sony Professional Europe QLX-D and ULX-D systems, in particular, excel greatly.” The company’s latest product launch in this area, the QLX-D Digital Wireless System delivers a specification that includes 24-bit audio, network control, AES-256 encryption, optional recharging technology, all metal transmitters and iOS control. In addition, “QLX-D is extremely spectrally efficient and is able to pack 22 channels into a single
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Sony’s UWP-D series has a frequency range of 470–790MHz
8MHz TV channel – more than doubling what current systems traditionally offer,” says George-Tolonen. Alongside continued efforts in the field of spectrum-efficiency, Shure plans a new educational initiative for early 2015: “We will be launching the Losing Your Voice campaign, which is a spectrum information resource that aims to drive awareness of the consequences of diminishing spectrum to a wider audience by visually representing the issues and explaining action that can be taken. We also offer 0% interest-free payments on our wireless systems, which permits customers to purchase futureproof wireless systems now.” INTERMODULATION RISK “The more spectrum is lost, the more difficult it will be in the future to operate multi-channel systems,” confirms Stephan Scherthan, product line manager wireless systems at AKG Acoustics. “The risk will be pretty high that intermodulation and interference will make the operation of complex multichannel systems impossible.” So, in addition to spectrumefficient systems, there is a need to develop systems that are – in Scherthan’s words – “significantly less sensitive to intermodulation or spurious signals. But, due to the technical complexity, those higher quality systems will also be in a higher price range. In some countries, 823–832MHz and 1,785– 1,805MHz are allowed now, but both are or will be within the LTE duplex gaps. These ranges are therefore not recommended for professional applications – and they are so narrow that it is impossible to use them for real multi-channel set-ups.” Scherthan confirms that AKG will continue to press for PMSE spectrum access through its membership of the Association of Professional Wireless Production Technologies (APWPT). Meanwhile, it is continuing to roll out new products, including the DMSTetrad, which delivers 24-bit, 48kHz audio coding and comprises a four-channel receiver with integrated fourchannel mixer. Crucially, it also operates in the 2.4GHz frequency bandwidth – meaning that it can be deployed licencefree in almost every country around the world. Over in the US, Lectrosonics’ director of business
development, Karl Winkler, confirms that the situation Stateside is every bit as vexed as it is in Europe: “We are anticipating some further auctions in a year or so that we think will probably have an impact in three-to-four years’ time.” Not great news by any standards, but he does confirm that communications regulator the FCC is now more responsive to the PMSE argument than it was a few years ago: “There is now much more access and interaction, and they have listened and do understand what we are talking about – although clearly they are not ready to do everything we would like.” Winkler’s description of the long-term strategy for coping with the situation – “ensuring that people are ready and apprised of the changes by offering a variety of information and educat§ion, and simultaneously conducting research into the digital domain and digital hybrid systems, as well as other parts of the spectrum that could be used in future” – could be applied pretty much across the pro-audio landscape. The most recent systems to emerge from the Lectrosonics R&D effort include the L Series digital hybrid wireless microphones – which offer a wide tuning range of three standard Lectrosonics blocks, or 67.5 to 76.8MHz – depending on the specific frequency band. Also launched in 2014 was the Digital Secure Wireless System, which, as its name suggests, is geared towards environments where privacy is paramount – among them corporate boardrooms and government facilities – by delivering a feature-set that includes AES256-CTR encryption. BEYOND ‘PEAK WIRELESS’ Of course, not all microphone manufacturers offer wireless systems per se. DPA is one of the most well-known wireless ‘hold-outs’, opting instead to produce adapters that allow many of its products to integrate with third-party wireless systems. The most recent additions to the range that offer this capability include the d:facto vocal mic, which provides extreme SPL handling of 160dB, an ‘extraordinarily natural’ sound, and suitability for both live sound and recording applications. Explaining the philosophy,
DPA’s Mikkel Nymand says that the company has always wished to play to its strongest suite – namely its specialism in acoustic transducer technology. “Our customers appreciate the focus on wired and the fact that we have a range of adapters that are optimised to get the sound we like,” he says, noting that its mics tend to be deployed most frequently with wireless systems from Sennheiser and Shure. Nevertheless, he admits that there has been discussion at
DPA about a full-on wireless product “for decades now” and expects that it “will happen sooner or later”. After all, despite the challenges, the drift is “more and more towards wireless. People just love it!” And there, as they say, is the ‘rub’. Operating large multichannel wireless systems will become evermore problematic in the years ahead, but no one is ever going to want to return the logistically and aesthetically
problematic days of cables trailing here and there across a stage. So with what we might call ‘peak wireless’ moving into the past, the onus will be on manufacturers continuing to innovate so that users can make the most of a depleted and diminishing resource. Q www.dpamicrophones.com www.lectrosonics.com www.sennheiser.com www.shure.co.uk www.sony.co.uk/pro uk.akg.com
Right to reply: Ofcom discusses the 700MHz auction PSNEUROPE: With regards to currently licensed systems, how much of an impact do you expect the 700MHz auction to have on existing PMSE users… and to what extent will it be comparable with the 800MHz sell-off? Peter Bury, MBE, director of spectrum policy: We recognise the important role the PMSE sector plays in the cultural life of the nation and we’re committed to helping the sector continue to thrive. We’re confident there will be sufficient spectrum for the PMSE sector to continue delivering high quality events, as it does today, following the change. PMSE users will no longer have access to the 700MHz band, but they will have use of spectrum in the 470–694MHz band after the change. We recognise the need for the PMSE community to have long-term certainty over the spectrum it uses and we have already identified a number of additional frequency bands wireless microphones could potentially use. We’re working closely with the community on this and expect to finalise our position next year. Some PMSE users may need to replace some of their equipment if it operates primarily in the 700MHz band due to this change. In what ways will Ofcom be working with PMSE users over the next few months to ensure as seamless a transition as possible for wireless system users? We will continue to meet
Peter Bury, Ofcom
regularly with PMSE stakeholders to discuss progress on spectrum options. We will also work together with PMSE users to address their concerns over timescales and cost issues. Why was the decision to auction made before Ofcom had worked out exactly where PMSE users would be moved to? We’re confident we will be able to ensure the PMSE sector has access to sufficient spectrum for audio applications following the change. We therefore do not believe there was any reason to delay making our decision. We’ve already identified a number of frequency bands that wireless microphones could potentially use in addition to the band they will continue to share with DTT. Working closely with the PMSE community, we’ll confirm next year what spectrum will be available to them. Our analysis showed that due to the long lead times involved in changing the digital TV infrastructure, which
currently uses the 700MHz band, postponing the decision would have delayed completion and would have resulted in significant costs for the UK economy. How does Ofcom respond to the complaint made by many in this industry that the interests of mobile phone and broadband service providers are consistently being placed above those of PMSE – despite the massive financial contribution made by the creative industries to the UK’s economy? One of Ofcom’s core roles is to manage the limited supply of spectrum and balance the needs of different users. This sometimes involves us implementing changes of use of spectrum. These changes are never about favouring one sector over another – they are about maximising benefits to British citizens and consumers overall, taking account of all existing and potential users. In recent years, changes to spectrum use have taken place for a range of users, not just mobile services. These changes have included services ranging from business radio to fixed links. Consistent with our commitment to help the sector continue to thrive, we are engaging with stakeholders in conducting a review of the sector’s current and future spectrum requirements. This is one of Ofcom’s key priorities for spectrum management. www.ofcom.org.uk
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SOUNDBITES Sound Basics, a guide by E2S Warning Signals to measuring sound levels, has been added to white paper resource library NewBay Connect. It relates sound pressure levels to everyday objects, describes how sound behaves and determines the optimum area for sound devices in different acoustic environments. “The dB (decibel) is the standard measurement unit in acoustics, yet it can be confusing to understand,” says E2. “The main difficulty is visualising that large differences in sound levels are represented by small increases in the dB level.” www.newbayconnect.com www.e2s.com The new first world war gallery at the Imperial War Museum, London, which aims to give a realistic representation of life in the trenches during the Great War, features a soundscape powered by a Merging Technologies Ovation media server. “We saw a demonstration of Ovation some time ago, and it ticks the boxes,” says sound designer Ramon De Marco. www.merging.com The PAX ProAV Group, which includes Messenger Pro, Terracom, Penton, Ateïs and Xavtel, has announced the formation of a “new” group as it consolidates the brands under the PAX ProAV banner. “Optimising their potential as specific solutions in integrated systems design”, the PAX ProAV Group will “position dedicated sales and support teams targeting the brands’ individual market sectors”, says a statement from the company. www.paxproavgroup.com An Elements system by German sound reinforcement company HK Audio is soundtracking events at the Sant Pau world heritage site in Barcelona. Marc Rovira, of Spanish reseller Adagio Pro, says, “Its audio quality, range and, especially, the fact that the system is so easy to carry completely convinced the [Sant Pau] team. www.hkaudio.com
Laser ULTRA enhances cinema feeling with Kinepolis Marc Maes attends a world première for movie audiences ON 10 DECEMBER, the Kinepolis Group, a major chain of cinemas, launched a brand-new experience: with Laser ULTRA, cinemagoers are surrounded and immersed by images and sound of a “neverseen-before” quality. The core of Laser ULTRA consists of the combination of both (Belgian projector manufacturer) Barco’s latest technology and the Dolby Atmos cinema audio system. Laser ULTRA was presented for the release of the movie The Hobbit: The Battle of the Five Armies simultaneously in Kinepolis’s flagship theatres in Brussels, Antwerp, Madrid and Lomme (France). Laser ULTRA by Kinepolis is making use of Barco’s newest laser projector, the only one in the world offering 4K content at a speed of 60 frames per second and capable of projecting 3D movies with an exceptional light output of 60,000 lumen. Laser ULTRA’s multidimensional sound is provided by the Dolby Atmos system. For those who have yet to catch up, Atmos supplies 64 individual audio channels in the cinema theatre, offering an ‘immersive sound’ experience. “Dolby Atmos was brought to the market two years ago,” explains Bob Claeys, R&D director of the Kinepolis Group. “Today, some 200 film titles have been released with the specific Dolby Atmos audio mix. Dolby Atmos is all about the difference between channel mixing and object mixing – the result of films becoming more and more immersive, with characters and objects coming out of the screen towards you.
“Mixers wanted to have the option to place more accurately specific sounds in specific places, which wasn’t possible with 5.1 or 7.1. Dolby understood this frustration and added a new layer of speakers.” Claeys says the four Laser ULTRA theatres have been upgraded for the Dolby Atmos configuration, allowing them to position the ‘noise’ exactly where the director wants it. All of the speakers in the newtechnology venues are from the QSC cinema range. Nicolas Hamon, projection and sound manager of Kinepolis Group, says that Kinepolis gradually replaced the existing Crown amplifiers in its theatres with QSC amps and processors: “The four Laser ULTRA theatres also have the newest QSC speakers. Speakers and amplifiers are controlled by a Q-SYS Core 500i network-based sound processor. The Atmos audio signal is live rendered in the Dolby CP850 processor and sent via the network to the Core 500i – over 64 digital channels to the QSC DPA-Q series network amplifiers – offering analogue output to the speakers.” The Laser ULTRA audio configuration consists of some 25 QSC four-channel amplifiers adding up to 100 channels of individually controllable sound, allowing the exact 85dB speaker coverage as stated in the Atmos Dolby references. “We have five three-way speakers behind the screen and one subwoofer channel and two types of surround speakers in the theatre,” continues Hamon. (The theatre has 52 surrounds in total: 11 side and ceiling surrounds, both left and right,
Bob Claeys, R&D director on the project, in front of the Dolby Atmos processor rack
Kinepolis sound manager Nicolas Hamon at the simultaneous launch of Laser ULTRA in Madrid
and eight back surrounds, each individually addressed.) “The front surrounds closest to the screen are bi-amped, stereo-bridged QSC AP-5152 speakers; closer to the reference point we use QSC SR-1290s, more ‘traditional’ singlechannel surround speakers. The surrounds are supported by aset of stereo subwoofers ceiling-mounted in the back
of the theatres, two QSC GP-218s.” Kinepolis Group operates 35 film theatres in six European countries, employing over 2,100 people. The group has always been on the edge of offering new technology, offering a total cinema experience to millions of cinemagoers. Q www.kinepolis.com www.kinepolis.be
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LSH expands Spaces concept with planned Cardiff venue
The new rehearsal and production complex follows the success of LSH Spaces East in Hackney, reports Jon Chapple
LONDON SPEAKER HIRE (LSH) has announced plans for a second ‘LSH Spaces’ rehearsal and production complex in Cardiff. Its first, LSH Spaces East, in Hackney, east London, opened to the industry at a party on 11 December. The Cardiff venue, which will open in springtime this year, will be smaller than the 12,000sqft Hackney venue but have “the same feel: a home from home for anyone in the industry”, says the company. Grant Turner, founding partner at 2014 Pro Sound Awards finalist LSH, explains: “We have ambitious plans for London Speaker Hire. Having spent the past seven years getting to know what bands, musicians and producers want, we feel LSH Spaces will provide that bit extra to the industry. Our vision is to
create spaces across the UK where people can come to work, play and relax with everything they need at their fingertips.” Like in Hackney, the Welsh complex will offer storage facilities, a full catalogue of AV equipment and a “fully stocked pro shop”, as well as what Turner calls “the added quirky personal touches to ensure all visitors feel at home” (LSH Spaces East has three themed rehearsal rooms, an on-site American diner, crazy golf course, pool and custom tablefootball tables, Sky television and a full body hydro shower). LSH Spaces East is now taking bookings, with rehearsal suites starting from £12 per hour. Q www.lshspaces.com www.londonspeakerhire.com +44 (0)20 3333 4444
The American diner in the green room at LSH Spaces East
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Canadian indie group Viet Cong at the AB Club on 20 November
BELGIUM
d&b revolution for Brussels’ Ancienne regime After 35 years of concerts in the Belgian capital, the Ancienne Belgique team continues to invest in top quality audio, says Marc Maes FOLLOWING THE installation of a d&b J-Series J-Series sound reinforcement system in the main hall of the Ancienne Belgique (AB) in Brussels, the concert venue’s AB Club hall has been equipped with a d&b V-Series configuration. “We were very pleased with the audio system in the main hall,” explains Marc Vrebos, technical director of the AB. “After a number of tests – and given the excellent and adequate support from [Belgian d&b distributor] Amptec’s technical team – d&b was the obvious choice for the AB Club.” The 250-capacity AB Club serves as a concert venue (with 150 shows per year) and rehearsal room for the AB’s ‘Artists in Residence’ project for unsigned artists. Three years ago, AB invested in an MH4-40 Soundcraft console as FOH and a Vi1 digital desk for monitors. The d&b V-series installation replaced the EAW KF system previously in the club. “Wehave a much better and more equal dispersion with the V-Series speakers,” explains Vrebos. “The bass bins have been replaced by more effective sub low speakers [which meet] today’s standards of electronic music. The whole speaker combination, powered by seven D12 amplifiers, sounds much warmer thanks to the new technology.”
Willem Petersborg, sound coordinator at the AB, says the choice of the subs and amps was inspired by the compatibility with the main hall’s speaker layout. “We installed four J-SUBs. Together with the four Vi8 and four Vi12 tops and two E8 infills, they make a perfect, slightly oversized, system for the AB Club,” he comments. “With the main hall also using J-SUBs and d&b D12 amps, part of the AB Club system can serve as extra gear there.” Frank Geerts, sales manager with Amptec adds that, with the AB’s further commitment to d&b, the venue presents a clear technical rider for the two venues. “They opted for one brand, and now offer top-notch quality with that brand, both in FOH and monitor kit,” he says. Last August also saw the Ancienne Belgique upgrading the acoustics of the Agora entrance hall, a 850sqm (9,150sqft) open space with box office stalls and a public bar. “The acoustic concept of the Agora didn’t feel right,” explains Marc Vrebos. “The entrance hall accommodates some 300,000 visitors per year, but the acoustics were quite exhausting, resulting in poor speech intelligibility – in combination with an aftershow DJ, with audio via ceiling speakers, the situation was far from ideal.” Amptec’s acoustic design
The AB’s revamped Agora hall with flown d&b 12S sub (rear view) and flown 5S infill speaker
team suggested using a mix of several types of acoustic panels. The combination of Vicoustic Wavewood panels on the wall with Amptec Tech melamine foam flat-panel absorbers resulted in drastically reduced reverberation time, while maintaining a bright and balanced sound in the Agora. “The result was astonishing, improving the acoustics substantially,” says Vrebos, “and the panels are also visually integrated in the structure. The new acoustics improve the audience’s comfort: when they leave the main hall or club after a concert producing an intense 100dB, they enter a low-level audio zone.” A new d&b audiotechnik
system, comprising four 8Ss, four flown 12S-SUB speakers and six 5S fill cabinets as main speakers, plus four D6 amplifiers, was installed by Amptec. The AB was the first venue in Belgium to adapt sound levels (long before the relevant legislation was introduced) and the new Agora space follows the same path, with a 10EaZy sound measuring system monitoring sound levels in the spacious hall. “The special feature here is that we developed software to control the sound level, which serves as a self-regulating interface between the 10EaZy and the d&b system,” explains Geert. “The software continuously monitors whether
the excess sound is generated by the speakers – or by, for instance, 250 screaming kids waiting for Santa Claus – and then triggers the limiter function. “It’s an Amptec in-house development, but with limiting being quite sensitive as to parameters, we now try to finetune the limiting function, resulting in a reliable and credible intelligent sound level control system.” Mark Vrebos adds that the AB’s future plans include an upgrade for the Pro Tools system in the recording studio and a new digital console for the main hall FOH position. Q www.amptec.be www.abconcerts.be www.dbaudio.com
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ISE
showpreview
When? 10–12 February
Easy ISE James Groves rounds up the kit on display at the Amsterdam show Integrated Systems Europe 2015 is just around the corner, and the show is set to celebrate its 11th anniversary with its biggest offering yet. The event begins on 10 February and will offer a wide range of events, presentations and training sessions, hosted before and during the event. Here is a round-up of the products you can expect to see at ISE 2015. Clear-Com will exhibit the LQ series, a new family of connectivity devices for linking intercom and audio systems over LAN, WAN or IP networks. As part of building a communications link, LQ utilises the low-latency audio codec Opus, which features a range of different settings to provide high-quality audio on the network bandwidth available. This means that the LQ Series can be used for intercom conversation, networked
music performances and for audio signals that need to be transported between different facilities. The compact LQ throw-down devices enable connections of two-wire partyline with call signalling and four-wire audio over LAN, WAN or internet IP infrastructures. The LQ-2W2 is both Clear-Com and RTS TW compatible, and a maximum of six LQ IP interfaces can be linked together in any
Clear-Com’s LQ Series offers both two-wire and four-wire combinations
two- or four-wire combination. www.clearcom.com Contacta will introduce the HLD product platform. The initial products in the range are the HLD5, and HLD 7, offering users “the flexibility and capacity to create comprehensive solutions to the requirements of the assistive listening market, whether for meeting rooms, lectures halls, theatres or conference venues”. The HLD5, a standalone, large area loop driver, is suitable for small facilities, including meeting rooms, classrooms and smaller venues. The HLD5 has built-in phased dual drivers for perimeter or phased array configuration. The HLD7, the large-area loop driver is better-suited for medium sized facilities, meeting rooms, lecture halls, places of worship and small theatres. The HLD7 can be used for perimeter or phased array configurations. MD Simon Thomas states: “In Europe around 71 million adults suffer from hearing loss, and that market has not been well supported by the AV and hearing loop industry. Contacta is set to change that with our expertise and products.” www.contactaglobal.com d&b audiotechnik will showcase its Y-Series at ISE. Offering point-source and linearray loudspeakers, the Y-Series delivers versatile and configurable solutions for a range of different environments. Yi loudspeakers are the installation-specific versions and will take centre stage at the d&b audiotechnik display alongside the Yi7P, Yi10, Yi8 and Yi12. According to the company, the d&b installation solutions provide “stylish, discreet and quality performance” in permanently installed applications. Examples from the xS-Series, xA-Series and the “particularly elegant” xC-Series column speakers will be on display at the show. Sabina Berloffa, the new director of marketing and product management for d&b, says, “The d&b philosophy of seamless integration combined with simplifying the implementation process is at the heart of the system reality. The d&b installation solution is a straightforward, uncomplicated process that can be implemented for any size of venue that would benefit from a quality pro-audio solution.” www.dbaudio.com Dan Dugan Sound Design will introduce three products at ISE – Dugan models M,
d&b’s Y-series promises versatile solutions
N and K. The ‘Dugans’ patch into the input insert points of a mixing console, giving the board operator all of the features of the board such as EQ and sends along with automatic mixing. The Dugan Model M uses MADI I/O. It provides 32 channels of Dugan auto-mixing at 96kHz or 64 channels at 48kHz. It will have PoE and is housed in a half rack case. The Dugan Model N has Dante I/O and supplies 32 channels at 96k or 64 channels at 48k along with PoE, also in a half rack case. The Dugan Model K is a physical interface for all networkable Dugan products. This gives the user physical buttons for controlling a system made up of any number of Dugan units. www.dandugan.com RCF will present a wide range of products, with focus on its new flagship DXT 9000 and DXT 3000 digital voice alarm systems, certified to EN 54-16 and EN 54-4 standards. The first fully digital PA/VA system to be designed from the ground up by RCF engineers, the DXT 9000 can be used in almost any kind of application, from the small schools and hotels to huge campuses that include multiple buildings. It is a distributed system in which every component, including the loudspeakers, has its own physical address, can be monitored according to current EN 54 standards and can be configured after installation where necessary. While paging and voice evacuation are the primary uses for the DXT 9000, it can also be used to interface pro-audio active speakers through RCF’s RD-NET control and monitoring system. Another addition to the DXT range is the DXT 3000. Designed for wall mounting, it offers an integrated solution for small and medium, single or multi-zone applications. Other items on the RCF stand will include a new white installation version of the company’s HDL 10-A active line array. “The ultra-compact size, no compromise
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showpreview KEYNOTE ADDRESS TO BE GIVEN BY FUTURE MATTERS’ LARS THOMSEN Lars Thomsen will give the keynote address for ISE 2015 on the eve of the event. Thomsen, who will kick-start the annual event at the RAI Forum at 6pm on 6 February, is the owner of Future Matters, a leading research and analysis consultancy that has advised 40 per cent of the German stock exchange in their strategic planning. His presentation, entitled 520 Weeks into the Future: Trends and Tipping Points in the Electronic Systems Industry until 2025, will cover areas such as artificial intelligence and “robotics 2.0” alongside “expected shifts in media, marketing and consumer expectations”. Preceding Thomsen’s keynote on the 9th will be the opportunity to experience a full day’s conference with Smart Building Amsterdam. Those in attendance can expect to experience the best practice approaches to smart building design and efficiency objectives alongside insights into emerging trends, energy savings and home automation systems. Also on the agenda is The Capital Summit,
an afternoon event taking place on 10 February, which will provide delegates with the opportunity to meet business experts and qualified strategic and financial investors with an interest in the AV industry. Other events include the Audio Forum @ ISE, a one-day pro-audio educational forum on 9 February, the Sport Facility Integration Summit conference on 11 February and the InAVation Awards at the Westergasfabriek’s Gashouder on 10 February.
required area of coverage. www.rcf.it
RCF introduce wide range of new products, including the HDL 10 (top) and DXT 9000 (bottom) transducers and composite cabinet design make the HDL 10 an ideal tool in many situations when line array performance and a fast and easy set-up are a must,” says the company. The system is powered from a 1400W peak power two-way digital amplifier, while sound is processed from a powerful DSP. Also on display will be examples from the HL Stadium series. Combining the properties of a genuine horn-loaded, constant or variable curvature array while meeting specifications for high vocal intelligibility, the two-way passive HL2240, HL2260, HL2290 full range, and HS2200 subwoofer are “vibrant additions” to the Italian company’s installed sound catalogue. Finally, the Acustica P Series comprises coaxial designs offering music and speech intelligibility in compact lightweight weatherproof designs offering protection up to the highest rating standard. These feature precision neodymium co-axial transducers – a 10” for the P2110 and two 15” devices for the P3115 and P6215. They can be fed with 100V line RCF Flexa series amplifiers and are volume adjustable depending on weather conditions and the
Tannoy will introduce a new addition to its VX Series – the VX 8M - a full range dual concentric loudspeaker designed for small-to-medium scale performance sound reinforcement. With a tightly controlled 90 degree dispersion for optimum coverage and forward gain, the VX 8M has a peak output of 119dB and a recommended amplifier power of 260W, making it a powerful and versatile performer for a wide range of applications. The new cabinet design includes 40 and 60 degree angles, making the VX 8M ideal for use as a dedicated floor monitor, with the eight-inch driver providing vocal monitoring clarity. The enclosure’s added pole mount and vertical yoke mean the user has a range of mounting options at their disposal, whatever the chosen application or setting. Audio connection on this highly portable loudspeaker features a recessed termination panel with two SpeakOn connectors, offering a cleaner and more durable solution, perfect for a busy rental company or flexible venue. Q www.tannoypro.com
VX 8M: the latest addition to the Tannoy VX family
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Hobbit and dither Two Tolkien references in one issue? Just call us Peregrin Sauron News (sorry) The Dolby team at the pre-Christmas ‘press and friends’ screening of The Hobbit: The Battle of the Five Armies in Dolby 3D, with Dolby Atmos (of course!), and HK Strategies hosting, at the Soho Square HQ. (L-R) Dolby’s Stefan Dimov, Alexandra Webb, Abigail Holdaway and Joanna Leach
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Gratuitous plug of the month: PSNEurope and colleagues went along to XFM’s Thirst Friday last month. In a word, free beer and food, courtesy of the radio station’s Ian Canfield, just for turning up and reciting a seasonal message. So, we thought we’d return the favour…
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(Above) The winner of DPA Microphones’ necklace mic competition, which asked contestants to come up with the most creative ideas for how to use the mic, was announced on 21 December. At press time there were still 20 finalists, including Sean Driscoll (top), who said he would use the mic for motorsports interviews, and Raffaele Mariconte (bottom), who would amplify the “inner sounds of [Italian] tradition from the inside”
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Please send all contributions for possible publication to drobinson@nbmedia.com
Zoinks! This could be worth a fortune! A triple pack of C120s, unopened! (Spotted by the editor in a church hall in Forest Hill)
58 l January 2015
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industrytalk
Young at heart Bursting onto the scene as the bassist for post-punk institution Killing Joke, Martin Glover – aka Youth – has gone on to carve out a parallel career as a hugely successful producer for The Orb, Paul McCartney and many others. David Davies spoke to him about his favourite studio gear and the “tragic” decline of the engineer’s art Photo: Lucy Williams
early days of Killing Joke that provided the starting point for Youth’s conversation with PSNEurope…
TO PARAPHRASE Mott the Hoople, it’s a mighty long way down rock ’n’ roll from producing early sessions for deathrock pioneers Alien Sex Fiend to working with Paul McCartney, but it’s the journey that has been taken by one Martin Glover – better known as Youth. In fact, he believes that the likes of the sublimely-titled 1983 ASF album Who’s Been Sleeping in My Brain set the template for much of what was to follow. “In that combination of dance, alternative rock and dub, there was really the genesis of what I have done since,” he says. Alongside his continuing role as bassist and producer with apocalyptically-minded art-rock
What’s your defining memory of the band at that time? Probably a gig at the Reading Hexagon in about 1981. At that point I was almost in Syd Barrett territory, taking a lot of LSD and performing on it too. It got to a point where, during the Reading gig, everything went to this hissy silence and looked like it was going in slowmotion. This lasted for some time until everything slowly went back into the present and the noise and chaos of the gig resumed. After the gig, I asked the other members of the band if they had felt it, and they had, and it turned out that the audience had too. It was the first instance of a strange phenomenon we called ‘whiteout’, in which it seemed that we were so close to the rockface of the now that we had almost created a wormhole to somewhere else!
legends Killing Joke, Youth has quietly amassed a formidable client list that includes Primal Scream, Crowded House and Depeche Mode. Most recently, he co-produced the long-awaited new Pink Floyd album, The Endless River, and is currently finishing up the first Culture Club album for 16 years. Add to these credits his influential role in the propagation of psychedelic trance with Dragonfly Records and his latterday ownership of acclaimed Spanish residential studio complex, the Miloco-managed El Mirador, and it’s clear you are approaching the definition of a modern-day Renaissance Man. But it was the dramatic
At what point did you start to put together your own home studio? [In the early ’80s] I began to do some Fairlight programming for one system user in exchange for helping to build his library [of sounds]. That was really useful, but not long after that I got hold of an Atari and an Iconix [MIDI sequencer] and a few other bits and pieces, and was able to start making beats with a sampler and use the Atari programme to trigger them. It was a real revelation to me because it meant that I could have the freedom to write at home and experiment without having to write on acoustic guitar – which I didn’t like – or needing to book a rehearsal
“I’ve gone back to the old approach of doing three sessions per day with different people, as was common in the early 1960s” room and musicians. A few massive hits came out of that early period, including The Orb’s Little Fluffy Clouds and Blue Pearl’s Naked in the Rain. Tell us about your current home studio set-up in the UK… I work with both Pro Tools and Logic, and often use a 16-channel TL Audio valve console because I like to do dubs and put stems through the mixer – real old-school, Adrian Sherwood-style dubbing. I also have some Neve Lunchboxes, SSL and Urei compressors, so it’s a really nice combination of vintage analogue and high-end cuttingedge digital contemporary. Monitoring-wise, I am a long-term user of Genelec 1022Bs, but I also have some Mackies along with some [ADAM Audio] ANF10s that I like to dig out occasionally. How do you perceive the role of your Miloco-managed studio in Spain, El Mirador? In general, we are witnessing the demise of big studios; people don’t use them that much, and, for my own work, I do most of my recording at home. El Mirador I see as being geared towards bands that don’t
have big budgets but want to do a state-of-the-art recording that would not be feasible if they were relying on conventional studios here. What impact do you think the loss of so many major studios is having on the art of engineering? It’s really a tragedy. British engineers have led the international field for many years, and part of that was down to studios like Olympic training them up. What’s replaced that are kids going on sound technology courses for a lot of money, being taught by people who have never been in a real studio in order to gain a qualification that is kind of worthless. It’s part of the reason why I have been training engineers up since I had my studio in Brixton, Butterfly, in the 1990s. It was not something I would particularly have chosen to do, but it was borne out of necessity and it has provided me with some great engineers who have gone on to enjoy successful careers. How does your average working routine break down these days? I am not locked into two weeks of one thing then two weeks of another any more because I’ve gone back to the old approach of doing three sessions per day with different people, as was common in the early 1960s. Technology these days allows you to work very fast and I am able to call on a great team of engineers. I get to work with amazing people who are not a big commercial consideration but are an important artistic one, and then work alongside more high-profile artists, literally from one day to the next. I’m very fortunate. Q