PSNE June 2014 digital edition

PSNEUROPE Espartaco Saez says p58

JUNE 2014

www.psneurope.com

THE BUSINESS OF PROFESSIONAL AUDIO

Hail to the Chiefs!

Kaiser kicks at Brighton’s Great Escape festival

p36

Phil Dudderidge:

You’re joking!

still focussed after 25 years p22

InfoComm preview

x

Pro-audio for comedy

p48

p16

Broadcasting from Brazil p32

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welcome DEPUTY EDITOR’S COMMENT

“Once, preening rock stars bestrode the live circuit like colossi – but now, non-musical middle-aged men in ill-fitting suits are increasingly stealing their limelight”

IT’S OFFICIAL: comedy is the new rock and roll.

While preening Robert Plant types once bestrode the live circuit like colossi, unchallenged by any other form of popular entertainment, now – and I’m generalising a bit here – pudgy, middleaged, non-musical men in ill-fitting suits are increasingly stealing the limelight. (Mick Perrin, a live comedy promoter who took Eddie Izzard on one of his first arena tours, Sexie, in 2003, told The Guardian that he had arrived at one venue, Eddie in tow, only to find they’d been doublebooked: “They thought it was ludicrous to expect that Eddie would sell. The guy said: ‘Well, he’s just a comic, isn’t he?’”) Kevin Hilton looks at the audio companies reaping the benefits of the booming live comedy market on p48.

Plus, for the football-minded among you – and as I write this, a large proportion of the Intent Media London office is trying to fill the Panini World Cup sticker book – there’s apparently some kind of major international tournament on this summer. More on said kickabout, and the latest in broadcast audio technologies, on p36.

Oh, and following last month’s editorial regarding the Regional Growth Fund, Gareth Wilding has asked us to point out that the grant is only available to businesses outside London.

So, Dave’s fictional PA company (he’s on holiday, by the way), Drobinson Sound of SE London, wouldn’t have qualified after all. D’oh!

Jon Chapple Twitter: @psneurope

IN THIS ISSUE...

NEWS 4 The Lab.gruppen D Series: PLM power for install 5 Eurovision 2014; Harman acquires AMX 6 Awards: of the Pro Sound and Radio 8 10 12 14 16

Academy persuasions Industry appointments Events and expos PSNTraining New products Show preview: InfoComm 2014

STUDIO 18 Gus Dudgeon Foundation appeals for support 19 Carpark North’s Copenhagen studio: just 20 22

the ticket La Chapelle Studios’ DAFT rebranding Focusrite’s Phil Dudderidge on 25 years in the hot seat

BROADCAST 26 Ofcom consulting on upgrade to DAB+ 27 3D sound: binaural reborn 30 Anyone for tennis? Wimbledon 2014 preview 32 Feature: 2014 FIFA World Cup and

immersive audio LIVE 36 38 42 44

The Great Escape (to Brighton) Shure strength: Distribution 2.0 and beyond Oliver Voges on bringing live hip-hop to life The BBC Radiophonic Workshop’s past, present and future 46 EW: the charity investing in the future of UK pro audio INSTALL 52 Polar Audio makes its mark in the National 53

Portrait Gallery Bose’s Akira Mochimaru: targeting high-end installation and live sound

BACK PAGES 57 Hither & Dither 58 Industry talk: Espartaco Saez, Acustica Beyma

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news WORLD

(At InfoComm time, the Tesira variant will carry a proprietary AVB – audio video bridging – implementation, but this has not yet been AVnu-certified. It is understood that Biamp actively supports the AVB standard and

“truly flexible power allocation across all channels to ensure the most efficient and rational use of total amplifier inventory”.

At the heart of RPM lies the ability for each model to deliver up to 5,000W output on any one channel, even on the 8,000W model, leaving the remaining available power to be allocated freely to the other channels.

as low peak mains current draw to power output ratio) and augmented it with a software suite called CAFE (Configuring Amplifiers For the Environment). CAFE features a design tool that provides an optimised recommendation for specifying D Series into an installation project, including model and number of amps, heat generated, channel distribution and current draw. This, in effect, reduces other infrastructure costs by enabling more accurate mains management, avoiding overspecification of UPS, installed cooling systems and so on.

“D Series is about offering freedom – freedom to use any network, any loudspeaker, any third party control system, and

will be seeking AVnu ratification at a future date.)

D Series also heralds the debut of Lab.gruppen’s Rational Power Management (RPM) technology.

With a nod to QSC’s FAST technology, but taking the concept further, RPM allows

Therefore, a more optimised system design is the outcome.

(Lab.gruppen confirms that, yes, the 20,000W variant will deliver 4 x 5,000W per channel.)

The third key product advantage is “green” technology.

Lab.gruppen has taken proven PLM implementation (such

in any configuration,” says Klas Dalbjorn, product research manager for Lab.gruppen.

“We believe D Series is now the most compelling choice of amplifier on the market when it comes to large-scale performance installations.” Q www.labgruppen.com

Introducing D Series: PLM power for the install market Lab.gruppen InfoComm launch focusses on flexibility and serious power handling, but with a green rationale. Dave Robinson reports AMPLIFIER MANUFACTURER Lab. gruppen aims to establish another technology benchmark at InfoComm 2014 with the launch of the D Series, representing “the most advanced and capable install-dedicated platform ever conceived” by the 35-year-old Swedish company.

Effectively Lab.gruppen’s experience of seeing the flagship PLM20000Q used as an installation amplifier, particularly in sports arenas in the US, and reacting accordingly, the D Series demonstrates advances in three key areas: system interoperability; smart power handling; and superlative green credentials.

“We have taken much of the technology that made PLM so appealing to this market, and evolved it to meet what are really quite applicationspecific demands in large-scale venue audio, fully integrating new technologies and features that have been developed over the past four or five years, now thoroughly proven ‘in the field’,” says Hakan Gustafsson,

product manager. “The result is an entirely new and highly innovative 4-channel platform, one that offers unprecedented levels of efficiency, flexibility and power dynamics.”

The D Series design seeks “genuinely open interoperability”, as the engineers have created a product that can “integrate seamlessly with a wide range of digital audio and control protocols”. Thus the InfoComm debut showcases two variants of the device, at three power configurations (8,000W, 12,000W and 20,000W). The Lake variant offers a wellestablished package of Lake Processing DSP with analogue, AES and a dual-redundant Dante network solution, supported by the development of new custom software to provide extensive integration potential with most key systems manufacturers. The Tesira model introduces a new collaboration between Lab.gruppen and installation specialist Biamp Systems, again, ensuring “seamless interoperability” between respective systems.

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For the latest news www.psneurope.com

news

EUROPE

Photo: Ralph@larmann.com

Eurovision 2014: battle of the brands Jon Chapple rounds up the pro audio presence in Copenhagen L-ACOUSTICS, DIGICO, Sennheiser, DPA and Isostem equipment was on display at the Eurovision Song Contest final in Copenhagen on 10 May. On the microphone front, host broadcaster DR (the Danish Broadcasting Corporation) used 96 channels of Sennheiser Digital 9000 – DR owns a 24-channel system and rented the rest from MM Commuications – and 32 channels of Sennheiser 2000 Series for in-ears.

According to Sennheiser, “the audio and RF conditions in the arena were really difficult,” so Jonas Naesby of Sennheiser Nordic was on-site to support DR. DSPecialists supplied an Isostem upmix system to German broadcaster Norddeutscher Rundfunk (NDR), which used it in Das Erste’s Countdown

Eurovision 2014 winner Conchita Wurst für Kopenhagen and Grand Prix Party programmes, broadcast before and after its coverage of the final, respectively.

“The upmix unit was used for live music, full playback and MAZ [recording],” explains DSPecialists’ Maja Trompeteler.

Rentall supplied K1, K2 and KARA line arrays from Eurovision veteran L-Acoustics, while a Soundware FOH

WORLD

AMX strengthens Harman portfolio a clear strategy to add visual solutions to our ... audio GLOBAL AUDIO offerings,” says and “infotainment” Blake Augsburger, giant Harman, the parent company of AMX’s DAS-T0808-SIG Tango Audio Controller president, Harman Professional. “AMX’s JBL, Soundcraft strong portfolio of video distribution and AKG, is to acquire AV technology hardware and software ... reinforces company AMX for US$356 million.

Harman’s commitment to expand[ing] our AMX is a leading manufacturer portfolio with ... brands in adjacent and of enterprise control and automation complementary markets.” systems and audio and video switching/ The Soundcraft Si Performer, distributing solutions. The news follows launched in 2012, was the first audio the aggressive acquisitions by Harman of console to feature DMX lighting loudspeaker manufacturer Duran Audio control functionality, and pointed to (in October 2013) and lighting business Harman’s intention to expand into other Martin Professional (in December 2012). entertainment sectors. Q “Starting with the acquisition of Martin www.amx.com lighting last year, Harman has set forth

By Jon Chapple

UNITED KINGDOM

Now its ‘bi’-Polar, as distributor splits in two

By Murray Stassen POLAR AUDIO has announced an internal restructure following the expansion of the company’s roster, which now includes LOUD Technologies brands Mackie and Ampeg.

According to Polar, these brands have significantly increased volumes in the MI side of the business – and, in anticipation of this increased traffic, the company has divided into two divisions and recruited several new members of staff.

The consumer/MI division will now concentrate on the retail business, from MI and DJ shops to high-end retailers.

The second division is for installation customers, with a core focus on integration and system solutions.

MD John Midgley comments: “With our reinforced back-room staff and ... [new] website … we are in a position to respond with confidence to the extra demands placed upon us by the acquisition of important new brands.” Q www.polaraudio.co.uk

Danish mic manufacturer DPA Microphones supplied the podium microphones for the contest’s official press centre, a separate auditorium equipped by PA company DPA Soundco (no affiliation).

Eurovision 2014 was won by Austria’s Conchita Wurst with her song Rise Like a Phoenix, followed by The Common

German broadcasters NDR and Das Erste made use of an Isostem Expert upmix system team comprising Tobias Berg (designer), Robert Røhr (console A), Malte Oscar (console B) and Jurgen Vandewalle (speaker system) manned two DiGiCo SD7 consoles with Waves (one main and one backup). DiGiCo was also represented onstage with one SD10 for the final mic check and two SD-Racks for feeding the PA via AES.

Linnets’ Calm After the Storm (the Netherlands) and Sanna Nielsen’s Undo (Sweden). Q www.eurovision.tv www.digico.biz www.dpamicrophones.com www.isostem.de www.l-acoustics.com www.sennheiser.com

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news EUROPE

Pro Sound Awards: over to the judges…

By Jon Chapple THE LOBBYING period for the 2014 Pro Sound Awards closed on 31 May, and the awards team are currently hard at work going through your entries to create a definitive list of finalists for the big night at Ministry of Sound, London, on 25 September.

Early signs point to exceptionally strong showings in the Marketing Initiative, Best Theatre Sound and Best Permanent Installation

categories, with competition also particularly fierce for the Best Studio and Live/Touring Engineer of the Year gongs.

Stay tuned for the finalists!

(Coming soon to a PSNEurope near you…)

Early bird tickets are still available for £79 + VAT, and include access to the Pro Sound Awards Pre-Roll, our early evening session of lively panel-style discussion, new for this year! Q www.prosoundawards.com

Last year’s inaugural Pro Sound Awards: lots of fun

UNITED KINGDOM

Photo: Karwai Tang

Technical innovation honoured at Radio Academy Awards The 2014 Radio Academy Awards focussed mainly on programming and talent but also highlighted technical achievement, reports Kevin Hilton

The Absolute Radio team collect their award for Best Technical Innovation for InStream, which the Radio Academy judges praised for offering “genuine innovation”

A SYSTEM that allows advertisers to connect directly with radio listeners to deliver commercials and information more targeted to individual tastes won the Technical Innovation Award at the Radio Academy Awards, presented at the Grosvenor House Hotel in London on 12 May. Absolute Radio’s InStream system won the Gold prize for what the judges described as “enhancements to listening…

whilst also creating genuine innovation for the commercial model of the company.” The technology, designed by a team headed by lead application specialist Ben Matthew, combines “opt-in privacy data” with live online streaming. The principle is that listeners log in and share information about their location and interests while they are listening to Absolute Radio. As a result, they receive additional services, including

HQ audio streams, more music and advertisements, intended to target them more directly.

The judges added: “At a time when commercial radio is challenged by online competitors [we] were particularly impressed with the data input and commercial benefits that InStream brings to advertisers whilst ensuring the listeners’ needs are enhanced and remain as the focus.” Q www.radioacademyawards.org

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industrymovers

Paul Isaacs Sound Devices

Philip Belcher Fairlight

(L-R) Simon Hall, project manager; Joel Perry; Spencer Beard, MD Wigwam Acoustics

Perry perambulates the Wigwam way Joel Perry appointed as business development manager for SSE Audio Group arm LEADING UK concert and touring sound provider Wigwam Acoustics, a member of SSE Audio Group, has announced the appointment of Joel Perry as business development manager.

Perry brings 15 years of experience operating in the production industry to this new role at Wigwam. Most recently he worked as commercial manager at Total Production International magazine.

Wigwam managing director Spencer Beard says: “We have

been lucky to secure Joel for this new role. He is already well known and respected in the industry and will fit in really well here at Wigwam.”

Longterm Wigwam associate Simon Hall has also joined the company as an additional project manager, strengthening the division’s resources in Heywood.

Perry says: “I’m absolutely thrilled to be joining the Wigwam/SSE Audio Group team.” www.wigwamacoustics.co.uk

Gabriel Benitez Sound Devices

Graham Rowlands Music Group

Philip Belcher has been appointed CEO of Fairlight, the developer and manufacturer of digital audio equipment. Belcher has previously been CEO/managing director of companies including Datacraft Australia, AWA and Storagetek, and executive general manager of ICT companies Cisco Asia Pacific and NEC Australia. “I am delighted to accept the challenge of leading and growing the company, which has such a rich history and iconic brand following,” says Belcher. www.fairlight.com.au Music Group has appointed Graham Rowlands to vice-president of global sales, professional division, following his success as head of the Asia-Pacific region. Graham will head global sales for the company’s professional brands, which include Midas, Klark Teknik and Turbosound. “Graham brings strong pro-audio knowledge to Music Group, having championed several truly impressive campaigns over his 16-year industry career,” says Music Group founder and CEO Uli Behringer. www.music-group.com

Caroline Grimes Saville Audio Visual

Dan Desjardins Sound Devices

Jennifer Smith Avid

Caroline Grimes has joined Saville Audio Visual to take on a new role as retail sales specialist, based at the company’s HQ in Trafford Park, Manchester. “We have seen continued growth in retail, leisure and museum business over the last 12 months,” comments Saville regional manager Colin Etchells. “Caroline’s appointment is a significant move for us to further expand these sectors.” www.saville-av.com Avid has named former marketing executive Jennifer Smith as senior vicepresident and CMO, based in the company’s Burlington, Massachusetts, US, headquarters.

Smith brings 15 years of senior management experience in technology marketing at major software companies both in the US and internationally. “Jennifer has a reputation for inspiring creativity and driving value in global technology organisations,” says Avid president and CEO Louis Hernandez, Jr. www.avid.com Backstage Academy has recruited David Hughes as work placement manager to develop opportunities for its students and build upon its links

Jay Greenwood Audio Network

with the live events production industry. “Many of my students have used their training and work placements to progress into leading roles within our industry.

I’m proud to be able to further develop this with Backstage Academy,” states Hughes. www.backstage-academy.co.uk Audio Network, specialising in music for film, television and video, has appointed Jay Greenwood as head of A&R UK. Jay joined Audio Network after running his own artist/composer management company and working in A&R for Xtra Mile Recordings. “I’m delighted to be stepping into this role,” says Greenwood. www.audionetwork.com Sound Devices has appointed Paul Isaacs vice-president of marketing and product design, Dan Desjardins manager of software development and quality assurance and Gabriel Benitez sales manager.

“These three new appointments represent a significant step forward in our ability to develop and promote superlative video and audio products,” comments Matt Anderson, CEO of Sound Devices. www.sounddevices.com

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

expos&events

EDITORIAL PLANNER

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

PSNLIVE

Like World War II, Ian McKellen and Batman, the international AV association InfoComm turns 75 this year, and the organisation is hoping for a bigger-than-ever InfoComm show at the Las Vegas Convention Center in June.

“The AV industry continues to grow each year,” states InfoComm executive director and CEO David Labuskes, CTS, RCDD, “[and] demand for AV technology, including control systems, conferencing, digital signage and networked audio, has increased dramatically in the built environment. Audiences expect to be amazed at live events. This interest has resulted in a thriving show, and I’m certain that InfoComm 2014 attendees will experience technologies that they haven’t seen anywhere else.”

Show visitors will hear from leading audio brands in demo rooms and on the show floor; get connected with collaborative conferencing in the Unified Communications and Collaboration Pavilion; and experience the latest AV technology applied for house of worship staff at the Technologies for Worship Pavilion.

New for this year are the ‘Solutions Summit’, which begins pre-show and offers related sessions throughout the week, and a 75th anniversary awards dinner. www.infocommshow.org

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

JULY f The Modern Conference Not your father's convention gear f Commonwealth Games preview The Games come to Glasgow f On the Road diary, part 1 On tour with with pro audio’s finest

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

f InfoComm review We remember Las Vegas so you

VOLT Festival 2–6 July Sopron, Hungary www.sziget.hu

Sea Dance Festival 15–17 July Budva, Montenegro www.exitfest.org

Rock Werchter 3–6 July Werchter, Belgium www.rockwerchter.com

Latitude 17–20 July Suffolk, UK www.latitudefestival.co.uk

Hop Farm Music Festival 4–6 July Kent, UK www.thehopfarmmusicfestival.com

Lovebox 18–19 July London, UK www.loveboxfestival.com

Next TV Summit London 11 June London, UK www.nexttvsummitlondon.com

Tomorrowland (weekend 1) 18-20 July Boom, Belgium www.tomorrowland.com

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

Tomorrowland (weekend 2) 25–27 July Boom, Belgium www.tomorrowland.com

ABTT 11–12 June London, UK www.abtttheatreshow.co.uk

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

Wireless 4–6 July London, UK, and Birmingham, UK www.wirelessfestival.com

Tramlines Festival 25–27 July Sheffield, UK www.tramlines.org.uk

T in the Park 11–13 June Kinross-shire, UK www.tinthepark.com

Hurricane Festival 20–22 June Scheessel, Germany www.hurricane.de

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

Wacken Open Air 31 July–2 August Wacken, Germany www.wacken.com

SEPTEMBER

Install Awards 12 June London, UK www.installawards.com

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

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

Arenal Sound 31 July–3 August Burriana, Spain www.arenalsound.com

f Training, part 1:

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

Graspop Metal Meeting 27–29 June Dessel, Belgium www.graspop.be

Exit Festival 10–13 July Novi Sad, Serbia www.exitfest.org

Suikerrock 1–3 August Thienen, Belgium www.winforlifesuikerrock.be

f IBC preview, part 2

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

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

Umbria Jazz 11–20 July Perugia, Italy www.umbriajazz.com

Woodstock Festival Poland 1–3 August Kostrzyn-on-the-Oder, Poland www.woodstockfestival.eu

Deadline: 15 August

Photo: Toni Sastre Janer

Rock am Ring 5–8 June Nürburg, Germany www.rock-am-ring.com Rock im Park 6–9 June Nürnberg, Germany www.rock-im-park.com Pinkpop 7–9 June Landgraaf, Netherlands www.pinkpop.nl

don’t have to Deadline: 27June Distribution: 10 July

AUGUST f Line arrays f Compact consoles f On the Road diary, part 2 f IBC preview, part 1 Deadline: 25 July Distribution: 11 August

f Networking and AVB

studio/broadcast

f PLASA London preview, part 1

Distribution: 4 September

12 l June 2014

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PSNTraining UNITED KINGDOM

DIARY

IPS and Creative Skillset launch entry-level training courses

10 July From the Bedroom to Abbey Road with Nevada Music Where: Nevada Music Warehouse,

IPS Audio Training will teach engineering basics

Portsmouth, UK

By Murray Stassen

Notes: An evening explaining the

A SERIES of entry-level training courses have been announced by the Institute of Professional Sound (IPS), developed in association with Creative Skillset, the UK’s sector skills council for the A previous IPS class showing correct mic placement creative and media industries.

IPS chairman Simon Bishop The aim is to provide audio comments: “As staff jobs for practitioners in the early stages technicians working in audio for the of their careers with training in film, broadcast and radio sectors the basics of sound engineering in become scarcer, and as more workers the form of short course modules, become self employed, training designed so that those interested can attend on an ad-hoc basis as required. provided by traditional employers is becoming a rare luxury.

The first four half-day modules are “The fantastic technical training to be run on Saturday mornings at the courses of old, such as those formerly National Film and Television School provided by the BBC, are, sadly, in Beaconsfield, Bucks, and will take unlikely ever to return. I am therefore place over four consecutive weekends extremely excited that the IPS, with starting on 12 July. The courses include generous help from Creative Skillset, ‘What is Sound/Microphones 101’, is able to announce the first four ‘Mic Placement’, ‘Anatomy of a Mixer/ of our Saturday morning training Levels and Meters’ and ‘Compression and EQ’. Subsequent courses will be run classes, under the banner of ‘IPS Audio Training’.” Q in various regional centres to ensure the ipsat0714.eventbrite.co.uk maximum number of people are able to www.creativeskillset.org gain access to the training material.

process of recording and production

MPG TO TEACH INDUSTRY ABOUT BROADCAST WAV

By Murray Stassen THE MUSIC Producers Guild (MPG) has launched a dedicated online resource to help generate awareness about the Broadcast WAV file format.

Alchemy Mastering’s Barry Grint, who heads up the MPG Mastering Group, which has been pushing the Broadcast WAV initiative, says: “We now have a dedicated online resource as part of the MPG’s new website which provides all sorts of information about [the format], including a listing of all the software that complies with this initiative.”

The organisation has been heavily involved in promoting Broadcast WAV

as the best means of embedding International Standard Recording Code (ISRC) data into future recordings. Music industry organisations such as AIM and BPI are now working with the MPG to encourage the music industry to adopt Broadcast WAV as the de facto file standard.

Grint adds: “Having everything available in one place is really great because it makes it much easier for mastering engineers, record companies and other recording professionals to research the issue and find out all they need to know to incorporate Broadcast WAV into their own operations.”

The MPG’s campaign aims to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which do not contain a method for embedding ISRC information. Q www.mpg.org.uk www.usisrc.org

www.nevadamusic.co.uk

A hands-on demonstration of the POLARIS evolution mixing console

FIRST HIGHTECDAY HELD AT STAGETEC HQ

By Murray Stassen ON 15 MAY, Salzbrenner Stagetec Audio Video Mediensysteme staged its first HighTecDay at the company’s HQ in Buttenheim, Germany.

The event was organised in collaboration with headphone and microphone manufacturer Sennheiser, and was aimed at customers based in Germany, Austria and Switzerland from the stage, show, audio and/or communication sectors.

Stagetec managing director Wolfgang Salzbrenner explains: “A clever mix of in-house fair, workshops and presentations, our novel HighTecDay clearly struck a chord with our customer base: no fewer than 70 attendees showed up and complimented us on the initiative.

Our customers clearly had been waiting for a practice-oriented event where they could talk one-on-one with the makers of the products they use.”

Rainer Hettwer, project manager at Stagetec, adds: “Our exclusive event drew highly motivated pros who were quick to seize the opportunity to ask specific questions.

The lightning-fast setup time of Sennheiser’s Digital 9000 system, as well as [Stagetec’s] INSPIration and POLARIS evolution, look like real winners”.

The Polaris evolution console, Inspiration stage management desk and Vivace acoustic system were demonstrated and discussed.

Sennheiser featured its new Digital 9000 system, TeamConnect audio streaming concept, the SpeechLine microphone series and its ADN-W wireless conference technology.

Salzbrenner Stagetec is now considering turning the HighTecDay into an annual event following the success of the inaugural session’s success. Q

12 July IPS Audio Training Where: National Film and Television School, Beaconsfield, UK

Notes: The first of four half-day modules, focussing on ‘What is Sound?’ and ‘Microphones 101’ www.ips.org.uk

19 July IPS Audio Training Where: National Film and Television School, Beaconsfield, UK

Notes: The second of four halfday IPS modules, focussing on microphone placement www.ips.org.uk

9 September

VIEWPOINT: TEACHING ON AN ANALOGUE CONSOLE AND VISUAL BIAS

By Tom Waterman, CTO, Audient DURING MY time as an academic, I taught budding sound engineers on many consoles. For a while, there was a trend that saw students feel more at home on an analogue mixer and look befuddled and confused on a digital (layered) console. About four or five years ago, I saw a polarity inversion in that trend, with younger engineers more comfortable with touchscreens, digital mixers and DAW software – looking befuddled and confused when sat in front of an analogue console such as our ASP8024.

My first teaching was done on an ASP8024, and during my time with the console, I found its ergonomic layout, simple operation and wide open sound quality a real bonus. Give someone a few hours on an analogue console and befuddlement becomes enjoyment, with a pure and simple connection to the music. We are humans, we are tactile and consoles facilitate a different experience to a screen. Obviously, modern music production has moved a long way with DAW platforms – and many could argue that a console is a large and optional expense – however, in a tracking session, where speed and workflow are essential, a console offers a “muscle memory” tool to get the job done. Q Read the full article at www. psneurope.com/training

Introduction to Sound with the ISCE Where: Institute of Sound and Communications Engineers, Watford, UK

Notes: Attendees will learn about what happens to sound after it leaves the loudspeakers www.isce.org.uk

A range of commercial packages are available: Contact advertising manager, Ryan O’Donnell, +44 (0) 20 7354 6000, ryan.odonnell@intentmedia.co.uk

14 l June 2014

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technologynew products Jon Chapple compiles this month’s list of hot new products AMADEUS

PMX 4 What is it? A miniature, four-inch coaxial loudspeaker, first introduced at Prolight + Sound 2014.

Details: The compact PMX 4 completes the PMX Series speaker line, which includes 15-, 12-, 10-, eight- and five-inch models, each available in passive, self-powered and EtherSound-enabled versions.

And another thing: The speaker can be ordered in a ‘made-to-measure’ finish based on registered or non-registered colours and/or materials, including premium-grade Baltic birch and special woods like wenge, wamara and African ebony. www.amadeusaudio.fr

CEDAR AUDIO

TRINITY BROAMAN What is it? Software for audio recording, speech enhancement, playback, logging and verification for audio surveillance.

MUX22 What is it? A new interface card providing AES access and Riedel connectivity for BroaMan’s Mux22 video, audio and intercom I/O module.

Details: A single IC AES board offers four ports with matrix or panel pinout. Each port is equipped with a single AES/EBU input and AES/EBU output, offering two

audio inputs and two audio outputs (for a total of eight in/eight out).

And another thing: Each single input channel on the board is also integrated with the Optocore network and can be distributed to other Optocore interfaces (MADI, AES3, analogue, etc). www.broaman.com

LECTROSONICS

CC2

Details: Allowing users to simultaneously monitor, enhance and record up to eight channels of audio, CEDAR Trinity is an invisible part of the system and is always active – even

when the machine is asleep or the user is not logged in.

And another thing: The software may be installed on any suitable PC or supplied pre-installed by CEDAR Audio on rugged laptop systems (pictured is Trinity running on a Panasonic Toughbook). www.cedaraudio.com

SENNHEISER

SPEECHLINE What are they? Mics for teleconferencing, meetings, lectures, presentations and speeches.

Details: Comprising the MEB, MAT and MAS product lines, SpeechLine is designed to be a range of mics that provide

excellent speech intelligibility at an “unbeatable” cost.

And another thing: In their -S versions, the MEB 114 and MAT 113 feature a programmable microphone

button and bi-colour LED ring for status indication. www.sennheiser.com

SOLID STATE LOGIC

KH 120 DUENDE NATIVE What are they? Three new Duende Native plug-ins from SSL.

What are they? The LMb and LT beltpack transmitters and LR miniature receiver: three new units in the L Series’ Large Bandwidth line of wireless mic products.

Details: All three units share a wide tuning range of three standard Lectrosonics blocks – or 67.5 to 76.8MHz, depending on the specific frequency band – and employ

the company’s Digital Hybrid Wireless technology for compandorfree audio.

And another thing: Karl Winkler, Lectrosonics’ director of business development, says the L Series “fill[s] a growing need for frequency flexibility in the face of [an] evermore crowded and shrinking RF spectrum”. www.lectrosonics.com

Details: X-Saturator and X-ValveComp bring analogue saturation and distortion emulation to the user’s digital DAW, and X-Phase delivers high-precision, frequencyspecific phase correction.

And another thing: To coincide with the release of the plug-ins, SSL has migrated the entire

Duende Native collection from the Codemeter copy-protection system

to the more widely used iLok 2. www.solidstatelogic.com

16 l June 2014

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InfoComm 2014

Photo: Las Vegas News Bureau

showpreview

When?

18-20 June

UNITED STATES

InfoComm 2014 The E219 subwoofer, new from Adamson Riedel’s MediorNet MetroN core router

Revolabs’ Executive Elite wireless mics: the “first and only” to offer a cloud server option

Murray Stassen gives you a heads-up on the key pro-audio debuts and demonstrations of InfoComm 2014 before you arrive in the Nevada desert TAKING PLACE at the Las Vegas Convention Centre on 18-20 June InfoComm, the world’s largest professional AV trade show, once again promises to attract industry professionals and members of the press like technology-addicted moths to an (LED) light. Follow PSNEurope on Twitter for updates during the event – but in the mean time, in alphabetical order, here is what we know so far…

Adamson will debut the new E219 subwoofer, the latest addition to its Energia family, at InfoComm this year. The E219 is loaded with two lightweight, long-excursion 19-inch SD19 Kevlar neodymium drivers using Adamson’s advanced cone architecture. The drivers employ dual five-inch voice coils for exceptional power handling, and are mounted in an ultra-efficient front-loaded enclosure, designed to reproduce clean, musical lowfrequency information.

ESP/SurgeX will showcase the Envision power conditioning system, an energy intelligence solution that measures and records power disturbances in detailed real-time reports and displays. ESP says the solution allows integrators to quickly identify power problems that can cause lock-ups and copy quality issues.

The ESP/SurgeX Envision power-conditioner

option,” offering flexibility in set-up, management, and monitoring – and the FLX UC 500 USB conference phone, which features a tweeter and mid-woofer to provide powerful, high-fidelity audio capabilities.

Updated in time for display

on Riedel’s stand will be MediorNet 2.0, which provides video router functionality, highspeed rerouting and new WAN capabilities – including solutions for JPEG2000 and H.264. Also on show will be the new 2RU large-scale MediorNet MetroN core router, which provides a real-time routing capacity of 64 10GB ports.

VUE Audiotechnik’s demo session will offer attendees the chance to listen to the company’s array of loudspeaker options, which it calls the ‘VUEniverse’. Sessions will run at least three times a day, beginning on 17 June, the day before the exhibition opens.

Finally, Xavtel will be showcasing its new Senator range, which is now shipping.

Based on innovative DSP and networking technology, it can, in its largest configuration,

contain up to 504 CDM delegate units running from a single DSP processor on a loop wired infrastructure.

The company is also introducing the CDM2000 delegate station, CDM-T5 chairman and media delegate station – which features a five-inch touchscreen and can manage and control a whole conference or meeting – and the OCTO Sr digital audio processor, featuring intelligent DSP and remote wall-mounted devices that allow bidirectional audio I/O and control via a dedicated bus (OCTO-LINK) up to 250m away. Q www.infocommshow.org www.adamsonsystems.com www.espei.com www.revolabs.com www.riedel.net www.vueaudio.com www.xavtel.com

VUE Audiotechnik HS-28 subwoofer Stephen F. Galloway, president and CEO, says: “Envision is the most advanced energy intelligence and power protection tool ESP has developed to date, and it will solve a lot of headaches for service departments. Whether it’s reducing energy consumption, service calls or other problems, having the ability to immediately analyse energy-related data will help any organisation run more efficiently.”

Highlights on the Revolabs stand include the new Executive Elite – which the company says is the “first and only wireless microphone to offer customers a cloud server

LATEST CROWN AMPS “TO BE AVNU-CERTIFIED” HARMAN’S CROWN Audio has expanded its DriveCore Install (DCi) amp range with what are expected to be “first professional audio amplifiers to be certified by the AVnu Alliance”.

Two models have been revealed, the eight-channel 8|600ND (for Network Display) and the four-channel 4|1250ND power amplifiers, both featuring front-panel status displays.

While the amps are shipping now, the AVB (audio video bridging) certification remains imminent but not yet confirmed. “The certified firmware will be released when it passes all the AVnu certification and interoperability testing requirements at the third-party

testing lab: the University of New Hampshire InterOperability Lab,” said Alex Crabb, spokesman for AVnu Alliance, the industry forum dedicated to the advancement of the AVB technical standard. “[The firmware] is going through this process now and is expected to be among the first AVnucertified endpoints to pass all the robust tests. This should be announced very close to, if not at, InfoComm.”

Crabb confirmed that products from Meyer Sound and AudioScience (a US-based developer of DSPbased digital audio peripherals) are “extremely close” to becoming AVnu-certified, “but we haven’t

announced a certified end point yet”.

The Crown amps will be only the second group of products to be ratified as AVB-ready since the certification scheme was announced in 2012, after a range of 16 X440 Extreme Networks switches, certified in January.

An expectant Crown Audio business segment manager Daniel Saez stated: “Combining DriveCore technology with AVB represents another first from Crown as we continue to lead the way for professional amplifier innovation for the most demanding large-scale environments.” www.avnu.org www.harman.com

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Studio Marcus Anderson, an acclaimed saxophonist and member of Prince’s New Power Generation backing band, relied on AKG C519 mics for the making of his fifth solo album, Style Meets Substance.

“The C519 has been a tremendous tool for me when recording and performing live,” says Anderson, “whether it’s at a club with my own band or in an arena with Prince. It reproduces my playing with clarity and purity.” www.harman.com Musician and producer Will Holland, aka Quantic, has installed Prism Sound’s Titan USB multi-track audio interface in his New York studio.

Holland produces soul, jazz and Latin music, and says: “My recordings comprise of different elements, often from a variety of sources. These may be recordings from tape, record and sounds recorded on location, so it’s important to maintain a noise-free, clear and undistorted sound.” www.prismsound.com HHB Communications has supplied equipment for major refurbishments to Imagem Production Music’s London studios, upgrading both systems to Pro Tools HD11 and HDX hardware with the new Apple Mac Pro. HHB also supplied new hardware and software products, including Neumann microphones, Universal Audio and Neve preamps and plug-ins from Waves, Sonnox and iZotope.

Imagem producer and studio engineer Taz Mattar comments: “It is actually ridiculous how fast our studios are with the addition of the new Pro Tools HDX systems.” www.hhb.co.uk Waves Audio has introduced the Waves Abbey Road Collection, which features a lineup of plug-ins that meticulously model the studios’ legendary microphones, consoles, tape machines and signature effects. Mirek Stiles, head of audio products, Abbey Road Studios, states: “These beautiful-sounding plug-ins encapsulate the hardware and expertise that contribute to the ‘Abbey Road sound’, as heard on the many landmark recordings made at the studios throughout its 80-plusyear history.” www.waves.com

UNITED KINGDOM

Gus Dudgeon Foundation calls for further support The GDF is keeping the legendary producer’s memory alive – but without a financial boost, 2014 will be the year it closes its doors. By Jon Chapple THE GUS Dudgeon Foundation (GDF) graduate music production course – a JAMES (Joint Audio Media Education Support)-certified postgraduate qualification founded in memory of the late record producer – is appealing for funds for 2015 and beyond.

“We have recently announced the fourth Gus Dudgeon graduate course, which will take place in July,” explains GDF founder Chris Hook. “With funds running low, the foundation has [had] to tighten its belt – and without further funding, this will be the last course.”

Around 30 students have completed the course to date, justifying their status as what Hook calls “some of the best graduating music technology students in the country” by

going on to make their marks in a notoriously difficult industry.

GDF students gain experience of working at the highest level in a traditional recording studio, and an insight into the origins of the techniques used and how they apply to the music industry today.

Alumni include Phil Stuttard, now with the Music Producers Guild; Eduardo de la Paz, who has worked as engineer or mix assistant with Arcade Fire, Paolo Nutini and The Horrors (and previously at Miloco); and sound technician Ross Watson, of the broadcaster STV and various live venues throughout Europe.

“There are also lots of sponsorship opportunities, starting at just £350, for companies which would like these future producers and engineers to familiarise themselves with their

GDF/JAMES students study under veteran heavy metal engineer Dan Turner Simkins LLP, PMI Audio, Sonic Distribution, Source Distribution and Unity Audio. Q www.gusdudgeon.com www.jamesonline.org.uk

products or services,” continues Hook. He can be contacted on chrishook2@me.com at any time.

Previous GDF sponsors include Focusrite RedNet, Michael

UNITED KINGDOM

The Church Studios reopens under Paul Epworth Photo: Lucy Williams

SOUNDBITES

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

By Eline Rilda MILOCO AND UK producer Paul Epworth have announced the relaunch of The Church Studios in Crouch End, north London. Studio 1 is now designed to be a completely ‘no-bars’ recording experience.

A vintage 72-channel EMI Neve console is based in the live recording room, and the original control room can be used as an additional editing suite. One of the old church booths has been converted into

The vintage EMI Neve desk at The Church Studios in all its resplendent glory

a large recording booth which can accommodate drums, and there are nooks and crannies around the building that can be exploited – for example, the church spire, which works as an echo chamber. The studio owns the only EMI Neve in London, which comprises two halves: one from Abbey Road, where it recorded albums like Pink Floyd’s Wish You Were Here, and the other from the famed Pathé Marconi studios in Paris. Q www.miloco.co.uk/church1

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studionews DENMARK

Carpark North studio is just the ticket Danish electro-rock outfit Carpark North has built a recording studio in Copenhagen. Band member Søren Balsner gives PSNEurope staff writer Murray Stassen the lowdown on the new facility LAU HØJEN, Søren Balsner and Morten Thorhauge formed electronic rock act Carpark North in Aarhus, Denmark, in 1999. Balsner and Højen met at school at the age of 16 and were later joined by drummer Thorhauge.

“We knew from the beginning that we wanted to combine rock and electronic music. Carpark reminded us of rock, containing metal, concrete and hard surfaces. North reminded us of electronic elements, containing stars, northern lights and ice,” explains bass and synth player Søren Balsner.

After more than a decade of chart success and a major signing to Sony Music, the band has now built its very own studio called Apparat, based in Christianshavn, in the Danish capital of Copenhagen. PSNEurope caught up with Balsner to discuss the location, layout, contents and purpose of the studio.

“It’s 50m from canals and parks, but also in the middle of cafés and restaurants and close to the legendary free community, Christania. So it’s a unique calm and airy place in the middle of Copenhagen,” explains Balsner.

Balsner says that construction started in the summer of 2011, and that the completed studio now contains a large live room with six-metre high ceilings, as well as a lounge which can also be used as a ‘B’ studio. The facility also features a kitchen, bath and a basement, which Balsner says is “ideal for an amp room”.

All the rooms in Apparat are connected to the control room.

“We had our friend Esben Thorlacius, who is an architect, help us draw up the studio together with acoustic engineer Jakob Nygaard. The construction was done by Morten Asby and his company under supervision of Esben. We did most of the cabling ourselves, and my wife, Eva, was the interior decorator.”

All the recognition the act has received since its formation in 1999, in addition to being signed to a major label, would suggest that the band would be spoiled for choice when it comes to professional recording studios to make use of, so why invest in the construction of a private studio at this time? Balsner explains: “In Carpark North, we have always produced a big part of the music on our own. So we wanted to do the next album completely on our own. But we also spend a lot of time on doing it.

“We needed a place that was bright and central. A place you want to work in every day for a long period of time. But

The live room with its 6m high ceilings and a staircase leading to a lounge, which can be used as ‘B’ studio; inset: the control room with Genelec and Yamaha monitors, various outboard and several keyboards building such a studio for our purposes would only be a waste. So we went full on and built it ‘top professional’ in order to rent it out after our album was done.”

In spite of its commercial success, the band is still concerned about local Danish music and built the studio with this scene in mind. “As we don’t have to make a living from being studio owners, we can set the price really low. We hope that this will appeal also to smaller acts, so they can have a chance to record their music properly and in inspiring surroundings.

This is actually the main philosophy behind the studio: To help the massive potential [of] underground [bands] … who may not have the resources.”

“In order to be able to rent it out as cheap as possible, we needed to think creatively,” says Balsner. “This means we don’t have a big expensive console. But we have an ATB 24 from Toft Audio, which has all the features you need in an analogue latency-free recording session.”

In addition to the ATB 24 console, the studio is kitted out with outboard from NTP, Summit Audio, API, TubeTech, Clariphonic, Drawmer, DBX and external preamps from Neve, API and Tube-Tech. “Conversion is done

by Lynx, Crane Song and Apogee, providing around 50 in/out via MADI to the computer, which runs Cubase 7 and Pro Tools 10 and all the plugins you could wish for,” adds Balsner.

Monitoring is provided by Adam S4X-H, Genelec 8050B and Yamaha NS-10s.

The studio’s microphone collection includes classics such as the Neumann U47 tube mic and the Coles 4038 ribbon microphone, but also modern mics from Opal, Beyerdynamic and DPA.

Balsner says that he has been particularly impressed with the DPA mics in the studio.

“My favourite DPA mic must be the 4015.

You can use it on almost everything, and it’s very easy to place. Just point it towards the sound source and you get everything you need. It’s very open and detailed – especially in the top end – which makes it perfect for overheads, hi-hat, snare drum, acoustic guitars, piano, and even for snappy and clear electric guitars and drum ambience.”

“We’ve actually recorded our recent album with all DPA mics except a few parts. Bo from DPA challenged me and put a DPA mic next to my favourite microphone on all channels and had me A/B. And I chose DPA over my classics on 20 out of 24 channels. That’s how versatile they are.” Q www.apparatstudio.dk www.carparknorth.com www.dpamicrophones.com www.toftaudio.com

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studioreport BELGIUM

DAFT but not stupid In a move initiated two years ago, Stijn Verdonckt, the owner and studio manager of La Chapelle Studios, has decided to rethink the facility’s communication and operations strategy, says Marc Maes AS OF May, a new brandname groups both La Chapelle Studios’ activities and its new marketing and communication division. “We’ve opted for the name DAFT – and that’s basically what it is,” says studio manager Stijn Verdonckt. “[We’re not doing] traditional campaigns – we have the rock ’n’ roll DNA inside. And the link with music is our forte.”

The new website clearly divides DAFT’s activities into ‘bands’ – with the studio section – ‘brands’, grouping all activities

under one umbrella with a clear and distinct image.

With an average of 16 booking days per month, the Waimes-based outfit, part of the Miloco group, is certainly up to standard when it comes to economic viability. In addition to the acclaimed acoustic specifications of the spacious La Chapelle live room, Verdonckt regularly receives requests to use the hall for corporate events, product launches and VIP meetings. The studio, located in the EUREGIO triangle of Germany, Belgium and the

Netherlands, has met with increasing success as meeting place and rapidly gained momentum as a communication and marketing tool for a wide range of companies.

“We now have given structure to this studio spin-off and set up a communication unit,” explains Verdonckt. “The idea is to help companies in their marketing efforts by adding music as extra factor – either by booking artists or, like in the case of the upcoming summer festivals, provide a mobile recording studio where the festivalgoers

Daan ‘DAAN’ Stuyven recording his latest album in La Chapelle’s live room can record their own seven-inch vinyl single.”

“It’s clearly a win-win situation”, he continues. “Brands are continuously looking for interesting content to offer to their fans, and music [is] a perfect engagement tool. On the other hand, bands are looking for financing and new ways to get their music heard. Clearly, putting them together makes sense...”

Verdonckt points out that the marketing arm is to be seen as strengthening the studio’s position rather than as an alternative for falling recording

revenues. “With both leading Belgian artists such as DAAN and Jef Neve and internationally known bands like Stephen Malkmus and the Jicks returning to the studio, I’m happy to see that, in five years, we have been able to put the studio on the map and made La Chapelle attractive to both artists and producers.”

DAFT has also recently launched the Writer’s Lodge, a converted farmhouse in “an inspiring landscape” for musicians who want to work on new material. Q www.wearedaft.be

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studioreport EUROPE

As Focusrite celebrates its 25th anniversary, chairman and founder Phil Dudderidge talks to Sue Sillitoe about what it takes to create a successful company… and what he might have done differently with the benefit of hindsight PHIL DUDDERIDGE says he has learned a great deal from his experiences as the chairman and founder of Focusrite – but to put those lessons into context, you have to look back at what came before.

“Prior to acquiring Focusrite, I spent 15 years running console manufacturer Soundcraft,” he says. “That company grew like Topsy because we were entering a market which hardly existed when we started in 1973. No one else had live sound mixers so we were there right at the beginning.

Of course there were big studio consoles – Rupert Neve was one of the people building those.

Rupert’s consoles were always iconic and in a different league to ours, so it was paradoxical that, after selling Soundcraft in 1988, I got involved in a company he had founded.”

The original Focusrite was started by Rupert Neve in the mid-1980s, and one of its first contracts was building extensions to the Neve consoles at AIR Studios. Soon, other people were asking Rupert Neve to build consoles – and, according to Dudderidge, that’s when things got out of hand.

“These were big projects, and the original Focusrite company wasn’t structured to deal with

them,” he says. “Only two consoles were delivered – one to Master Rock and one to Electric Lady – before the company went into liquidation.”

Dudderidge, who had money in the bank from the sale of Soundcraft, bought the assets from the liquidator.

“When I sold Soundcraft, I was planning to do something completely different,” he says.

“However, this opportunity came along and I got drawn into it. I was turning 40 and was too young to retire, plus I was seduced by the idea of big consoles. In hindsight, it wasn’t the best investment

Phil Dudderidge: silver anniversary decision considering where the market went.”

The demise of the large console market taught Dudderidge a thing or two about good and bad investments, but buying Focusrite didn’t turn out all bad, and the positive lessons

he learnt have stayed with him to this day.

“Never make the same mistake twice – that’s definitely something I’ve learnt,” he says.

“We acquired Focusrite as a big console business, but it was the sale of outboard units that gave us immediate cash-flow.

Focusrite never built those units in-house, so we were able to restart the manufacturing process very easily using existing subcontractors.

“Looking at this model I realised it was a very good one and decided to stick with it. At Soundcraft, we’d had our own factory and that had always been my Achilles heel. Running a factory was the last thing I wanted to do, so I jumped at the opportunity to operate this new company differently.

W

Phil Dudderidge – 25 years in the hot seat

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W

studioreport Subcontracting gives you much more flexibility. We’re no longer putting the cart before the horse and doing things just to keep a big factory busy.”

Another lesson Dudderidge has learned over the last 25 years is the value of acquisitions and partnerships.

“You have to keep your eyes open for changes in the market and look out for new opportunities,” he explains. “We learned this when we acquired Novation in 2004. We thought keyboard controllers were a good direction to go in, and we had already identified Novation as a potential sister brand before they ran into trouble and we

bought them. We managed to save the brand by absorbing it into Focusrite and it has become very successful.”

Focusrite also designed the Pro Tools hardware controller, Control 24, which taught Dudderidge and his thenmanaging director, Simon Blackwood, to look beyond the UK for manufacturing in order to reduce costs.

“We took responsibility for establishing production, and, to stay within the parameters of the budget, we used a contract manufacturer in China,” he explains. “That was the first time we had manufactured anything there and it’s been a

huge success. Since 2002 we’ve made everything in China using trusted partners who give us great quality and service.”

One might ask, “What about the UK?” Doesn’t he feel any responsibility for the demise of its manufacturing base?

“No, because sadly the UK is not a country of contract manufacturers and China is,” he says. “During the early 1990s, when we first acquired Focusrite, we designed a new console based around Rupert Neve’s ISA110 mic pre and EQ module. They were obsoleted by technological changes, but also by the cost of British manufacturing, which was too expensive to allow us to

Hit-maker and kit-maker: Dudderidge with Sir George Martin, CBE, in 2001 compete effectively on the global stage. People simply couldn’t afford the high cost of producing stuff here.”

Although big consoles were what attracted Phil Dudderidge to Focusrite, the demise of that market allowed him to concentrate on outboard products and ultimately rebrand the company as an audio interface specialist.

“Being clear about your future direction is very important,” he explains. “Our contract with Digidesign for the Mbox precluded us from doing a USB interface at the time but said nothing about FireWire, so we developed a whole range of FireWire interfaces that I now call our first-generation phase.

These came to market as the Mbox came to an end. By 2008, we had second-generation units using different FireWire chips, which were a big improvement.

In 2009, we decided to become known as THE audio interface company. This allowed us to refocus our development resources and significantly push the company forward.”

It certainly worked. Focusrite’s turnover has risen from £10 million in 2007 to £45 million this year. Not a bad result, given the economic climate.

“In the last five years we have also taken control of retail and distribution by doing things a bit differently,” Dudderidge adds.

“The US market is the single largest market in the world, so we have established a US subsidiary to handle sales and marketing.

We still have a distributor there but we have divided the role so that we are responsible for creating demand and they are responsible for fulfilling it.”

Germany, too, has been given a shakeup, with Focusrite now selling direct to retailers and having a dedicated German sales

and marketing manager who is responsible for the retail channel.

“My experience at Soundcraft taught me that selling to Americans in anything other than dollars doesn’t work because of problems with exchange rates. Luckily, our Chinese manufacturing model allows us to buy and sell in dollars. Whether sterling is up or down obviously makes a difference to the value of profits, but at least we no longer have the huge cost-based problem that we had when we were manufacturing in pounds.”

Dudderidge adds that selling in euros in Europe is also important as this prevents exchange rates from bouncing prices around, enabling stable prices across the Continent.

Having reflected on the positive lessons he has learned, is there anything he wishes he’d done differently?

“If you’d asked me that question six months after I bought Focusrite, I’d have said I should never have done it!” he says. “We didn’t make any money for the first five years, and I burned a lot of my own capital that I’d spent 15 years accumulating. By the mid-1990s things got quite scary and I had to remortgage my house.

“Thankfully, we turned a bad decision into a good one by continually reinventing the company and recognising market trends. We’re still doing that with our RedNet series of networked products, which are moving us into the live sound and installation markets. It’s the same with Novation, which is not just about synthesisers and keyboard controllers anymore but also about grid controllers for electronic music production.

We are clearly very proud of what Focusrite has achieved, but we don’t rest on our laurels.”

Focusrite now employs over 100 people in the UK and is renowned for its high morale and low staff turnover. It has twice featured in The Sunday Times’ ‘Best 100 Small Companies to Work For’ list and puts great store on staff satisfaction.

“Employees are what make a business and having that ‘best company’ recognition makes me very proud and tells me we are doing the right thing,” Dudderidge says. “Focusrite is a great place to work and the company I’d like to work for if I was an employee.” Q www.focusrite.com

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

broadcast SOUNDBITES The BBC is looking into what led to over 1,000 complaints from viewers who said they could not understand much of what was being said in the latest adaptation of Daphne du Maurier’s Jamaica Inn, produced for the broadcaster

by Origin Pictures and broadcast on 21 April. Blame was laid at the door of the audio department, with a spokeswoman citing “issues with the sound levels” – an explanation disputed by many in the sound community, including freelance production sound mixer Ian Sands, who said the problems were likely artistic. www.bbc.co.uk French radio station Europe1 has outfitted its studios with a pair of Studer OnAir 3000 digital consoles, acquired through Audiopole, Studer’s French distributor. Europe1 head of engineering Michaël Allouche praises the consoles as “reliable, modular, flexible and robust”. www.harman.com Crosspoint has become the sole distributor for Sonifex broadcast products in Belgium. Bruno Van Hileghem of Crosspoint comments: “We are very glad to add Sonifex to our product catalogue; it fits our portfolio perfectly.” Richard Butlin, Sonifex sales manager for Europe, adds: “We are delighted to have Crosspoint on board as our new face in Belgium. Their specialist skills and knowledge of the Belgian market will make them a significant force within the Sonifex team.” www.cross-point.be

TVBEurope’s IT Broadcast Workflow conference, to be held on 8 July at Bafta in London, will feature a special session on loudness compliance. Taking part in a moderated discussion will be MC Patel, CEO of Emotion Systems, a specialist in loudness compliance software; Craig Russil-Roy from Adstream, who will talk about the challenges advertisers face in distributing loudness-compliant content on a global scale; and Simon Leppington of Ericsson, who will speak on file-based preparation and playout for broadcasters. www.broadcastworkflow.com

EUROPE

A big plus for second-gen DAB As DAB+ spreads across the European mainland, the United Kingdom’s broadcast regulator, Ofcom, is consulting on proposals to upgrade to the enhanced digital radio format, reports Kevin Hilton RADIO BROADCASTERS in Europe are continuing to adopt DAB+ for digital transmissions or considering making the move from its predecessor. New multiplexes are planned for Germany, while Monaco has started testing the format and Denmark will move to DAB+ between 2016 and 2018.

In the UK, Ofcom, which regulates and licenses radio broadcasting, has included a section on alternative audio coding in the form of DAB+ in its recent Broadcast Digital Radio Technical Codes and Guidance Consultation on updates and amendments for transmission.

These were last revised in 2006 and while Ofcom says it tries to regulate “only where necessary,” it observes that “there have been changes

As well as valid bitrates, sampling rates and digital radio codecs, Radioscape’s Tritium Audio Encoder also includes IP distribution over EDI (electronic data interchange) in both technology and the landscape of the radio industry” since then. DAB+ is based on high efficiency advanced audio coding (HE-AAC), which is able to support stereo services at much lower bitrates than existing MPEG-2-based DAB services.

Any introduction, it says, would have to be managed carefully, but Ofcom is proposing to make part of the planned second national digital multiplex available for DAB+ operation should any broadcasters need it, although this is not mandatory.

Among the manufacturers preparing for the coexistence of DAB and DAB+ is Radioscape, which recently introduced the Tritium Audio Encoder. This offers up to four stereo inputs on one unit and is designed to take source input and send compatible DAB or DAB+ streams to the multiplex.

The rest of Europe has a headstart on the UK, with Bavaria Radio planning an additional 21 DAB+ multiplex transmitters by the end of 2015, Radio Monte Carlo Readiodiffusion in Monaco testing the format since the end of April and Denmark planning to have the foundations for its first DAB+ network in place during next year, ready for the start of a two-year transition that begins in 2016. Q www.ofcom.org.uk www.radioscape.com

UNITED KINGDOM

SIS Live Mastersound truck bought by crew

By Kevin Hilton AFTER BRITISH broadcast facilities and uplink supplier SIS Live announced that it was pulling out of the OB market, speculation began as to what would happen to its trucks.

The key audio vehicle was Mastersound, which had long been used on the BBC’s coverage of The Proms, as well as being involved in other major live events, including the wedding of the Duke and Duchess of Cambridge of 2011.

It has now emerged that the Stagetec Cantus-equipped vehicle has been bought

by former SIS Live sound supervisors Andy Payne and Matthew Charles. The pair has formed a company, the Sound Alliance, which will continue to operate the truck and offer it for hire on big broadcasts requiring a dedicated mixing environment.

“We’ve got eight weeks at the Royal Albert Hall for The Proms, so we won’t be looking to do anything with the market until after that,” Payne comments. “As well as broadcast and big events, there are opportunities in non-traditional areas like digital cinema and live music.” Q www.thesoundtruck.co.uk

GERMANY THE GERMAN Motor Sports Association (DSMB) has commissioned motorsports communications expert Racecom to manage the implementation of comms systems at races. Racecom chose a DELEC oratis intercom system to serve as “the heart of the communication system” at various

racing circuits. Two oratis matrix frames, connected via fibre-optic cable, are installed at the race management centre and in one of the two Racecom trucks. The system was first deployed in the ADAC GT Masters series (pictured). Q www.delec.de www.racecomnc.com

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broadcastreport WORLD

A Brüel & Kjær Head and Torso Simulator (HATS) dummy head

Old-school surround: the return of binaural SINCE THE earliest days of sound reproduction, inventors have strived to accurately replicate how humans hear in everyday life, with sensations of height and depth as well as width and length. Cinema has again led the way with Dolby Atmos and Auro by Barco, but in broadcast, developers are looking towards older technologies to create spatial audio.

Just when some technologies appear to have been consigned to the technical history books, they suddenly make a comeback to fulfil a need in modern broadcast and media production. Two prime examples from the sound world are binaural and Ambisonics, both of which have formed the

delivers virtual 11.1 surround to standard headphones, based on a customisable 3D audio renderer for localisation and spatialisation. DTS is aiming Headphone:X both at music/video and the games market, with a feature to allow gamers to save audio preferences on multiple devices for a consistent experience using many platforms.

Headphones formed part of the earliest experiments into what became known as stereo sound, often allowing more of an emulation of the full spatial information people naturally hear. Stereo was publicly demonstrated in 1881 during the International Exposition of Electricity, when Clarence Adler

“There are lots of potential applications for binaural sound, and when done really well, it’s very convincing” Chris Pike, BBC R&D basis of the BBC’s research into new formats for immersive sound in television, radio and general distribution to new mobile devices.

The appetite for so-called 3D sound is certainly there, as shown by the success of Dolby’s Atmos object-based spatial cinema system. A competitor is Auro 11.1, developed by Auro Technologies and marketed for the theatrical market by Barco.

Dolby also sees potential for surround sound in the mobile device market, initially with its Dolby Digital Plus 5.1 system, but now is taking the concept further after demos of Atmos for handhelds during Mobile World Congress in February.

DTS is another company looking to headphones and handheld devices. Its Headphone:X technology

placed 10 telephone transmitters around the stage of the Paris Opera. These were connected to corresponding pairs of telephone receivers at the Palace of Industry, where the public could hear the performances picked up through a spaced pair of microphones. It is said this basic equipment allowed listeners to identify the position of different sound sources.

Binaural techniques were refined during the 20th century by placing microphones in a dummy head so that listeners wearing headphones would hear exactly what the recording setup “heard” in terms of the positioning of sounds.

The technique fell out of favour as a listener had to sit very still for true reproduction of the original audio picture, and the general preference moved towards

people listening on loudspeakers for greater convenience and freedom of movement. But

binaural never really went away, and in recent years BBC R&D at its MediaCityUK

facility in Salford has used it as a basis for experiments into immersive audio.

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Could the return of long-dormant technologies like binaural and Ambisonics – now collectively known as “3D sound” – be broadcast audio’s answer to immersive sound in cinema? Kevin Hilton investigates

June 2014 l 29

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In parallel with this, researchers have also been using Ambisonics for 3D sound.

Ambisonics was devised during the early 1970s by recording engineer and mathematician Michael Gerzon, with recordings made through a specially designed SoundField microphone to produce an accurate audio picture comprising absolute sound pressure level and the three pressure gradients: left/right, front/back and up/down.

But BBC R&D decided that binaural was more effective for the height element in 3D sound, and produced a number of test recordings, including a radio drama production of The Wizard of Oz (which gave the sensation of objects being thrown about by the tornado that takes Dorothy to the fantasy land) and a recording of Elbow in concert.

During a demonstration of this work in 2011 a BBC R&D spokesman said much of the

work had focused on “how to personalise characteristics [for] accurate localisation” of the sound to suit each individual listener. To make this possible, a head-tracking device is now part of the process, and special apps that can be attached to devices such as Bluetooth receivers – so the wearer is able to receive all the spatial audio information, even if they are moving about while wearing the headphones – are under development.

To make this work, the dummy head has been replaced by software to process six-channel surround-sound recordings, preserving headrelated transfer functions (HRTFs) – the variations in sound frequency caused by the ear, head and shoulders.

Recent BBC productions made using 3D sound include the Nine Lessons and Carols concert and radio drama Private Peaceful, although these were based on standard surround signals converted into binaural.

MediaCityUK in Salford Quays, Manchester, UK – home of the BBC’s R&D department

The reappearance of this old technology has not been well received in some sections of the technical press. As well as observing that the “sexing up” of binaural as 3D sound would not make up for existing “imperfections” in the format, one commentator pointed out that sounds could be potentially disconcerting and

even dangerous for someone listening while out walking or riding a bicycle.

Despite such negative reactions, the BBC is confident 3D sound/binaural will have a new lease of life. “There are lots of potential applications for binaural sound and when done really well it’s very convincing,” comments Chris Pike, senior

scientist with BBC R&D. To appeal to a younger audience, and playing on recent trends, engineers have been working to integrate sound recorded on smartphones and tablets into broadcasts of concerts and other live events. Q www.ambisonic.net www.bbc.co.uk/rd www.binaural.com

Photo: University of Salford Press Office

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broadcastreport Photo: AELTC/Neil TIngle

UNITED KINGDOM

Anyone for tennis?

Jon Chapple talks to NEP Visions about their broadcast coverage of Wimbledon 2014 LATER THIS month, the world’s greatest tennis players will take to the court in leafy south-west London for a fortnight of grunting, bananas and impeccably laundered white polo shirts – and NEP Visions, the UK-based outside broadcast (OB) arm of American company NEP Broadcasting, will be on-hand to document it all.

NEP is providing TV coverage of the 2014 Wimbledon Championships for two major clients: BBC Sport in the UK – for which it won the contract, along with the OB rights for BBC Sport’s coverage of athletics and other tennis events, in

NEP Visions will use a Calrec Artemis console in its 2014 coverage of the Wimbledon Championships for the BBC and ESPN March of last year – and ESPN in the US, and the company told PSNEurope that covering tournament has become

progressively more complicated over the years: “[There are] many more facilities required both from a communications and sound standpoint.”

NEP will be using RTS intercoms for on-site communications, making use primarily of ADAM matrix frames and KP-32 keypanels.

NEP Visions has been a [former RTS parent company] Telex customer since we first invested in a digital intercom,” says NEP, “and the backup is terrific.” The company adds: “Nothing can happen unless everyone can talk and communicate with each other, as [broadcasting live sports] is a communications industry,” and praised RTS products’ “reliability and ease of use”.

Novak Djokovic playing Viktor Troicki on Centre Court, Wimbledon 2012 Visions has also rented a 64-fader Calrec Artemis console, which it will use as part of a flypack to complement its own Calrec desks in service at the Championships. The Artemis console will be part of a control room attached to a dedicated studio responsible for full presentations and highlights, broadcast in 5.1 audio as standard.

Calrec’s UK sales manager, Jim Green, hailed the company’s

“long-standing relationship with NEP,” and said NEP “uses Calrec consoles almost exclusively”.

The 2014 Wimbledon Championships will take place from 23 June to 6 July. Last year’s tournament was won by Britain’s Andy Murray (men’s singles) and France’s Marion Bartoli (women’s singles). Q www.wimbledon.com www.calrec.com www.nepinc.com www.rtsintercoms.com

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broadcastfeature

Ready, steady... audio goal!

With several key matches due to be captured in the new 4K Ultra HD format, the 2014 FIFA World Cup promises to be, in visual terms, the most technologically advanced edition of the global football extravaganza yet – but what about the audio side of the broadcast equation? asks David Davies FEW WOULD argue that the 2012 Summer Olympics in London and 2014 Winter Olympics in Sochi raised the bar significantly for AV with regard to both the host venues and the broadcast experience being delivered to fans worldwide. But that other global sports gathering, the FIFA World Cup, is certainly no slouch in technical terms – simply witness the recently announced plans to capture a number of matches in the new 4K format during this year’s tournament in Brazil.

Audio-wise, the complete picture is unlikely to emerge until post-event, but in the weeks leading up to the tournament a number of manufacturers, OB providers and broadcasters did reveal some of their plans for the World Cup. What follows, then, is a digest of these announcements that should, at least, give a flavour of the audio workflows set to experience some very heavy usage over the next few weeks…

Mix2Go sound engineers Daniel Reis and Beto Neves pictured with their Focusrite RedNet units

HBS’S STALWART AUDIO SET-UP Integral to the global experience of the 2014 World Cup is HBS, whose long track record of providing host broadcast services at FIFA events also includes the 2009 and 2013 Confederations Cups and 2010 World Cup. This year, it is again taking charge of all the multilateral and unilateral facilities, encompassing facilities and production teams, the world broadcast feed and a host of extra content for rights holders.

Christian Gobbel is senior engineering manager for HBS and is overseeing broadcast setup at all 12 host venues. Having looked into the availability of OB facilities in Brazil and determined it to be insufficient for its requirements – “we make this kind of judgement ahead of each tournament” – HBS instead pressed ahead with the construction of 12 identical ERCs (equipment room containers) in Munich, which were then shipped to Brazil in good time.

“All active components are included; we even roll back the

cables into the containers so that we can simply open the doors [at each venue], take the cables out, set up the monitor galleries, connect everything and basically be ready to rock and roll, more or less,” says Gobbel, who adds with some understatement that the build process over the last 12 months has been “quite an operation”.

Audio-wise, the set-up in each location is based around two Lawo mc2 55 consoles with two cores, which are networked together with ALC NetworX’s RAVENNA IP technology. In addition, teams at all venues are using pairs of Lawo crystal consoles, set up with MADI connectivity, to handle interview material and ‘infotainment’ programming for the in-venue audiences. Venues will be interconnected with the tournament IBC, which is based in a suburb of Rio de Janeiro, over a fibre infrastructure provided by Brazilian telecoms company Telebrás.

Outlining the core workflow, Gobbel remarks that “the main audio gallery more or less produces the stereo programme and sends the stems of split microphones and ambient groups back to the IBC – we are doing a remote production of the 5.1 this time. Then we have a multifeeds gallery, which is producing audio for five additional feeds: the Tactical/Interview feed; Team

A; Team B; Player Cam A and Player Cam B.” Underlining the worldwide appetite for surround sound, “pretty much everyone” worldwide is now taking the 5.1.

To date, HBS has not gone down the simulcast route as it fears this would “jeopardise the stereo or surround sound”.

Gobbel adds: “What we want to achieve is a consistent 5.1 mix across all matches, so this why we have two galleries in the IBC who receive the stems and whose only task is balancing mixes.”

HBS is a company that has “very good relationships with a number of technical partners” –

from Tektronix, while EVS XT3 relay and media servers are also pivotal to the HBS workflow.

With Gobbel breaking off from his conversation with PSNEurope on several occasions to advise on equipment deliveries, it is clear that the build-up to a World Cup is uniquely stressful. But before ringing off, Gobbel also reveals that this will be the first World Cup to benefit from EBU R128, which recommends the normalisation of audio at -23LUFS ±0.1LU (±1LU for live programmes), measured with a relative gate at -10LU.

“We are very enthusiastic about the prospect of 3D audio. Once you include a second layer of speakers, the difference you hear when you switch back to flat 5.1 is amazing!”

Christian Gobbel, HBS hence, notes Gobbel, the general consistency of its technical set-up from event to event. Alongside Lawo – which is also providing audio-over-IP commentary units purpose-built in conjunction with HBS – Riedel is another stalwart with its Artist communications systems, while Sennheiser and Schoeps are providing microphones.

Measurement equipment comes

“We have really been putting a lot of emphasis on ensuring consistency in loudness measurements,” Gobbel explains. “With the introduction of R128, this has meant ensuring engineers understand it properly.

“Basically, the message is to mix it properly but give the matches the dynamic they deserve.”

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broadcastfeature team decided to use its RedNet 2 to deliver the final live mixes to the video OB truck. The RedNet 3, meanwhile, was employed as an additional monitoring reference via the AES/EBU outputs.

The set-up for the final draw event consisted of a large Dante network that linked two OB trucks parked in different locations outside the venue to the main stage. Two stage boxes (one primary and one backup) were located in the main arena, connected to gigabit network switches using Cat-6 cables.

Signals from this stage rig were sent via multi-mode fibre cables to another pair of switches inside the music OB truck, about 150ft (46m) away. Inside the truck, the fibre signal was converted back to Ethernet and routed to two Mac Mini computers, which handled the multitrack recording, using Pro Tools and Audinate’s Dante Virtual Soundcard (DVS) driver.

The signals from stage were also routed simultaneously to

TSL Products’ SoundField X-1 in use at BBC Sport the live mix console, from where the final broadcast stems were routed to RedNet 2, located inside the video OB truck.

Here, the stems were converted to analogue then mixed with the rest of the event’s audio and added to the final video feed, which was then sent to a distribution truck to be broadcast to television stations all around the world.

Brazilian regional TV network TV TEM has also been taking steps to enhance its set-up ahead of this summer’s footballing festivities, purchasing new digital microwave equipment from Integrated Microwave Technologies (IMT) for

installation in OB vans and motorcycles used by the TV TEM Sorocaba and TV TEM São José do Rio Preto stations.

More specifically, IMT’s Nucomm Compact Portable Tx-II (CPTx-II) RF video transmitters and microLite HD transmitters are being used to create fully functional motorcycle news vehicles. Meanwhile, two Nucomm Newscaster VT7.4 HD/SD ENG/SNG/OB van transmitters will be employed to expand on its traditional ENG operations along with two RF Central RMR-X6-II digital diversity receivers.

Meanwhile, another Brazilian broadcaster, São Paulo-based

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Dutch fans at the 2010 World Cup in South Africa: Will recent advancements in the broadcast experience leave previous World Cup coverage in the dust?

OB/STUDIO UPGRADES The upgrade path that is associated with major sporting events actually gets underway long before some of the important preliminaries. For example, Brazilbased OB company Mix2Go invested in multiple Focusrite RedNet Ethernet-networked audio interfaces as part of its wider digital audiovisual network for the broadcast and recording of the World Cup final draw.

The latest additions to a truck that utilises an Allen & Heath mixer and stage racks, as well as Audinate’s Dante platform for all its networked audio requirements, the Focusrite spec includes a RedNet two-channel A–D/D–A interface, a RedNet 3 32-channel digital I/O, a RedNet 6 MADI Bridge and three RedNet PCIe cards.

“I need to give the option of delivering the programme through MADI, AES/EBU or analogue,” says Mix2Go sound engineer Daniel Reis. For the FIFA World Cup final draw, the

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June 2014 l 35

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broadcastfeature use genuine 5.1 actuality sound and crowd atmosphere, along with panned commentary and studio dialogue. But when broadcasting out of match play time, much of the audio will be stereo or dual mono content. For this audio material, BBC Sport will route through a signal path to an X-1 in upmix mode, with the upmixed audio then contributing directly to the 5.1 mix bus.

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A BBC commentator mans the LCU, Lawo’s RAVENNA-based commentary unit SBT, has taken delivery of 133 DELEC subscriber units, four oratis matrix frames and one R4000 router – all from Salzbrenner Stagetec Mediagroup – in anticipation of the live broadcasts of both the World Cup this year and Brazil’s next landmark sports event, the Olympic Games in 2016. A total of 77 DECT-connected belt packs, linked to the DELEC solution, ensure that SBT’s entire intercom technology comes from one source.

In addition to the new comms, Aspa Stagetec Brasil has also installed three new Stagetec Crescendo audio mixing consoles and four special Stagetec On Air 24 desks designed to suit SBT’s requirements. The set-up includes an extensive Nexus audio network that can exchange signals with the oratis system through MADI lines.

Clear-Com is also destined to play an important role in the summer’s events, with strategic technology specialist Larry Estrin revealing that “Brazil has been pretty much dominated by ClearCom [intercom-wise] for quite a few years.” By way of example, he points to TV Globo, which has 28 OB vans that are used to cover sports events around the country. Five vehicles built in the last year have been equipped with Clear-Com HelixNet partyline technology, with equipment supply handled by Savana Comunicações, which is the manufacturer’s master distributor for Brazil.

BBC READIES UPMIX WORKFLOW In an announcement that suggests it will play a central role in the delivery of broadcast audio to UK viewers, TSL

Products has revealed that BBC Sport will employ two SoundField X-1 Combined Upmix/ Downmix Processors during its production of the 2014 FIFA World Cup. The two devices will supplement a further six that are permanently installed at the broadcaster’s MediaCity UK base for other regional and international major events and tournaments throughout the sporting year.

Dave Lee, lead sound supervisor for BBC Sport, comments: “The various audio elements that contribute to a sports programme – from studio location dialogue and location dialogue, commentary, voiceovers, phone calls, music, sound effects and actuality sound to crowd atmosphere – will come into us from a wide variety of mono, stereo and 5.1 sources. With such diversity of contribution quality and width, the sound supervisor is tasked with mixing a show that immerses 5.1 viewers in the surround sound atmosphere of the event whilst maintaining clear, consistent imaging of dialogue and music.”

Explaining the role of the SoundField X-1, Lee adds that the device anchors “dialogue and reality audio to the front, whilst offering nearinstantaneous upmix/downmix processing. This is essential during a live, action-packed broadcast, such as the World Cup, as it helps to ensure that the sound will never fall out of sync with the associated vision.”

Long periods of transmission during the World Cup will

3D AUDIO REVOLUTION? Delivering superlative surround sound has done much to enhance the World Cup experience for TV viewers worldwide. But Gobbel reveals that if ongoing tests (including at the World Cup) are deemed to be successful, then we could soon witness another significant evolution.

“We are very enthusiastic about the prospect of 3D audio,” he reveals. “Once you include a second layer of speakers, it’s amazing the difference you hear when you switch back to flat 5.1; it sounds almost mono by comparison! So we are continuing our tests during this tournament, making use

of a very special microphone from Schoeps.” NDAs prevent Gobbel from divulging too many specifics, but he does admit that “it is a very ambitious project.

Even so, I think it could be a revolution in audio.”

There’s reason enough, then, to suspect that whilst this year’s World Cup will surely be a highly satisfying experience sonically, the 2018 event could set a new standard in immersive audio for sports. Q www.clearcom.com uk.focusrite.com www.hbs.tv www.imt-broadcast.com www.lawo.com www.riedel.net

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

live SOUNDBITES Mackie has announced that it is now shipping its new Thump series of 1000W loudspeakers. “Building an extremely high-output Mackie system that delivers the professional sound you want has never been more affordable,” says Mackie product manager Greg Young. “With the massive increase in power and bass response, plus the all-new subwoofer, you can Thump more than ever.” www.mackie.com Renkus-Heinz has appointed Benum Nordic as its distributor in Sweden. The Benum Group is one of the largest pro audio and MI distributors in Scandinavia. Rik Kirby, VP of sales and marketing for Renkus-Heinz, comments: “Benum has long represented Renkus-Heinz in Scandinavia, and their familiarity with [us] and reputation in Sweden is second to none.” www.renkus-heinz.com Sony has partnered with Big Earth Productions to provide production equipment for Joss Stone’s ongoing Total World Tour. In the most comprehensive tour ever attempted by a musician, the British soul singer will be performing in every single country on Earth, with a two-man production team using Sony audio equipment – including UWP-D and ECM mics and a PCM-D100 audio recorder – to capture her journey. www.pro.sony.eu

400+ Number of bands appearing at TGE

UNITED KINGDOM

Escaping to the coast Dave Robinson catches up with production manager Jon Crawley as he reveals how Brighton’s Great Escape festival has evolved since 2012 HALF-WALKING, halfrunning through Brighton’s back streets, Jon Crawley dodges tourists, music fans and the occasional performer as he heads to the Dr Martens shoe store.

“I want to check out the queue management,” he says.

Pulled Apart by Horses are doing a turn in the ‘pop-up’ venue, and Crawley is concerned as “we’re expecting a lot of kids there, and we didn’t do a road closure. They are a big act to get into a 30-capacity shop…”

When we arrive outside, there’s nothing to worry about. Both the stewards and the fans not lucky enough to squeeze onto the premises are perfectly at ease. The band will perform again later, in the Corn Exchange, so not to worry... and, anyway, The Great Escape offers more than enough alternative entertainment on this Friday night.

It was two years ago when PSNEurope met technical

Yes Sunshine at the Fiddlers Elbow (part of the ‘fringe’): “Awesome, like early Oasis,” says the photographer

manager Jon Crawley during the annual TGE music conference and festival. For the 2014 edition, he has a lot more to manage: with the fringe acts, the number of bands appearing over TGE’s three days has increased to around the 400 mark, while the number of venues across Brighton has swollen too, supposedly increasing audience capacity by around 1,000.

“We’ve 27 core venues – five ‘alternative’ Escape venues,

which we’re now managing as though they are core – plus oneoff pop-ups like the Spiegeltent.”

This is a marquee, stage and bar constructed on a grassy public space not far from the famous pier. It’s proved to be a popular spot with the festival’s delegates, and adds an Oktoberfest-like vibe to proceedings. “That’s been really positive – like having a greenfield site in the middle of the town,” says Crawley.

Reflecting on his vision of two years ago – when he talked about setting up a mini-trade show of sorts for the pro-audio business alongside the festival – Crawley says: “In the end, the policy of the festival is to focus on the music, so we had to look at that and focus on promoting the festival and the artists to the industry. We still have a relationship with the pro-audio brands, but it’s not as we discussed it might become.”

The profile of TGE, run by the MAMA Group, has grown internationally, he explains.

More agents want their acts on the bill, and that has required a slicker operation. “We have a core team that fly over from [US music showcase] SXSW, and the two festivals are managed in a similar style, especially on the ground: everything’s been tightened up – modelling of flashpoints, roaming teams, an updated noise management plan, so that’s a lot more robust…”

Have the rules on noise become tougher?

“I think [the authorities] have a better idea of what is classed as a ‘nuisance’…” In Brighton,

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June 2014 l 37

livereport Kaiser Chiefs at Concorde 2: riotous

of all places? You’d think they’d have had a pretty good idea years ago.

Crawley laughs. “But second day in, we’ve not had a single noise complaint,” he continues, “and that when we have a lot more outdoor activity than before.”

Crawley’s PA rental outfit is C3, who have worked closely with MAMA for some time now. The productive relationship will see C3 manage five stages at the Lovebox festival in London’s Victoria Park in July, and they are in talks about other events. Plus, C3 will supply a stage at Bestival on the Isle of Wight this summer.

“We’ve really focused on pro-audio and production management this year, and having that clear direction helped.

We’re recruiting for a client manager for corporate communications: we already do a number of conferences, but that’s a side we are investing in and hope to grow, to fill in the quiet times. We want to give our guys work all through the year.”

Once again, TGE has been a magnet for all the sound engineers in the area.

“Everyone who can push a fader up – even some who can’t, it seems…!” he laughs. “Since we last spoke, [C3] has started a work experience scheme with two of the local colleges, BIMM (Brighton Institute of Modern Music) and Northbrook [College in Worthing].

They send us students every two weeks, they learn how to prep jobs, build PA systems, shadow our engineer, etc., as part of their college course. That’s been a really positive experience, as we’ve met some really good young people who are intelligent and enthusiastic.

This summer, C3 will cherry-pick “guys who’ve been exceptional, and take them to the festivals”. Five technical students are working The Great Escape as we speak.

How has the equipment inventory changed since 2012?

“We’ve focused on L-Acoustics as our main PA – that’s [KARA] in the Corn Exchange tonight.” An Avid Profile has added to the mix, too. But C3’s main focus has been an investment in “a lot of lights.

For a lot of our corporate shows we were having to hire lights. High-powered LEDs, hazers and dimmers, control software. We bought ourselves a lighting desk! We’re going towards that one-stop shop thinking, but audio remains our passion, and where most of our events are based.

“We recently acquired a Turbosound monitor system – that’s in the Corn Exchange,” says Crawley.

There follows a short off-the-record discussion regarding the weight the brand now carries. “Everyone still agrees their wedges are still very good,” he states. “They are loud and powerful, they look corporate too, so that was a good investment.” KARA inventory will increase later in the year, he says, in readiness for the summer programme.

C3 isn’t big enough to supply all the kit required for TGE, so there are subhires in place to make it happen when the house system, or C3’s warehouse, won’t provide. The festival presents opportunities for smaller local firms to scoop up a venue where they can. Crawley is quick to highlight one particular venue – the Warren, one of Subfrantic’s STM undertakings – as particularly impressive.

And this from an L-Acoustics fan.

(Later, Subfrantic proprietor Steve Davies tells me over email: “This is our third year running the sound at the Warren for Jon as part of the Great Escape and it’s one of my favourite shows of the year. It’s knackering, with long hours, and the load-in’s a bit of a bastard, but the bands that come through there are amazing and it’s a privilege to work with some of their engineers.”)

What has Crawley heard that’s impressed him, both in terms of the talent and sonically?

“Cherub, from America – like deep house pop, with a real California vibe.”

(Cherub played the Prince Albert pub – the one with the huge John Peel mural on the wall, Brighton fans.) “Then Little Dragon down at Coalition – the guy who was mixing did an exceptional job – he made the Turbosound club system sound like a stadium.” For the lucky few – including the PSNEurope photographer – this year’s TGE staged a ‘secret’ kickoff gig for the Kaiser Chiefs’ UK tour at the Concorde 2. “The house system: old L-Acoustics, an ARCS system. Looked and sounded great,” says Crawley.

With all these dozens of venues, and all these great sound systems, which is the one venue he would advise disenfranchised Pulled Apart fans against going to?

He hesitates and won’t name it, but lets slip why: “Only because it’s furthest away…” Q www.greatescapefestival.com

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livereport Shure Europe’s headquarters in Eppingen: sharp lines and an even sharper strategy

Shure strength The microphone giant has been gradually shifting its methods over the last 18 months. Dave Robinson was invited to learn about Distribution 2.0 and more THIS IS unusual.

PSNEurope has been invited to Germany, to view the sharp architectural lines of the Shure HQ, and hark to the even sharper designs of its EMEA business strategy.

Some 90 minutes later, your correspondent will emerge from the board room, the sole recipient of a thorough barrage of facts and figures and fun: a 100-slide PowerPoint presentation; the collective input of six, maybe seven senior members of staff; the inevitable joshing regarding the ubiquitous SM58, and just how many units

the company has sold. This, then, is not a product preview.

Not a technical overview.

Not the heads-up on the next InfoComm/PLASA/AES. But that’s OK. Because, when you strip away the corporate styling and the other bunting, what Shure have done here is very smart. The company had to look at where it was in the market, and it has a plan to capitalise on it.

First of all, says marketing director Nils Proesser, Shure had to recognise how the marketplace has arrived at an almost “perfect market”. This is

a combination of factors: the rise of e-commerce and social media; the blurring of trade borders in Europe; a consolidation of retailers and dealers; and a change in buying habits.

“The end-user depends on the same degree of service, same communication, same look and feel of the company, independent from the channel. That is a big challenge for us and our trade partners,” says Proesser.

So how has Shure, acknowledging these factors and a desire to embrace them, reacted?

With, put simply, a five-point strategy, and a five-year roadmap.

Firstly, products. The proaudio market has seen Axient, ULX-D, DIS conferencing systems and more begin the shift.

In the retail world, the PG, SM and Beta wireless lines slide into the frame. Establish the right product portfolio – of course.

Second: infrastructure. While Shure Distribution UK (SDUK) found a spacious new HQ in Waltham Abbey in 2007, it was paramount that the German HQ found a suitable new hub.

Hence, the Eppingen facility, with its minimalist lines and bold open spaces, giving it very much the feel of a something Scandinavian transplanted

Shure EMEA’s MD Markus Winkler...

... and marketing director Nils Proesser

to the undulating landscape between 100km south of Frankfurt. (Your correspondent never saw the former premises at Heilbronn, but, by all accounts, the new HQ is a vast improvement.)

Then came the reorganisation.

This was SDUK’s big reveal at PLASA time last year, October 2013, when MD Peter James evangelised over the realignment of the business to one focused on a vertical market approach: Retail, Pro, and Systems.

(This followed similar, earlier restructuring in Germany.)

Step four is the ‘Go-To Market’. This item breaks down into a number of key threads, while disclosing the new Shure “mantra”: ‘Drive qualified leads to quality retailers, and simplify the buying process’.

“We asked our retail group, what are the top ten problems?

Number one was, get the customer, and make them go to the shop,” says Proesser. “It’s all about putting the right product in front of the right person. [Then], appropriate pricing for end users and dealers. Provide training. Get internal and external knowledge, and share it.”

The dealers nailed it, it seems.

This highlighting of a number of requirements saw Shure put a number of initiatives in place.

A website that was easier to navigate, for instance, which “didn’t require you to understand what PGX was while searching for wireless,” suggests Proesser.

Plus, one where those outlets who have a kit available to purchase will be clearly flagged up for the customer. Creating online communities, for the B2C markets as well as B2B, while respecting the various territories, is another factor.

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The EMEA HQ’s foyer illuminated blue during an event. Eiffel 65 were sadly not involved

(“The Germans love the technical stuff, while in the UK, it’s more about brand and ‘feel-good’ stuff…” remarks Proesser.) Recognising this community – but elevating the interaction above the normal Facebook-style website – has been another winner. Look no further than last year’s ‘Remix Snow Patrol’ challenge, or the ongoing ‘Call for Legends’ “coolest band” competition, which saw 200 bands upload their tracks and 140,000 plays on SoundCloud.

“It’s not about generating quick sales – it’s about doing something only we can do, which is building the brand based on user interaction (User Experience Campaigns). Next time they think about buying a mic, Shure is on the top of the shopping list.” Proesser says Call for Legends saw a major (up to 60%) increase in dealer enquiries to the associated dealers during the campaign.

And so to the fifth, and perhaps most important, overarching strategy: the decisively named ‘Distribution 2.0’.

In a nutshell, it’s a fundamental analysis and re-evaluation of the partner network. Shure looked at the current model, and decided it was better to supply qualified leads to a limited network. In other words, not every dealer gets to sell every product, resulting in resellers being reclassified by their primary market focus.

“We say: can this dealer really sell a ribbon microphone, or is it just cool to have one?”

In short: in the three vertical markets, certain resellers can only sell certain items – physically and online. Retailers are divided into Shure Centers, Shure Premium Partners and Shure Partners, each with a certain number of lines to sell.

With self-reference, Winkler smiles: “If all a dealer can do is discount a 58, I know an organisation that can do better than that….

“That’s not the long-term goal here.”

At the lowest tier, Shure Partner status, the store gets only nine products to sell.

“And you can imagine that they are not happy to hear that, having got 100s of products from us over decades. And the big reveal here was that even those resellers generated 5% more revenue with fewer lines to sell – a first indication from the German market. “So it works,” says

Proesser. He adds it was like “taking a toy from a child, but one that they never played with”: they found they missed it but – in reality – they didn’t miss it at all.

The bonus stage to the new arrangement, if you will, is the Shure Academy European Audio Network, or SAEAN. “It’s not just a way of best advising people how to use our products, it’s also a networking platform,” says Proesser.

The Academy has rolled out in Germany and the UK, and will go direct to end users in four-to-five other territories. And where content is king, Shure are ensuring that information and education is plentiful. There have already been over 20 events since the German launch in October 2012. Much more is planned: video content, boot camps, all the learning you can eat.

Of the training programme and SAEAN, Winkler says: “In preparation of products and systems you are going to bring to market, if you don’t have the basic infrastructure in place, you can’t sell them. That’s what we are doing.”

He continues: “Then aside from that, we thought, can we bring more benefit?

Can we help guys develop their business alongside us? Retailers, integrators, rental firms…”

Proesser highlights the Shure Brand Space, the ‘shop within a shop’ device: a 2m x 2.4m installed ‘booth’, showing clear demarcations between the various categories of microphones, between analogue and digital, etc. He says sellers scoffed when they saw them, but when Shure offered to provide training too, the brand space came into its own. “The ‘knowledge high’ was much greater… and sales increased. It all paid off.” Now there are 250 such Brand Spaces in over 18 countries.

So, ultimately Shure will supply quality and competence. And that, in the end, is the real key, says Winkler. “It’s all about how you differentiate yourself. How do you compete in the future?

“You can have the best products on Earth. But if you fail to engage, the business won’t come back. So, it’s about great products, good technologies, and quality support.

“It’s quality and competence.” Q www.shure.eu

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EUROPE

Casper the friendly rapper at the 2013 Berlin Festival

Ghost story FOH supremo Oliver Voges tells Richard Morgan how he brings the challenging rock/hip-hop sound of German sensation Casper alive on the biggest stages WHILE HE might not be a known entity among English-speaking audiences, Benjamin ‘Casper’ Griffey is big business in mainland Europe. Casper’s distinctive brand of self-proclaimed ‘emo rap’ – delivered in German, even though the man himself is half-American and spent a good chunk of his childhood in the States – regularly tops the charts in countries like Germany, Austria and Switzerland, and his live shows generally take place in sold-out arenas. And yes – he is named after everyone’s favourite friendly ghost.

However, standard electronic hip-hop fare this is not. A fivepiece live rock band backs up Casper’s aggressively delivered vocals, making his shows a far cry from the typical rap concert scenario of one or more vocalists on stage performing to a backing track.

For the last couple of years, the man tasked with bringing Casper and co’s live sound to life is Oliver Voges. A vastly experienced freelance engineer, Voges has toured the world with bands as diverse as Faith No More and DragonForce, and has mixed live music at the Eurovision Song Contest, the MTV Europe Music Awards, and major festivals like Rock am Ring, Monsters of Rock and the Montreux Jazz Festival.

“I do this job because I love it,” Voges enthuses, as we open our chat by going over his varied career. “I love producing music, making music, hearing music … so this job is perfect for me!” Voges started out in the business like many engineers do – playing guitar in an adolescent band of buddies. His lot took it on slightly further than most, though, touring solidly for a decade and almost signing deals with Epic and Sony.

Along the way, Voges took a natural interest in the production side of things, simultaneously taking charge of

recording his band’s demos and completing a degree in audio engineering. When the band and his studies finished, Voges took the logical step of moving into engineering.

“For about eight years, I was just pulling cables and setting up mics and speakers and stuff,” he says.

After that lengthy period of production purgatory, higher profile gigs followed, and these days, Voges is usually doing shows in amphitheatres – like the 15,800-capacity Cologne Arena on the current tour – with Casper and band.

Getting the group sounding their best in such high-pressure situations means their engineer needs Making Waves: Oliver Voges’s FOH kit equipment he can trust, like his trusty Yamaha CL5 desk. “At live shows, I don’t want to be sitting there using anything that I’m less than 120 per cent convinced about,” Voges says.

“I’m a bit of a Yamaha guy, because I like their approach to console layout, and the CL5 naturally do live. Now you can allows me to have a very small do it with Soundgrid.”

FOH footprint. I’m pretty The Waves kit really helps in familiar with Yamaha PM5Ds letting Casper’s live drummer and PM1800s too, which compete with loops onstage.

I’ve used for years. I started “Onstage, I have a full, natural using them back with [veteran rock band, but at the same time German hip-hop outfit] there’s this massive hip-hop Fettes Brot.” influence, and sometimes I have Outboard and plug-ins are also key, with Waves Soundgrid to compress and produce drums hard so they can keep up with being an essential part of loops,” Voges says. “Here, the Voges’s setup since before Waves plug-ins help me a lot. his Casper days. “I added I like to use the Neve V-EQ4 Soundgrid to my setup six on kicks, and I use an SSL years ago,” he says, “because G equaliser and Renaissance I’m also a studio engineer – it’s compression on the snares. For where I started! – and I was these channels I also use the trying to bring studio ideas Renaissance Axx compressor to life in a live situation. You in order to get these pumping know, New York compression for drums, and a lot of different sounds I’m looking for.”

Sometimes, Voges says, the processing chains like you have audience can’t even tell the in the studio that you could not

“Some people think that’s so much compression to have on a voice … but if it sounds good, I use it!”

Oliver Voges difference. “They often won’t be able to hear if the sound they are experiencing is coming from a loop or acoustic drums – or if they’re matched together and played simultaneously,” he says. “My job is to fill that gap, so that they never hear the gap! To make the rock band sound like a sample player, I guess.”

For bass, Voges takes two signals from the stage. “First, I take the direct instrument from the stage and then use my own amp, followed by Waves Renaissance Bass with the API 2500 compressor on the insert,” he says. “Then, I have a second channel coming with all the stompboxes the bassist uses, so the FX don’t interfere with the original sound.”

Compression on Casper’s vocals is also crucial. “We’ve tried every compression plug-in that you can think of for bands!”

Voges says. “I love Empirical Labs Distressors, and I’ve found that for Casper it’s the best compression you can have.”

It’s all to do with the shoutiness, he thinks.

“At every show, I always have my finger on Casper’s shouts.

He’s always doing something, and I have to follow.

For verses, I’ll do a 1-3 dB gain reduction. For any little shouts in the chorus, it can even be 12-14 dB!” He laughs. “Some people think that’s so much compression to have on a voice, but you know what? It sounds good! If it sounds good, I use it.”

And the keys to Voges’s success? Well, besides the obvious one – talent – there’s many reasons, but two others stand out. Firstly, his empathy with the artist: “I know exactly how a musician feels onstage, because I’ve done it for 20 years!” Secondly, knowing who to trust: himself. “I’m an old-school guy,” he says, “so I always do my FOH myself.

I never have any babysitters in there.”

Amen to that. Q www.casperxo.com www.empiricallabs.com www.sound-and-concept.de www.waves.com www.yamahaproaudio.com

Photo: Henry Laurisch

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livereport UNITED KINGDOM

The Radiophonic Workshop – past, present and future THE HISTORY and importance of the BBC Radiophonic Workshop was the subject of a recent daylong series of talks, discussions and performances at the University of Chichester.

Featuring former members of the pioneering electronic music and sound facility, along with academics and musicians who have been influenced by its work, the event looked back over the Workshop’s output and assessed its importance to modern broadcasting and music creation.

The Radiophonic Workshop operated from 1958 to 1998 and, particularly in its early days, was a pioneer of electronic music and sound effects for broadcasting. That legacy was initially only recognised by passionate enthusiasts but it is now more widely appreciated by the public at large and has become the subject of books and academic teaching and research.

The University of Chichester event, ‘The Radiophonic Workshop in Conversation and in Concert – Celebrating the Godfathers of British Electronic Music’, reflects the intellectual and cultural significance now accorded to what was once regarded by many at the BBC as merely a technical department that made strange noises. In the first full presentation of the day, ‘Feedback to the Future: The Radiophonic Workshop, 5 Billion Years from Now’, writer and broadcaster Dr Matthew Sweet described the situation as a “band of eccentrics tolerated by authority”.

The use of “Godfathers” in the subtitle of the event was misleading because, as Sweet pointed out, the Workshop was notable for the number of women who worked there, from the now-rediscovered heroines of electronica Daphne Oram and Delia Derbyshire to less well-known but still significant figures, including Maddalena Fagandini, Glynis Jones and Elizabeth Parker.

(L–R) Peter Howell, [former Prodigy drummer] Kieron Pepper, Paddy Kingsland, Roger Limb Much of the inspiration behind the Radiophonic Workshop came from Daphne Oram, who was a junior studio engineer at the BBC during the 1950s. After becoming interested in early electronic music she envisioned an experimental department along the lines of the RTF (RadiodiffusionTélévision Française) studios in Paris, where many originators of musique concrète, including Pierre Shaeffer, worked.

Oram composed the BBC’s first commissioned piece of electronic music for the play Amphitryon 38 by Jean Giraudoux. This led to other commissions for Oram and fellow studio manager and electronica enthusiast Desmond Briscoe, before the BBC finally gave the pair the budget to establish the Radiophonic Workshop as a department in its own right. Despite this, Oram left the BBC in 1959, disillusioned that the Workshop was seen as a practical, applied facility rather than an experimental one.

Some of the history of Workshop from 1958 onwards was recounted by former members who are now working together again, playing live and recording a new album. Peter Howell, Paddy Kingsland,

Roger Limb and Dick Mills, together with Mark Ayres, who is the Workshop’s archivist and a composer of electronic music, talked about their work and how they see its legacy today.

Mills was the longest-serving member of the Radiophonic Workshop, joining as a technical engineering assistant soon after it opened. He recalled that he assisted the composers and worked on sound effects, including one for The Goon

one should encourage The Goon Show because ‘I don’t want Mr Milligan living here’,” Mills recounted. Because of this, only two effects for the comedy programme were created by the Workshop.

Mark Ayres observed that there was some irony in Briscoe, who himself created the unsettling sounds for Quatermass and the Pit, among others, declaring that he did not want to the Workshop to

“Desmond Briscoe said that no one should encourage The Goon Show because ‘I don’t want Mr [Spike] Milligan living here’” Dick Mills Show that is among the most famous of the facility’s output.

‘Major Bloodnok’s Stomach’ was created to illustrate the gastric distress of the character, a bibulous army officer played

by Peter Sellers.

Spike Milligan, a founder and main writer of the Goons, had, Mills said, a keen interest in sound for both comic effect and to carry his more outlandish flights of fancy. This, however, did not appeal to the organiser of the Radiophonic Workshop.

“Desmond Briscoe said that no

become The Goons’ sound department when, later, it nearly became the audio facility for Doctor Who. Despite the close association with the longrunning science fiction series – with contributions including the Ron Grainer theme electronically realised by Delia Derbyshire, Brian Hodgson’s TARDIS effect and many incidental scores and effects – it accounted for only 30 per cent of the Radiophonic Workshop’s output.

Ayres added that on Doctor Who and other science fiction

Kevin Hilton and the University of Chichester celebrate the electronic music pioneers that were the BBC’s Radiophonic Workshop programmes, when there was little budget for visual effects, “the music helped out” by creating atmospheres and a sense of the unknown. “It was very British,” he said, “having no money but an enormous amount of imagination,” even though the Workshop itself was not lavished with funds and often had to use equipment that had been discarded by other BBC departments.

Among the many credits for the RWS are the radio and television series of The Hitchhiker’s Guide to the Galaxy, The Changes, current affairs and news programmes, The Body in Question and many local radio jingles.

Roger Limb, who worked on dramas and educational programmes, commented that he and other RWS members “felt cherished rather than loved”. He observed that the Workshop “can’t be looked at as a homogenous unit” but as a collection of people with different ideas of electronic and incidental music. “I never thought at the time it was a cultural phenomena,” he added.

The view today is that that’s exactly what the Radiophonic Workshop was. Among those attesting to that were Stephen Mallinder of Cabaret Voltaire, Phil Winter from Tunng, and Anais Neon and Martin Swan of Vile Electrodes, who played at the after-show party following the RWS’s performance in the University’s Showroom auditorium.

As Dr Kevin Donnelly of Southampton University said in the closing presentation, the Radiophonic Workshop “should be regarded as part of the art music trajectory in Britain”. But what is also often missed is the impact a succession of engineers, musicians, academics and oddballs made on the way television and radio sound, often taking productions to a higher plane. Q www.radiophonicworkshop2014. co.uk

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livereport UNITED KINGDOM

EW: investing in the future of UK pro audio

By Jon Chapple ENTERTAINMENT WORKSHOPS (EW), a charity teaching young people sound engineering, lighting design, video production, photography and other forms of creative media in a framework of nationally accredited qualifications (BTECs and Arts Awards), is seeking to draw pro audio’s attention to its work “building the foundation of your future industry”.

The organisation explains: “Manufacturers invest in R&D. The same investment, however, is not made into the most

A live performance featuring Entertainment Workshops students precious resource this sector has: young people. But that can change with your help.”

80 pupils of secondary school age currently attend an EW course, and business development manager Paul

Byrne describes the effect of the charity on them: “We work here to raise aspiration levels, the young people here all have a ‘ping’ moment where they think: ‘I can do this.’ The foundation of our teaching style is to give the students time and space to develop and grow – that way you end up with the best results.”

EW concludes: “So, what can you do to help? Whether it is financial, equipment, a training session? Think about how you could inspire these young people and they’ll think of ways to inspire you further down the line.” Q www.ewweb.co.uk

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The 2014 SPRING Harvest Festival in Willingen, Hesse, Germany, brought together over 3,000 evangelical Christians from German-speaking Europe for a six-day event featuring more than 300 artists, speakers, and volunteers. The worship was led

by Gaetan Roy, director of the Worship Academy in Altensteig,

who this year used Aviom A360 personal mixers for the first time.

“With the upgrade to the A360s, SPRING Festival decided to forgo using a monitor mixing console and a monitor engineer, resulting in cost savings for the event,” comments Aviom. The company is an official sponsor of SPRING. Q www.aviom.com

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Sonalyst supplies predominantly Meyer M’elodie and MICA systems for acts like Bill Bailey, whose act combines traditional stand-up with songs and instrumentals

Sound for comedy – no laughing matter The public appetite for live comedy shows no sign of diminishing, and audio companies are among the beneficiaries. With comedians playing ever-bigger venues, Kevin Hilton looks at the crucial business of getting those punchlines heard

Photo: Isabelle Adam

HOW MANY live sound engineers does it take to change a light bulb? Two – one two!

What is the collective noun for a group of sound engineers?

A compress.

Unless anyone knows different, those are the only jokes about audio. And while they have raised a smile or even a laugh on occasion, they’re never going to make Robin Williams doubt about his calling.

But there is a long and strong connection between live sound and comedy, and it is only getting stronger as comedians undertake multi-date, nationwide tours many bands would envy and play venues from intimate clubs through theatres to massive arenas.

There is the perception that any audio for this now-lucrative and popular area of entertainment will be pretty basic, but as Al Ashford observes, “it’s no longer one man and his microphone.”

The Pub Landlord, Al Murray, favours a tie-clip mic: “it’s impressive for an omni”

SYNC OR SWIM After starting out in theatre, Ashford has gone on to mix front of house for attentiongrabbing acts like Russell Brand, Lenny Henry and Chris Rock, as well as designing the sound for Mitchell and Webb, French and Saunders and The Mighty Boosh. More recently, Ashford has been working with a leading exponent of musical humour, Bill Bailey, whose stage shows combine a traditional stand-up approach with songs and instrumentals that demonstrate his versatility and skill on a range of instruments, including guitar, keyboards, theremin and the lute-like oud (“OUD!” as audiences are prone to shout every time he mentions or even looks at it).

Ashford says modern comedy stage productions can now involve multiple sound cues and increasingly see close synchronisation between audio and video. He explains that clips are prepared in a

workstation such as Pro Tools or Ableton and then loaded on to a MacBook Pro for play-out.

Resolume is used for video and picture material, which Bailey is able to trigger, along with sound cues, using MIDI. The priority, however, is still what the comedian is saying, so the choice of mic can be crucial. Ashford says Bailey mainly uses a Countryman E6 earset, which suits the dynamic range of his voice: “It’s a bit like having a SM58 strapped to the side of his head,” he comments. The venerable Shure mic itself is still a staple and Ashford specified one for Chris Rock’s tour in 2008. “That was partly for continuity, because the shows were being filmed,” Ashford explains. “The SM58 is a perfectly good mic and I put multi-band compression on it because Chris’s voice has a lot of energy.”

“If you don’t have enough PA in a massive hall with a band, the kick drum sound will still carry. But when it’s a comedian whispering a punchline, you’ve got to get that round so everyone hears it at the same time” Sonalyst founder Rory Madden Sound rigs for Bill Bailey, and acts including Miranda Hart, Harry Hill, Milton Jones and John Bishop, are supplied by rental firm Sonalyst.

Company founder and sound designer Rory Madden observes that he has seen tours grow in size, selling out venues such as The O2 in London and the Manchester Arena, at one time the preserve of big rock acts. “It’s a whole other sound,” Madden says of

comedy compared to touring bands. “If you don’t have enough PA in a massive hall with a band, the kick drum sound will still carry. But when it’s a comedian whispering a punch line, you’ve got to get that round so everyone hears it at the same time.” Sonalyst supplies predominantly Meyer M’elodie and MICA systems, which Madden says can be used in both theatres and arenas.

Photo: Kim Leng

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livefeature that over the years of working with Evans, the company has developed three designs of rig according to the size of the venue being played. “The C system is used for small venues like Brighton and Cardiff, B in medium-sized halls at Sheffield and Nottingham and A for big arenas such as The O2,” he explains.

“Some people think comedy can get away with really small systems, but we put in one that is as big as something that would be used by Stereophonics,” Timmins continues. “That gives the coverage and wow factor the audience really gets with someone like Lee Evans.”

A devotee of old-fashioned handheld, cabled microphones, Evans is skilled in mic technique, banging it on his head and producing sound effects using his mouth. A sound highlight is the climax of his shows, a mimed version of Queen’s Bohemian Rhapsody, for which Capital specifies extra subwoofers. “They’re purely for that bit at the end to blow people away,” Timmins explains. Capital offers both Meyer and Martin Audio systems for comedy touring.

“WORTH SPENDING SOME TIME ON…” Lee Evans’ front of house engineer is Phil Tame, who started out in live sound during the post-punk boom of the late 1970s and worked with Gary

Above: Jack Whitehall, supported by Adlib Audio, on his recent UK arena tour Right: Whitehall’s FOH engineer (fourth from left) Sam Proctor with the Adlib team Numan, Marillion and Frankie Goes to Hollywood before creating a niche for himself in comedy mixing for Jack Dee, Dara O Briain, Michael McIntyre and Al Murray, famous for his Pub Landlord persona. Tame observes that comedy tours, especially those taking in arenas, are considerably more involved than a basic mic–loudspeaker configuration, requiring a full production with stage, set, lighting, video screens,

AND NOW FOR SOMETHING COMPLETELY DIFFERENT...

They may, as Michael Palin has said, be doing it purely in the name of greed, but the Monty Python live shows at The O2 in London from 1-5 July and 15-20 July will see the five remaining members of the pioneering comedy group – Palin, John Cleese, Eric Idle, Terry Jones and Terry Gilliam – bringing in new technology to combine onstage performances, video and a full band.

Andre Jacquemin, the Pythons’ longtime audio associate and co-owner, with Palin, of Redwood Studios, agrees that much of their humour is influenced by the technical possibilities of television, where the show Monty Python’s Flying Circus originated, radio (most of the members cite The Goon Show as an inspiration) and film, the medium they graduated to, hitting their peak with Monty Python and the Holy Grail and Monty Python’s Life of Brian.

The mixture of visual gags, slapstick, animation, wordplay and surreal

Longtime Python audio man Andre Jacquemin with Terry Gilliam: “Things have changed a lot since they [last played live]…” non-sequiturs has been translated to the live stage on several occasions, but Jacquemin comments that “things have developed a lot since they started all those years ago” and that “the equipment is different” from when Python played the Theatre Royal Dury Lane (1974) and the Hollywood Bowl

(1980, with an album release two years later). “Back then we were cueing effects from tape and in those situations everything would heat up and the edits would sometimes unsplice,” he recalls.

This summer’s shows will be different artistically and technologically.

The surviving Pythons will perform

FOH sound and monitors.

“The only difference between full-band touring and comedy is the absence of backline on the stage,” he says.

Tame points out that even coverage is important; he aims for the same response everywhere in a venue as far as possible: “This can be difficult with some venues. Getting

supported by what is promised to be a massive production, with technology that will, among other things, allow sixth member Graham Chapman, who died in 1989, to appear “by the magic of cinema”. The sound system is being supplied by Sonalyst, run by sound designer Rory Madden, who has much experience of working at The O2.

Instead of quarter-inch tape, the audio – and video – cues will playback from a QLab system, with front of house mixing on two DiGiCo SD7 consoles; one for voices and playback, mixed by Simon Fox, while Dave Dixon will mix the band on the other. Bill Birks is to handle monitors on a third SD7.

Madden describes the main PA as “massive”, consisting as it will of 88 Meyer MICAs, 30 M’elodies, 12 M1Ds, 24 UPMs, 20 UPAs and 16 600HP subs, running with six Galileo 616 processors. The delay and effects loudspeakers are to be a combination of Mica, M’elodie and M1Ds. The wireless mic system will be Shure and

the different elements of the system working together is worth spending some time on, including relative delay times, EQs and levels.”

Systems vary, again according to the hall. “Sometimes I have to use whatever is supplied,” Tame comments. “For arenas, we tour with a Capital Sound Martin line array – the W8L

18-channel of Axient radios, including 45 channels of UHF-R and Shure Wireless Management software.

On the monitoring side there will be 20 channels of Shure PSM 1000 IEMs. Jacquemin observes that in-ear monitors are “a bit of a no no” as far as the Pythons are concerned – although they will be using head-worn mics – but the band will be using them, including musical director John Du Prez, another unofficial member of the Python troupe.

“We’ll have talkback to him had he’ll have a remote control to the playback area, rather than relying on us at the desk,” explains Jacquemin.

The comedy messiahs – or just very naughty old men – will play two weeks at The O2 with an break in the middle to let Robbie Williams in, which means rigging, de-rigging and then rigging all over again. There will also be a live relay to cinemas, with Red TX providing audio broadcast facilities. www.montypythonlive.com www.redwoodstudios.co.uk

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MONSTER RIGS Other hire companies doing well out of funny business are Adlib Audio, which most recently put a Coda Audio LA12 and ViRAY rig out on Jack Whitehall’s arena shows, and Capital Sound Hire, which works with the likes of Alan Carr, John Bishop, Michael McIntyre, Al Murray and Lee Evans, who starts the big-venue Monsters tour in August.

Whitehall, much of whose comedy stems from his well-todo, public school background and not being in touch with everyday life, played a series of UK dates earlier this year that climaxed at Wembley Arena in March. The comedian uses his own DPA headset, which was recommended by Adlib.

FOH engineer Sam Proctor, who mixed at a Midas PRO2, describes Whitehall’s voice as “very strong” and says the mic “worked brilliantly” in the arenas, with good rejection of any reflections and achieving maximum gain-before-feedback.

In stark contrast to the urbane, smug Whitehall, the hyperactive, rubber-limbed, constantly sweating Evans played a number of small venues earlier in the year to try out new material and will perform some more “work in progress” gigs before moving on to bigger halls, culminating with The O2 in London and Cardiff’s Motorpoint Arena during November.

Paul Timmins, Capital Sound’s general manager, says

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Cupid’s foot, as used by Monty Python: coming to an arena near you

or sometimes LC – and Meyer or Martin delays and sidefill hangs with Martin front fills and subs.”

The microphone comes down to artist preference, he says.

Many comedians have moved to headsets but others prefer the old-school approach of a handheld mic, having the stand nearby to lean on. “Some prefer head mics and for those I like to use the DPA 4088,” Tame comments. “Others want a handheld radio – Shure with a 58 head usually. Lee prefers a wired 58, partly

because he uses the cable in some of the gags.

Al Murray had a tie-clip mic, [which] was impressive for an omni, although his delivery certainly helped!”

As Tame concludes, big-venue comedy is now more common today, possibly because a greater number of people feel in need of a laugh. There is an artistic debate to be had about whether performing in a massive barn diminishes the humour and communication with the audience, but that doesn’t seem to be affecting ticket sales right now.

Anyway... did you hear the one about the pro audio magazine editor, the gorilla and the vat of yoghurt? Q

A FUNNY(ISH) THING HAPPENED AT THE ARENA Arenas always seemed a step too far for comedy, until Rob Newman and David Baddiel became the first comedians to play Wembley Arena in north London on 10 December 1993.

Newman and Baddiel – who were never a double act in the old sense, but a duo who performed routines and characterisations separately and only occasionally came together for sketches – were part of the postalternative, comedian-as-rock star phenomenon of the early ‘90s in Britain, so selling out a venue best known for staging rock concerts and sports events wasn’t that much of a stretch.

The Wembley show was the culmination of their nationwide Live and in Pieces tour of colleges and theatres. Equipment for previous dates had been provided by hire

supply Audio Lease, but another rental firm, Dimension Audio, was brought in to provide the London rig.

A 40ft circular truss was installed above the stage in the round; this comprised 24 Turbosound TMS3s in 12 equidistant drops to ensure the entire audience could hear a punchline at the same time. To be absolutely certain of this, delays were also used, with an Electro-Voice DeltaMax system at the back of the venue, Community RS20s on the sides and Martin Audio LE400s for front fills.

The control front end used for the rest of the tour, supplied by Audio Lease, was brought in, consisting of a 24-channel DDA console and eight-way stretch, outboard processors and a DAT machine for play-in. A total of 30

“The only difference between full-band touring and [arena] comedy is the absence of backline on the stage” Phil Tame, FOH engineer for Lee Evans

audio channels were used for the show, with doubling up of wireless microphones in case of failure. This still didn’t guard against a wireless transmitter failing when Newman performed his louche Jarvis Montgomery character, although a sound tech coming on stage to change packs gave him plenty of opportunity for more innuendo.

To show that things have not changed too much in 21 years, Newman and Baddiel wore head mics, albeit ones that looked decidedly chunkier than those in use today. While the production was deemed a technical success, it was panned by critics. The pair were always rumoured to have a difficult relationship and, whether Wembley was the catalyst, went their separate ways soon after.

www.adlib.co.uk www.capital-sound.co.uk www.operatoraudio.com www.philtame-sound.com www.sonalyst.co.uk

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

Q

installation

SOUNDBITES Shure’s Finnish distributor, Noretron Audio Oy, has been appointed exclusive distributor for the DIS line of audio conferencing and interpretation systems in Finland. Ron Marchant, Shure EMEA’s general manager of sales, says: “This agreement brings an end to a period when the DIS product line has not been available to buy in Finland. Noretron Audio is an established, respected distributor in the Finnish market, with a business focus and strengths that position us well for future growth, particularly in the system integration market.” www.shuredistribution.co.uk Following its appointment as premier UK stockist of RCF’s new Media professional loudspeaker installation series, Leisuretec Distribution held an open day launch for customers at its Bedfordshire, UK, HQ on 20 May. Managing director Cliff Dounting says: “RCF is a strong brand name in the industry [and] synonymous with high quality and excellent value for money, both of which we at Leisuretec regard very highly.” www.rfc.it The Cock ‘n’ Bull Gallery, in Shoreditch, London, recently hosted Tripping the Light Fantastic, a multi-sensory gallery installation by artist Rupert Newman, with sound reinforcement provided by Genelec 8040 loudspeakers.

The speakers were supplied by Genelec’s British distributor, Source Distribution. The exhibition showcased Newman’s geometric, kinetic projection artwork accompanied by soundscapes created by Sarah Warne, a film and arts composer signed to Faber Music who has worked with Genelec speakers for a number of years. Warne commented that she was “thrilled with the quality and transparency of the monitors”. www.genelec.com

UNITED KINGDOM

Polar Audio improves NPG’s sound picture Saville AV installs a multi-zone Biamp Vocia system, supplied by Polar, in the National Portrait Gallery in London. Jon Chapple reports BRITISH DISTRIBUTOR Polar Audio, in association with Saville AV, has supplied a Biamp Vocia DSP to the National Portrait Gallery (NPG) in London.

The gallery, the oldest of its kind in the world, required a multi-zone system to span four storeys, incorporating all its public areas. The Vocia system needed to provide paging facilities – including message playback to give notice to visitors of the closure of the gallery at the end of each day – enable music to be played in the restaurant and provide use of a radio

The NPG, established in 1856, is the oldest portrait gallery in the world microphone in the reception area for presentations.

The installation also employed

Australian Monitor speakers (QF6 ceiling speakers where ceilings were low, with a

combination of MP30 music horns, TXG 30s and TXG 50s elsewhere), an Atterotech Inbox M3 input plate for iPod connectivity in the restaurant and beyerdynamic Opus 910 wireless radio mics for the reception area.

Jon Dew-Stanley of POLARaudio comments: “Meeting the brief of a cultural institution in a historic building can often throw up unforeseen problems, but the Vocia system mitigated against potential difficulties and fitted the bill brilliantly.”

An NPG spokesman adds: “The flexibility, reliability and clarity afforded by the new system serves as a great enhancement to the visitor experience, and we are delighted that the outcome reflects the gallery’s efforts to offer the highest possible standards throughout.”

Polar Audio recently announced a major restructuring following the expansion of its roster, which now includes LOUD brands Ampeg and Mackie (see p5). Q www.biamp.co.uk www.npg.org.uk www.polaraudio.co.uk www.saville-av.com

NORWAY

Oslo Int’l enjoys the VUE

By Murray Stassen SINCE OPENING in late 2003, Internasjonalen (‘the International’) has become one of Oslo’s most popular nightclubs.

The owners recently decided to upgrade the audio system and opted for a VUE Audiotechnik loudspeaker system, designed and installed by Trondheim- and Oslo-based Avon.

Avon owner Edgar Lien, says: “This venue hosts a variety of music types, including live performances and DJs, and the interior has numerous hard reflective surfaces.

“VUE loudspeakers offer exceptional pattern control and ample amounts of output for their size, so we immediately specified the VUE h- and

a-Class, and then designed the rest of the system around those.”

The installed system consists of two VUE h-15w full-range powered loudspeakers with a single as-418 quad 18-inch isobaric subwoofer.

All three cabinets are flown above the main stage with a custom-engineered rubber suspension system that eliminates unwanted vibration.

“Rounding out the main stage are four VUE a-12 passive two-way systems deployed as monitors,” Lien continues.

“FFA amplifiers provide power ... and a Yamaha CL3 console handles the mix, with system-wide control and routing handles by a Dante-equipped Dynacord P64 matrix mixer.” Q www.vueaudio.com

UNITED STATES A PAIR of TiMax SoundHub audio show control matrix systems are adding “immersive 3D spatialisation” to a new exhibit at the Kennedy Space Center visitor centre in Florida, US. The multimedia attraction, designed

by PGAV Destinations and

installed by Electrosonic, charts the 33 missions of Space Shuttle Atlantis – including maintenance of the Hubble Space Telescope and the building of the International Space Station – which was retired in 2011. Q www.outboard.co.uk

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installationreport WORLD

Akira Mochimaru: “We’re currently working very hard to be recognised by the high-end industry, especially in live performance of music and the arts generally”

Room at the top BOSE’S SUCCESS in the consumer sector is legion.

Behind it, a little further away from the colour supplements, is a professional dimension with equal cachet among those in the know – satisfying the rainbow shouts of install from Val d’Europe shopping centre near Disneyland Paris to Roskilde Cathedral and the New York Grill in Tokyo.

Since 1993, these types of installations have peppered the career of Dr Akira Mochimaru, now general manager of Bose’s professional division, a man with notable sound design successes on his CV ranging from the Tokyo Dome to the Holy Mosque in Mecca. His technical contributions to the industry include what became AcoustaCADD, the early simulation software once owned

by Mark IV Audio, Bose’s ControlSpace DSP and stints on the committees of both the AES and the Olympic Games, so

when his name is associated with a whole new product generation – such as the Bose RoomMatch array module and PowerMatch configurable amplifier– you’re not counting supermarket trolleys thrown into an abandoned skip.

The claims for RoomMatch and PowerMatch technology are now familiar. For RoomMatch:

a new combination of efficiency, reliability, configurability and performance; better transient response and a tight, rich low end; a wide dynamic range with linearity and ultra-low distortion; and onboard DSP. But there’s more. The pincer movement of RoomMatch and PowerMatch is part of

The pincer movement of RoomMatch and PowerMatch is part of an organic expansion into live music and performance applications coverage patterns to match any room size or shape, maintaining consistent tonality by eliminating unwanted reflections and reverberant energy; high-frequency summation without array ‘seams’; and vocal clarity, supported by the large-format waveguide and 500Hz crossover, outside of the vocal range. For PowerMatch:

an organic expansion into live music and performance applications, targeting the very top-end brands as natural competitors. This, according to Mochimaru, follows in touring a trail blazed in fixed installation.

“There are many good speakers for concert touring applications in large outdoor spaces and arenas,”

he says. “However, even the best touring speakers, when they’re used for indoor installations, experience performance limitations due to room acoustics.

Reflections and reverberations deteriorate tonal balance and vocals lack clarity. There is really no SR speaker specifically designed for fixed installations that can deliver uncompromised high-end performance. Our primary intent was to develop the ideal SR speaker system for such indoor installations.

“But it is crucial for us to be recognised by the live touring industry – to be successful in high-end performance venues.

That’s the reason we’re working with key people and shows in the live concert touring industry.

Our current goal is to deliver on that promise of ‘uncompromised’ performance for the fixed installation market that we saw

as a gap. As more customers experience our products’ benefits there, we naturally get product requests for touring applications.

We are fortunate, having invested in 18 years of research, to have a strong technology foundation that can serve a broader set of applications over the long term.”

It is indeed now 18 years since the first stirrings of this initiative, when Mochimaru began to ask questions of loudspeaker systems that still demonstrated an unwieldy lack of consistency from one installation to another.

“My colleagues and I have been working the audio industry for a long time – in roles from designing audio systems to developing the products installed in the systems,” he continues.

“We, like many in the industry, have been looking for that speaker that can overcome challenges and weaknesses

W

Phil Ward chats to Bose Pro’s Akira Mochimaru and discovers how its new-generation RoomMatch and PowerMatch products are aiming high

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W

installationreport that many different types of SR speaker systems had in the past. There have been several attempts to develop this kind of loudspeaker by the engineers of Bose, but the technology either was unavailable, impractical or too expensive. However, by 2011 the resources had come together for us to be able to make this loudspeaker a reality.”

Early theories of customising every speaker for every room exposed some of the limitations of ‘custom’ products, as Mochimaru sees it. “Before line array, such speakers would have been unfeasibly large and expensive,” he says, “but once line array was established we realised we could create modules with different coverage patterns and combine them to create a custom array: a custom solution without being a custom product. My faith in this was boosted when my colleagues in the industry confirmed that, actually, nobody wanted a fully customisable product. It was considered ‘unfinished’, and people aren’t comfortable with that. They want to know that a speaker will sound a certain way, job done.”

The intent behind today’s DSP-driven sonic landscapes was already present as long ago as 1985, when Bose’s Modeler software was first developed.

The original intent of Modeler was to improve the quality of fixed sound systems, by providing

a tool (Modeler) that enabled system integrators to design better speaker systems, regardless of the manufacturer. Auditioner refined this “culture of design assistance,” as Mochimaru describes it, and only latterly has the business priority shifted towards complete product eco-systems that are built, sold and supported by Bose’s international network.

Indeed securing Dr Bose’s blessing for the growth of a full range of products was the final chapter in Mochimaru’s close, 20-year working relationship with the company founder, who died in July 2013.

Sales and distribution channels, especially in Europe, have been expanding accordingly. “Our business has shifted over the years from a solution-based business to a product-focused business,” Mochimaru confirms, “in which we work with our system integrator and consultant partners to promote our products and design them into installations through training, demonstrations and field engineering support.

“In Europe, we have the most wholly owned subsidiaries of any pro audio organisation: 16 sales and support offices, as well as the distributors exclusively representing Bose in the other European countries.

They are also supported with Bose field engineers.”

This infrastructure is now being put to the task

Hotel Theater Figi, in Zeist, Netherlands, utilises Bose RoomMatch RMU208 loudspeakers for side and back channels of consolidating the brand into “large installation and engineering projects,” as recently outlined by the company. “If the existing professional sound business we’ve been in for years is considered an installation business, then live performance sound projects typically require more engineering work,” explains Mochimaru. “Although we do have field engineers supporting all territories, we seek cooperation with key system integrators and electro-acoustic consultants who are designing sound systems capable of doing the specific job required.

Those are the industry players experienced in designing systems with quality products.

“Alongside our local Bose teams, I have met with many players around the world both pre-and post the launch of our new technology. I’ve visited key industry players in the UK, Germany, Sweden and beyond and received integrators, consultants and FOH engineers in our offices in Framingham, Massachusetts. It is important

for us to continue these conversations: even if we make the best systems in the world, if we don’t communicate with the industry, and have our partners understand what’s cooking, we will not make progress.

“So we continue to dedicate time. Our European customers at the event last September in Amsterdam, where we introduced a second wave of products, told us that we’d really listened to their requirements. Only a few weeks ago we hosted a group from Germany and, shortly after, another from the UK: these open discussions allow us to adjust our development plans, and are vital to our future success.”

Europe offers particular advantages at this stage of the company’s evolution, Mochimaru says, because of the strong tradition of events directly related to culture and the arts.

“There is opportunity for our products in locations such as community theatres, performing arts venues, night clubs and any location where quality sound reinforcement is important,” he

says. “The challenge for us right now is spreading the word!”

In the eyes of Akira Mochimaru, Dr Amar Bose’s legacy rests as much in a business model as any acoustic one. The man who once said “I would have been fired a hundred times at a company run by MBAs” donated a majority of non-voting shares to his alma mater, the Massachusetts Institute of Technology (MIT).

(MIT can’t sell its shares and doesn’t participate in the management or governance of Bose. The company remains private and independent, and MIT receives dividends for their educational programs when they’re paid by Bose.)

“I’ve seen too many good brands compromised by its owners being motivated only by bottom-line profit, by margins and growth for growth’s sake. In that environment, the original identity can be lost and the customers disappointed – especially in pro audio, where long-lasting relationships are so important.

“We’re currently working very hard to be recognised by the high-end industry, especially in live performance of music and the arts generally. The ultimate goal is that people here will understand and appreciate the unique advantage of our products in fixed installations.” Q www.pro.bose.com

All Images courtesy of the Business Design Centre

4th September 2014

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

hither&dither

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

Hither and propeller

An unusual fridge and some very unusual aircraft

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If you get to visit the new Shure EMEA HQ in Eppingen, Germany, then you’re bound to encounter the amusing SMEG/ SM58 fridge (pictured, above right) and the stylish way Shure package their goods (pictured, below right). But afterwards, ask SDUK managing director Peter James (pictured, right) to accompany you to the wonder that is the Sinsheim Auto and Technik Museum, just up the road, to see a Lamborghini tractor, a propeller driven bicycle, and an incredible collection of planes, trains and automobiles. Not just a French Concorde, but the Russian version, the Tupolev Tu-144, too!

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58 l June 2014

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industrytalk As Acustica Beyma celebrates its 45th year of business, Murray Stassen speaks to commercial director Espartaco Saez about loudspeakers and the state of Europe LAW GRADUATE Espartaco Saez turned down a legal profession to pursue a career in business in the late 1990s.

He went on to spend more than five years as international trade manager of Signat Electronics, before joining Valencia-based Acustica Beyma as commercial director in 2005, a company at the forefront of professional loudspeaker technology since 1969. Saez asserts that his appreciation of music makes his involvement in the pro-audio industry a “privilege”. “There are two kinds of people,” he says, “the people who go into a pub or a disco and don’t care about [the music] and the people who say, ‘I need to leave this place because the music is horrible.’ For me, music is really important.”

Have you always been interested in music and sound technology?

I’ve been interested in music for many, many years, from heavy metal to classical. It is a daily privilege to be involved in this kind of industry and you have to have this kind of passion, just to understand some people, you know. We are dealing with people that are half artist, half engineer, so you have to be really keen on hearing and understanding these people and you really need to work to understand them.

To understand what they are talking about you have to share similar passions.

What does Beyma’s 2014 product portfolio consist of?

The current list of catalogue products available for the general public adds up to 150. We need to point out that we have more products “outside” than “inside” the catalogue, a consequence of having customised hundreds of products during the last 45 years, which is our real core business: to offer customised solutions to all kind of audio system manufacturers, from start-ups to global names.

What are the biggest problems facing the European pro-audio industry?

I am quite a pro-European guy, but in my opinion, the main problem with Europe is Europe itself. In general terms Europe is a mature market and flat in terms of economic growth rates, and that trend has a direct reflection on the pro-audio industry. Those with a eurocentric view – companies that have not had the interest or the capability to break into European borders and have to sell “abroad” – are struggling for survival. Audio systems are sold one by one, a kind of artisan profession, and channels of distribution are packed with existing and new players.

I am Espartaco!

Which products are most important at the moment?

At the moment we think our most important products are the MaltCross family – 10-inch, 12-inch and 15-inch woofers and mid-bass units, which are really making a difference.

What is the MaltCross cooling technology?

The MaltCross technology was one of our responses to the savage price increase of neodymium, which happened two years ago. With this patented technology we are able to offer well-balanced speakers with higher levels of power usually related to bigger voice coils, therefore we have lighter and more efficient speakers with excellent sound properties with lower levels of distortion. The name MaltCross comes from the shape of one of the pieces that is in the motor of the driver, which has a shape similar to [the Maltese Cross]. I hope this explanation will not bring us any religious conflict!

Is there a product that has been particularly unsuccessful?

Yes, the TPL150, our first pleated diaphragm tweeter. When we first launched this unit, it was not really understood within the proaudio industry. In fact, I think it was not expected by anyone.

Some big players were trying it and described its performance as incredibly precise but not many knew what to do with such a high

By 2015, you will have been commercial director of Beyma for 10 years. How much has the industry changed during this time?

10 years already? It feels like it was yesterday when I started!

During the last ten years, many events have happened, but from my point of view, I would highlight that the world has become a smaller place and the industry is now more global.

“I am quite a pro-European guy, but in my opinion the main problem with Europe is Europe itself” Espartaco Saez fidelity unit. It was a product out of its context. We found people trying to develop audio systems for our TPL, which is totally the contrary of how this industry works, in order to take advantage of the unit. Fortunately, thanks to the unparallelled performance of the unit, changes in the market and product improvements – that situation changed.

Shorter product life cycles have increased the stress levels at the companies and have forced them to be more competitive.

New comers from both the East and the West have reinforced this hectic atmosphere. These factors have mainly affected the companies and not end users, which now have a wider variety of competitive products available.

How did the economic downturn affect your factory operations in Valencia?

At that time we had a twodigit percentage decline, which was really worrying because there was a great global uncertainty about what was going to happen. Spain was and somehow currently is really affected by that turmoil.

The crisis forced us to think and make our company more competitive in several aspects and thanks to that we were present in all the continents and were able to rapidly recover turnovers and grow.

What are your views on outsourcing production to countries like China?

This is always an option for many companies, but not for us because it will affect our identity and brand positioning.

I have seen many companies moving production to China and I am now seeing several companies leaving China. Apart from the typical copy issues, it is difficult to handle a subsidiary company (or a regular supplier) nine thousand miles away without having a presence there.

The Chinese government’s plans are to double salaries and move 200 million people from the countryside to the cities in the next decade, which basically means that they are getting ready to create an internal demand which will replace the export activity as the main motor of the economy, so, how long are they going to be competitive as a cheap manufacturing [option]?

Let’s see. Q www.beyma.com