PSNE November 2017 Digital

November 2017

www.psneurope.com

Studio special Inside the studio with a raft of world class producers, including Smashing Pumpkins legend Billy Corgan P16

An evolution in digital mixing Drawing on 30 years of digital mixing know-how, Yamaha’s flagship RIVAGE PM10 system continues to evolve with a new compact control surface, support for 400-channel single-mode optical fiber and V1.5 firmware updates including Eventide H3000 Live UltraHarmonizer and Dan Dugan Automatic Mixing plug-ins.

NEW CS-R10-S Compact Control Surface

For more information please visit www.yamahaproaudio.com

Inspired sound

PERFORMANCE ART

SYVA

COLINEAR SOURCE

Syva is a new breed of speaker, blending our groundbreaking line-source heritage with plug-and-play simplicity and an elegant design. 142 dB. 35 meters of throw. 140° horizontal coverage. Down to 35 Hz. Syva gives you peerless power and performance.

Learn more about Syva at l-acoustics.com and experience our immersive sound solutions at l-isa-immersive.com.

PSNEUROPE

Welcome

Editor Daniel Gumble dgumble@nbmedia.com

Production Executive Jason Dowie jdowie@nbmedia.com

Staff writer Tara Lepore tlepore@nbmedia.com

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

Content Director James McKeown jmckeown@nbmedia.com

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

Head of Design Jat Garcha jgarcha@nbmedia.com

Sales Executive Mark Walsh mwalsh@nbmedia.com

P3 NOVEMBER 2017

DANIEL GUMBLE Editor Contributors: Kevin Hilton, Marc Maes, Phil Ward, David Davies, Marc Miller, Mike Clark, Mel Lambert

PRINT SUBSCRIPTIONS To subscribe to PSNEurope please go to www.psneurope.com/subscribe-tonewsletters-digital-editions should you have any questions please email subs@psneurope.com Please note that this is a controlled circulation title and subscription criteria will be strictly adhered to.

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

NewBay subscriptions: The Emerson Building 4-8 Emerson Street London SE1 9DU Email: subs@psneurope.com

Printed by Pensord Press Ltd, NP12 2YA

2017 subscription rates for nonindustry/non-European readers are: UK: £39/€62 Europe: £54/€86 Other countries: £106/$170

Accreditations to memberships of industry associations and media partnerships

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

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

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

I mean, come on!

www.psneurope.com

TEC AWARD WINNER 2017: MICROPHONE PREAMPLIFIER

Neve 1073DPX Dual Preamplifier & EQ DESIGNED & CRAFTED IN ENGLAND BY NEVE ENGINEERS

L

ive was very much the theme of last month’s edition of PSNEurope, so to mix things up a bit this time around we’ve stepped out of the field and into the studio with some of the biggest names in the business. And as you’ll see in the pages overleaf, we’ve got some true heavyweights on-board to tell us all about their working methods, their favourite gear and how the studio sector continues to develop and evolve.

As you’ll have noticed already, we’ve managed to pin down a bona fide rock legend in the form of Smashing Pumpkins frontman Billy Corgan, who takes us inside the making of his brand new solo album. Aside from being one of the most revered and recognisable figures in the alt rock world, it also turns out he’s something of a studio whizz, having learned from some of the best producers in the business over the past 25 years. In our in-depth cover feature on P16, you’ll find him discussing everything from studio techniques to why he believes the era of the producer as an auteur is coming to an end.

Elsewhere, we speak exclusively to legendary producer Joe Chiccarelli about his work on Morrissey’s new album Low In High School – out later this month – while Ben Hillier, who has worked on records with the likes of U2, Depeche Mode, Blur and Elbow, sits down for a look back at his stellar career, as well as how produced and mixed one of the best albums of the year. More on that over at P38. On top of that, Sonic Youth guitarist and producer Lee Ranaldo tells us all about how he utilised the studio as a tool for sonic experimentation on his latest record..

There’s also a key focus on the studio sector at the upcoming PSN Presents event, which takes place at London’s Sway Bar on Wednesday, November 8. You can find out exactly who’s speaking and the issues we’ll be addressing over on P10. Suffice to say, it’s a genuinely incredible line-up and a night you won’t want to miss. And it’s free, so be sure to sign up post haste, as places will be in high demand and extremely limited.

In the meantime, we hope you enjoy this PSNEurope studio special. And while you’re at it, check out some of the records discussed within. They’re really rather good.

THE DEFINITIVE MIC PRE/EQ

Visit ams-neve.com/where-to-buy to find your local Neve dealer For recording as it’s meant to be heard, it has to be Neve - no question. www.ams-neve.com

www.psneurope.com

P4 NOVEMBER 2017

Contents

In this issue...

P22 WORLD VIEW WE VISIT REAL WORLD STUDIOS FOR THE LATEST A-T LAUNCH

P16 SMASH HITS SMASHING PUMPKINS’ BILLY CORGAN TALKS ALL THINGS STUDIO

P38 PRODUCTION LINE

P19 HEY, JOE

BEN HILLIER TALKS PROJECTS OLD AND NEW AFTER 25 YEARS IN THE BIZ

JOE CHICCARELLI ON PRODUCING MORRISSEY’S UPCOMING ALBUM

Technology P28 We take a look at some of the top live mixing desks on the market

Business P6 P8 P10 P14

The Strategic Position: Austrian Audio Inside the NAMM 2018 education programme PSN Presents is back - here’s everything you need to know Relive the highlights from last month’s Pro Sound Awards

Live P34 Behind the scenes at London’s Hospitality In The Park

Installation

Studio P16 P19 P38 P42 P45

Inside the studio with Smashing Pumpkins legend Billy Corgan Joe Chiccarelli on producing Morrissey’s upcoming new album Acclaimed UK producer Ben Hillier reflects on 25 years in the studio Billy Lunn on producing The Subways’ upcoming fifth album Lee Ranaldo on using the studio as a tool for experimentation

P25 Inside the audio overhaul of one of Belgium’s most iconic venues P49 A close look at the new audio install at Celtic FC’s Celtic Park stadium

Back pages P50 Find out what the biz has been up to with our social media round up P43 Sam Wise takes this month’s back page Q&A

www.psneurope.com

P6 NOVEMBER 2017

The Strategic Position: Austrian Audio

Life after AKG Following the closure of AKG’s Vienna HQ, a group of its brightest engineers pooled together to launch brand new company Austrian Audio. Daniel Gumble pinned down CEO Martin Seidl, senior acoustics R&D Bernhard Pinter and head of product management Phillip Schuster to find out more...

CEO, Martin Seidl

B

ack in September, it was announced that Harman Professional Solutions was to cut some 650 jobs across its brand portfolio in a bid to ‘consolidate’ its workforce. The firms offered little in the way of explanation as to when staff would be laid off, who would be affected and, perhaps most importantly, why it was taking such extreme measures in its ‘consolidation’ bid.

Harman did, however, state that it would embark on an aggressive hiring policy that would see its net staff loss end up closer to 300 than the reported 650. It also promised that no brands would be cut from its roster – a promise that has now been questioned in light of the recently confirmed closure of AKG’s Vienna HQ. And while its future continues to be the subject of scrutiny – Harman has yet to respond to PSNEurope requests for comment – a group of former employees have wasted no time in starting up their own mics and headphones brand in the form of Austrian Audio. Here, we hear from CEO Martin Seidl, senior acoustics R&D Bernhard Pinter and head of product management Phillip Schuster to get the inside track on their new venture…

Head of product management, Phillip Schuster

Tell us about the birth of Austrian Audio?

forming your own company?

Martin Seidl, CEO: Austrian Audio is a new company dealing with research and development of acoustic products, mainly microphones and headphones, but also highly sophisticated measurement systems and ODM developments. It was formed by a group of people that are passionate about audio and acoustics. We’re all professionals that have spent a major part of our lives within the audio industry, both on the professional and the lifestyle side of the business. What ties us together is the vision to improve the performance of products by listening to people who actually use them and paying attention to the details. Within the team we can look back at more than 300 years of combined audio development experience. The team, currently 22 people, almost completely consists of former AKG employees.

Bernhard Pinter, senior acoustics R&D: I’ll add that this is simply a great opportunity to form a new company with a well-working and motivated team in the heart of the music city of Vienna.

MS: We have known each other for quite some years and theoretical talks were on and off over the last three years, I guess. The kick-off date to start talking to people across Europe, getting input from potential partners, customers and investors really was the day when it was publicly announced that the AKG headquarters in Vienna will be closing its doors. That was in September 2016.

Philipp Schuster, product management: There was more than one initiative to form a spin off with people of the AKG-Vienna team. The closure of the Viennese HQ made the decision easier, if not compulsory. It all started on day one after the announcement that Harman would close the Vienna HQ. I was also approached by some direct competitors to go to work for them, but I feel a strong bond with our engineering team and the way we work together. This also prompted us to move quickly.

We didn’t want to see talent siphoned off. We had great times being part of a large corporation for many years, but as such huge operations have to do, management often has to set priorities towards the ‘big’ business.

Thus, focus on the rather niche pro microphone and

When did discussions among you start about

www.psneurope.com/business

P7 NOVEMBER 2017

headphone business had been lost.

are really good in that and we wish our former colleagues all the best.

Why did you decide to launch the company?

MS: Out of pure passion for the products, the industry and from my 200% belief in this team. It would have been a huge loss to the industry should we have seen all of these experts spreading out to different directions and industries. It is worth mentioning that Austria is a small country with very little opportunity to remain in the audio industry. In fact, AKG was the only sizeable company operating in pro audio and had managed to gather worldwide reputation for its products. If we hadn’t reacted quickly, much of the talent would have been lost from the pro audio industry.

BP: As Martin said, the obvious final trigger was when Harman Professional decided to close AKG’s traditional home in Vienna. The decision was clear to not let all of this potential leak away and out of the country. Also, we would be freed up to innovate. Often, in well-established and large companies, it is difficult to innovate and develop truly new products for a niche market group. It can also be the case that existing product lines languish as they don’t receive the updates that are required.

What will be the company’s focus in the market?

MS: Austrian Audio will focus upon developing our own signature sound. We aren’t out to copy our past. We’re taking everything we’ve learned and forging a new path and sound. We will also focus on being close to our customers. Having an open ear and open doors to our followers and users and to create products that are intuitive yet offer unique features.

BP: Generally, we want to make good tools for recording engineers and musicians so that their working lives are easier. It’s all about giving them a chance to make great sounding music without worrying about the tools on hand.

PS: I’d like to add that we’ll use our expertise for B2B business as well as for our own products. We’re very excited about both as there are some avenues that we can explore that were off-limits in the past. From my background in the automotive department, I can say that working directly with a customer can push you to your limits, although it’s an excellent way to expand your abilities.

What is your response to Harman’s ‘workforce consolidation’ strategy?

MS: There are always many ways to look at strategies: centralising and consolidating global skills vs being smaller and closer to the action and with the customers.

I am sure their strategies are well aligned with what the new structure under Samsung requires in order to be successful. I have great respect for the team there and my best wishes for a prosperous future go out to the many friends I made during 16 years with Harman.

BP: The main focus of Harman’s/Samsung’s strategy is the automotive and connected service business. They

What will you be able to offer the market?

PS: We will bring unique and original products to the market along with the bread and butter staples that will ensure our longevity and satisfy what our fan base needs. There is no other start up with the same expertise as can be found in Austrian Audio.

MS: Definitely high quality products that are made with passion and with a focus on the details. Wherever possible and feasible we will create and release aspects of what we do as Open Source. Basically, we desire to work with our customers and give back to the pro audio community.

That’s our goal.

Will AKG as a brand still exist in the Austrian market?

BP: I think AKG as a brand will always exist in the market because their products are long-lasting and we put so many of them out there. You can’t kick industry icons like the K240 or the C414 out of people’s minds. AKG’s team was awarded the technical Grammy in 2010 for those products - they are classics.

MS: I am sure it will. AKG would have celebrated its 70th anniversary in Vienna this year. Unfortunately, this is now not to be. However, it remains a well-known and widely accepted brand that created some all-time classic products. Despite these products having been globalised and out-sourced in production, I am sure they will remain for the foreseeable future.

PS: The brand name will remain. I’ve already seen that Samsung is using it to promote their products.

Where do you see the biggest opportunities?

MS: We are a relatively small company with a disproportionately large amount of experience and we are fast moving within a very flat hierarchy. Our opportunity lies in the high-quality niche market and the strong partnerships that we already have established.

And the biggest challenges?

BP: The team has many great ideas for products. The challenge is to focus on a select few so that we can deliver them with high quality with a team of our size.

I’m confident that we have made the correct decisions as to where to start though. Next is to be recognized on the mass market because there are a lot of small audio companies out there. But as mentioned earlier – with Austrian Audio products you will know what you get, who invented it and that each headphone and

www.psneurope.com/business

Senior acoustics R&D, Bernhard Pinter

microphone was built with craftsmanship and passion.

MS: One of the challenges will be to successfully bridge the gap from today until the day we bring the first products to market. We will have to take care of our fan base as they move forward on this journey with us. We will have to keep in open communication as to where we stand, never lose focus and also stick to a noncompromising quality standard. If that takes a bit more time or greater financial investment, then so be it. And then, of course, there is the challenge of communicating this to a wider customer base and bringing more people into our journey ahead.

Will you be looking to team up with other teams from Harman offices that are closing?

BP: One never knows. Many of our former Harman colleagues are good friends and top engineers. They have the same audio passion that we do. We would love to work with people who have this passion when the project warrants it. The door is open and we are already working with some other respected audio companies by making our design services available to them.

MS: We will be looking to co-operate and team up with anybody that is inspiring and inspired. There is a lot of change happening in pro audio right now and new seeds can grow well from old soil.

PS: The current set up suits our needs very well. We might team up with other spin-offs in the future, but we’re concentrating on our own projects for now.

P8 NOVEMBER 2017

Business

‘A clubhouse for industry education’: NAMM 2018 gets new training hub In January, the crossroads of the industry will converge in California to search for the latest gear, catch up with old friends and enjoy the camaraderie that only happens at The Namm Show. And new for 2018, it will amplify its education offerings for all facets of the industry, with more than 350 training opportunities for pro audio and event technology professionals...

H

oused in the NAMM U Education Center at the Anaheim Hilton, all-new educational programmes at next year’s NAMM will be hosted by leading industry organisations, including - for the first time - the Audio Engineering Society (AES) and Entertainment Services and Technology Association (ESTA).

“It’s difficult to describe the scope of the education programme at The 2018 NAMM Show because there’s never been anything quite like it,” says Zach Phillips, NAMM’s director of professional development. “With our partners, we’re tripling the amount of pro audio and event technology education at the show. We’re creating a new five-storey education campus. We’re building the platform to advance industry knowledge and professional opportunities for the crossroads of the industry. From the studio engineer and live sound practitioner to the music retailer and even performers, The NAMM Show will offer a remarkable range and depth to its educational programming.”

Pro-grade pro audio programmes The AES@NAMM Symposium’s professional-grade programme will offer a series of inter-related, handson training sessions presented by experts from key equipment manufacturers. Themes for these academies include line array loudspeaker systems, live sound consoles, studio technologies and entertainment wireless technologies, and sound system measurement and optimisation. Programme director Mark Frink is curating live sound content; renowned author and recording engineer Bobby Owsinski heads up the studio and recording technology session series; and sound reinforcement specialist John Murray will coordinate measurement and system optimisation sessions.

During AES@NAMM’s Line Array Loudspeaker System Academy, attendees will have the chance to discover the key operational features and deployment of contemporary line-source arrays, while the Live Sound Console Academy will comprise daylong, handson sessions regarding control-surface orientation, exploring each console’s use, features and operation.

The DAW Academy sessions will focus on how to use key components of a recording or production studio to achieve professional results with on-site live musicians. Application examples will include

‘We’ve long dreamt of building a centre of industry education’: Zach Philips

digital audio workstations, microphones, interfaces, monitor loudspeakers and more. The Entertainment Wireless Technology sessions will explore how to set up and use RF systems within a shrinking UHF spectrum environment. The Measurement and System Optimisation sessions will spotlight current techniques for testing and fully optimising system performance.

Training sessions The NAMM Show’s audio production education will also be rounded out with more than 100 additional education sessions, including TEC Tracks sessions, Dante certification training and a future-forward programme from Advanced Audio + Applications Exchange (A3E).

TEC Tracks, in particular, will feature 70-plus free sessions for audio and music industry professionals.

Some of the classes on offer include ‘Professional studio pre-production’, ‘Mixing techniques from an artist’s point of view’ and ‘How to make a hit record’, among many others.

A3E will bring back its ‘Future of Audio’ series for three full days this year. Session highlights include ‘The future of sensor technology for musical instruments’ and ‘Advancements in touchscreen technology for music production,’ along with ‘VR and AR for musicians and audio developers’.

Event technology masterclasses Likewise, The 2018 NAMM Show will feature more than 40 event technology sessions in everything from lighting to rigging and safety. These will be hosted by the likes

www.psneurope.com/business

of the ESTA, Projection Lights & Staging News, Front of House and Stage Directions magazines, Lighting and Sound America magazine, and others.

Just a few topics that will be covered in these classes include video direction, media servers’ expanding role in production, women in production and a lighting designer roundtable. Plus, ESTA has curated four tracks of progressive education – lighting, lighting networking, rigging and safety – designed to offer in-depth knowledge to event tech and design professionals, along with those responsible for safety.

A new NAMM U campus All education and training events will take place at the NAMM U Education Center, a five-storey education complex located inside the Hilton Anaheim. This new NAMM Show feature will be the ultimate hotspot for professionals seeking to advance their careers and businesses. Along with multiple floors devoted to education programmes, the NAMM U Education Center will offer plenty of room for members and attendees to network and share. Phillips likened the venue to a “clubhouse for industry education”.

“We’re even changing the live music in the lobby to give the entire space a coffee house vibe,” Phillips added. “We’ve long dreamt of building a centre of industry education that’s an extension of The NAMM Show itself. In 2018, that dream is coming to fruition.”

The 2018 NAMM Show will be held on January 25–28, 2018 at the Anaheim Convention Center. www.namm.org

ELEVATING THE

FESTIVAL EXPERIENCE

ROSKILDE FESTIVAL AND MEYER SOUND AN UNPRECEDENTED COMMITMENT TO GREAT SOUND, FOR 2018 AND BEYOND

P10 NOVEMBER 2017

Business

is back!

On November 8, PSN Presents returns to London’s Sway Bar for a night of panel sessions on the key issues facing the biz, industry discussion and unrivalled networking opportunities. Here’s everything you need to know…

S

et for its sixth outing to date, the hugely popular PSN Presents series of panel sessions, industry chat and, of course, free bar-fuelled networking is back once again this month, taking place at London’s Sway Bar on Wednesday, November 8.

As with each instalment of PSN Presents, the latest edition will once again bring together professionals from across the pro audio industry to chew the fat on the most pressing subjects facing the business over a drink or two, in a relaxed and friendly environment. And, as ever, it’s all free!

Kicking off with registration and a drinks reception at 7pm, the first panel session will begin at 7.30, followed by a short break and second panel at 8.45. This will be followed by more drinks and networking afterwards.

Our first panel will be chaired by former PSNEurope editor Phil Ward and will be centred on the subject of immersive audio in live events and what we can expect next from this hugely innovative corner of the market.

Speaking on the panel will be some of the sector’s foremost figures, including Bjorn Van Munster, founder and director of Astro Spatial Audio, Sherif El Barbari, head of application, L-ISA, Dave Haydon, co-founder, Out

Board, and sound engineer Andrew J Horsburgh.

Our second panel will be focused on the state of the studio sector. Boasting an equally heavyweight line-up, this session will look to assess the viability of ‘real’ studios in light of the ongoing rise of the bedroom producer, while also looking at how challenging entry to the studio sector is becoming.

Chaired by PSNEurope editor Daniel Gumble, panelists will include one of the most rapidly rising stars in the industry Lauren Deakin Davies, award-winning engineer Wes Maebe and revered Miloco Studios COO Nick Young.

So, let’s meet the panels…

PANEL 1: Immersive audio – the future of live sound A world renowned expert in immersive audio for live events, Bjorn Van Munster is the founder and director of Astro Spatial Audio, one of the world’s leading independent providers of object-based 3D audio solutions for live and theatrical entertainment.

Van Munster is the creator of the SARA II premium rendering engine, which is built to deliver object-based 3D audio, interactive dynamic room acoustics and more, all in a 3U, easy-to-use processor. Key installations have already taken place at the Berlin Opera House, the Zurich Opera House, on Broadway for hit new musical The Band’s Visit, in Switzerland at the Birds Eye Jazz Club and in Moscow’s historic Maly Theatre.

Having spent his teens as a drummer in a hard rock band in Cairo, Sherif El Barbari’s connection to live music was established at an early age. His ever-growing

Andrew Horsburgh

interest in live sound mixing and sound reinforcement speaker configurations led him to choose a career at the mixing desk, while still taking part in the artistic procedure of creating live music. One of the earliest and most faithful adopters of L-Acoustics’ V-DOSC speakers, El Barbari has put his knowledge and experience to use with artists of all music styles, serving as FOH engineer for the likes of Deep Purple, Supertramp, Montserrat Caballé, Robbie Williams, A-ha and Radiohead, to name but a few. Between world tours, he has also worked as a consultant for live sound industry equipment manufacturers, including L-Acoustics.

Dave Haydon, meanwhile, co-founded Out Board with Robin Whittaker, with the company specialising in audio localisation, spatial audio, immersive audio and sound effects, sound design and show control. The company is

Bjorn Van Münster

Dave Haydon

www.psneurope.com/business

also the manufacturer of the TiMax2 SoundHub Delay matrix, audio show control and spatial audio processor, as well as the TiMax Tracker.

Last but certainly not least, Andrew Horsburgh is a professional sound engineer, lecturer and audio system consultant. Since 2006, he has maintained a dual life between FOH engineer and full-time lecturer. Notable acts include Temples, Sundara Karma and most recently Saint Etienne across the UK and Europe. His academic research explores the uses of spatial and surround audio techniques for live and studio purposes, and his stated ‘format of choice’ is Ambisonics: he completed his PhD focusing on perceptual measurements of soundfield techniques, especially in non-ideal environments, leading to valuable insight into how to make the most of spatial audio presentations.

Sherif El Barbari

P11 NOVEMBER 2017

PANEL 2: Assessing the state of the studio sector Twenty two-year-old record producer sound”. He is also an advisory member of the Lauren Deakin Davies is currently Grammy Producers & Engineers Wing, as well one of the brightest talents in the as a regular contributor to industry journals UK pro audio industry, continuing including PSNEurope. A prolific guest speaker, to smash records at every juncture he has hosted masterclasses at industry of her burgeoning career. She has trade shows including NAMM, AES and IMSTA. already produced five albums that Nick Young, meanwhile, has been part have received Sunday Times Culture of Miloco Studios since its early days as a reviews, had EPs and a number of single independent studio, when it opened singles played on BBC Radio 2 and 6 in 1984 in Hoxton Square as Milo, and later Wes Maebe Music since 2013, has worked with The Square, where he started working as Lauren Deakin Davies artists including Laura Marling, Kate a studio assistant. Young is now Miloco’s Dimbleby, Kaity Rae and Peggy Seeger, and was named in 1998. Maebe has engineered some of the biggest chief operating officer and is currently focusing on the Producer Of The Year at the 2017 NMG Awards. She is names in music including Ellie Goulding, Elliot Randall, company’s international expansion. The studio group also the youngest female producer ever to have tracks UB40, Plan B, Celine Dion, Pete Tong, Gorillaz, Praying now represents more than played on Radio 2 and the youngest ever MPG member.

Mantis, Sting and has also mixed for broadcast. Working 200 professional recording studios worldwide with the Born and raised in Belgium, award-winning engineer in some of the world’s greatest studios, as well as in latest endeavour being the launch of a US division in Wes Maebe moved to London to study audio technology his home studio, Maebe is renowned for creating a “big August 2017.

www.psneurope.com/business

P12 NOVEMBER 2017

Business

Turnhout, Belgium

‘The perfect next step’ In mid-September, rental company KO-Sound took delivery of its third Digico console. And the desk immediately embarked on a 11-date tour in Dutch theatres, reports Marc Maes…

Freelance engineer Stijn Verschueren (L) and KO-Sound manager René Kuipers

A

longside his inventory of Midas Heritage 3000, Midas PRO 2 and Yamaha PM5D mixing consoles, KO-Sound’s founder/ director René Kuipers also offers Digico desks to his rental clients. “Diversification is key, we provide what the engineers want,” says Kuipers.

“We had already gone into Digico with an SD8 and a SD9 console – the new SD12, supplied by Belgian distributor Amptec, is part of the renewal of our rental stock, allowing us to offer the most recent model to our clients. I particularly like the brand because of its reliability, pleasant working environment and friendly user interface - you could say that we have grown organically into Digico consoles.”

The big advantage, according to Kuipers, is that the new SD12 has dual touch screens. “Most consoles have a single screen display but multiple fader banks,” he explains. “Personally I prefer to have one screen for each 12-channel fader bank. This wasn’t the case with the SD9 where the central positioned screen served both the L and R fader banks. A similar problem occurred with the SD8 where three 12-channel fader banks were on one central display – mistakes were

always possible in the line of fire…And that’s the big improvement with the SD12.”

Kuipers says the SD12 is the perfect next step for the SD8 and SD9 he has been using for some years now.

“If somebody asks what would you improve on those two consoles, you automatically end up with the SD12,” he says. “In addition to the dual 15” screen displays, the desk’s colour coded pot metres are matching the functions they operate, for instance, red for the ‘gain’ and white for the ‘pan’ option. Another benefit is that the Digico has gone from 10 user-defined keys on the SD8 and 9 versions to a lay-out where we have five banks with five controls each, adding up to 25 userdefined keys. And whereas the SD9 had no master faders and we had to use two separate channels, the SD12 now has two assignable master faders.”

The SD12 almost immediately left KO-Sound’s warehouses for a tour with Dutch band Mr Richard Parker, a five piece world/jazz unit featuring flute player Chris Hinze. The band plays 11 Dutch 550 seater theatres in October and November. Along with the new console, Kuipers also takes a BNC multicore, a D2 stagerack plus a FOH rack with a dual TC M5000 reverb

www.psneurope.com/business

and a Lake LM44 processor for the tour.

“The LM44 is used for the EQ’ing of the theatre speaker system in the theatres,” explains Kuipers. “The LM44’s settings are shown on a display on the FOH position, next to the SD12.”

Four Sennheiser EW300 G3 in-ear sets and stage cabling complete KO-Sound’s theatre set for this tour.

KO-Sound is mainly catering for productions with foreign artists, in concert venues like Trix (Antwerp, 1,100-capacity) or the 400-capacity Biebob Metal club (Vosselaar) and festivals like Graspop Metal Meeting, Peer Rhythm & Blues festival. “Digico is high on the riders we get from bands abroad, and a much wanted console on festivals, but I have the impression that the situation is different with the Belgian live market,” ponders Kuipers. “Although there are many Digico consoles around in Belgium, somehow the Belgian engineers are not really convinced of the brand.”

Kuipers is, however, convinced and happy that Digico lends its ears to the feedback given by sound engineers and end-users. “They listen very carefully to the input we give as users, and mostly we get an upgrade in the next software version – that’s true client service.”

Now available

DIGITAL 6000

Compromise is not an option when everyone is counting on you.

Better performance, quicker setup, immediate payoff: Digital 6000 was developed to exceed the expectations of audio professionals and business managers alike. Our new professional wireless series delivers reliable performance in even the most challenging RF conditions. Intermodulation is completely eliminated by Digital 6000, enabling more channels to operate in less space.

Discover more: www.sennheiser.com/digital-6000

Digital 6000 utilizes groundbreaking technology from our agship Digital 9000. Dependability is guaranteed by our renowned Long Range transmission mode and proprietary audio codec.

Digital integration is seamless with AES3 and optional Dante output. Monitoring and control of the two-channel receiver is at your ďŹ ngertips, with an elegant, intuitive user interface.

P14 NOVEMBER 2017

Awards review 2017 Pro Sound Awards

And the winners are…

T

he 2017 Pro Sound Awards, in association with Miloco, took place in London on September 28, celebrating the very best in the biz for the fifth year running. The event took place at The Steel Yard, an all-new location where guests were greeted with a drinks reception and light buffet before settling down to hear the winners of the awards spanning the wide spectrum of professional audio sectors.

Taking home the first awards of the night were Gareth Owen for Sound Engineer of the Year and Toby Alington Ltd for Broadcast Team of the Year. Alington and his team won the broadcast award for the One Love Manchester benefit concert in June, which made headlines across the world for its outstanding production – despite only having days to pull the show together. Fitting, then, that the Best Live Sound Production award (sponsored by d&b audiotechnik) went to Britannia Row/Clair Global for the same concert – congratulations to all involved.

Adam Audio won the Best Marketing Initiative for its A77X monitors, and Sennheiser was recognised for its audio design at the V&A’s Pink Floyd: Their Mortal Remains exhibition, winning Best Installation Project.

Studio of the Year – sponsored by Focusrite – went to Miloco Livingston; and the Rising Star award, in association with PSNEurope’s sister magazine Audio Media International, was awarded to Luke Pickering from Crouch Hill’s Church Studios.

Meyer Sound co-founders John and Helen Meyer received their Grand Prix award with a special message of thanks via a video message, and Funktion-One’s Tony Andrews gave a heartfelt speech about an incredible career in audio as his picked up the Lifetime Achievement award.

Thanks to everyone who came… we’ll see you all next year! www.prosoundawards.com To see all the photos from the night, go to our Facebook page or visit http://bit.ly/2yEMyeF

Toby Alington walks through the crowd to collect his award for his work on the One Love Manchester concert

Brit Row/Clair Global were also recognised for the OLM show

Wish You Were Here: Sennheiser’s Pink Floyd collab came out top

www.psneurope.com/business

Toby Alington picks up his broadcast award from comedian host Jimmy McGhie

Smiles all round: Miloco Livingston won Studio of the Year

P15 NOVEMBER 2017

Funktion-One’s Tony and Ann Andrews with the Lifetime Achievement award

Big PR’s Deb Skeldon has a laugh with mix engineer Laurent Dupuy

Meyer Sound’s Jerry Placken with PSNEurope editor Dan Gumble

2017 PRO SOUND AWARDS WINNERS Sound Engineer of the Year Gareth Owen Broadcast Team of the Year Toby Alington Ltd (One Love Manchester) (L-R): Sennheiser’s Victoria Chernih with Maria Fiorellino from Digico

Best Live Sound Production Britannia Row/Clair Global (One Love Manchester) Best Marketing Initiative Adam Audio (A77X monitors) Best Installation Project Sennheiser (Pink Floyd: Their Mortal Remains exhibition, Victoria & Albert Museum) Studio of the Year Miloco Livingston Rising Star award Luke Pickering, Church Studios Grand Prix Meyer Sound

Ladies and gentleman... PSNEurope’s Dan Gumble addresses the crowd at the all-new venue

‘Nice jacket’: AMI editor Murray Stassen awards the Rising Star

www.psneurope.com/business

Lifetime Achievement Tony Andrews, Funktion-One

P16

Pumping on your stereo: William Patrick Corgan

NOVEMBER 2017

Auteur ego In addition to being one of the greatest US rock icons in recent history, Smashing Pumpkins frontman Billy Corgan is also something of an accomplished studio whizz. Daniel Gumble caught up with him to discuss the making of his new solo album Ogilala, learning from the best producers in the business and the demise of the audio auteur...

B

illy Corgan has endured a long and complex relationship with the music industry over the past 25 years. Since exploding on to the alt rock landscape with The Smashing Pumpkins, he has established himself as one of the most prolific, revered and versatile songwriters in the canon of contemporary rock, releasing music under various guises and of a variety of different styles over the past quarter of a century.

Yet a fixation from certain quarters of the music press and sections of his fan base with the Pumpkins and Corgan as little more than a heavy riff merchant has caused him no little consternation over the years.

A multitude of releases under the Pumpkins moniker – albeit with an ever-revolving door of members – supergroup Zwan and a solo record have more than sufficiently showcased his artistic dexterity, yet still, he claims, he remains tethered to his alt rock tag.

Despite their inextricable affiliation with heavy rock, the Pumpkins regularly ventured beyond the realm of Corgan’s juggernaut riffs, producing everything from fragile, piano driven ballads, industrial electronica and acoustic pop. Zwan, meanwhile, formed in 2001 with members of the Pumpkins, Slint, Tortoise, Chavez, and A Perfect Circle, hinted at a more mainstream rock approach, while 2005 solo outing The Future Embrace pursued a more electro-tinged sound.

“If you look at my work in the ‘90s I did whatever I wanted to do: I made electronic music, acoustic music, rock...I had hits with every style, literally,” he

tells PSNEurope as we settle in for a chat about the production of his beautiful new solo album Ogilala, released under the name William Patrick Corgan.

“We wanted to be The Beatles. We wanted to have Eleanor Rigby and A Day In The Life. We didn’t see the contradiction. Then in the 2000s, in the collective hypnosis of the world, suddenly I was only in an alternative rock band. So if I made Smashing Pumpkins music and it didn’t sound like alternative rock music - whatever the fuck that means – I’m somehow letting the fans down. So I’ve had to let the Pumpkins just be what people think it is. I would be happy calling everything Smashing Pumpkins. Using my own name and all that stuff doesn’t mean anything to me. I would be comfortable releasing every song I ever wrote under the band name.”

Throughout his career, Corgan has amassed a wealth of studio experience as a producer and engineer, producing or co-producing several Pumpkins records, as well as releases from Zwan and his debut solo album. Yet in spite of his plentiful production credentials, he opted not to produce Ogilala himself, instead calling on the services of rock producer extraordinaire and friend of over two decades, Rick Rubin, to take up duties behind the desk.

The move to recruit a producer and not take on the role himself is something of a surprising one, especially given the stripped back, personal nature of the album. Stripped back largely to acoustic guitar and/or piano, with the occasional orchestral flourish,

www.psneurope.com

Lala land: Artwork for Ogilala

Ogilala presents Corgan’s songwriting prowess in its barest, most intimate form, allowing voice and lyrics to take centre stage. So why not go it alone in the studio as well?

“Well, when you’ve got Rick Rubin willing to help…” he laughs. “And I was at a point in my life where I was feeling a bit low and I was open to the idea of not taking on the extra stress. Some of the criticism of my work in the past few years suggested that I’ve tried to take on too much. I’ve known Rick for 20 years and I called him to ask if he could recommend someone for me to work with. I thought he would know who the hot young producers would be. I told him it was a personal record and that maybe it would need a different

P17 NOVEMBER 2017

approach, and he said, Well that’s something I’d be interested in doing.”

Though Rubin is credited as the producer of the record, Corgan played a highly collaborative role in the studio, working closely on each and every aspect of the songs, from structure and arrangement to its overall sound and additional instrumentation.

“We collaborated on everything,” he states. “He would make suggestions where he thought it was needed and if he was happy where we were going he would offer very little feedback, like, You figured it out for yourself. It was very comfortable, and having known each other for 20 years really helps. It wasn’t like, Oh my God, it’s Rick Rubin! He’s like my buddy. And he’s so supportive that he really trusts when you’re going in the right direction. There’s no head games – he just tells you what he thinks.”

Given Corgan’s extensive experience in the studio, he now feels that there are few producers in the business he’d be prepared to enter the studio with.

“As someone who’s almost unproducable at this point in my life, I think [a strong knowledge and existing relationship] with a producer is what it would take for me to go into the studio with them,” he says.

“I haven’t really tried to work with a lot of people. I’ve certainly entertained it, because there are a lot of people out there doing really great work. But having been trained by Butch Vig and Flood and Alan Moulder, I feel comfortable doing what I’m doing. And probably the only weakness in my game is that I don’t always have the separation between me the artist and me the producer. Very little surprises me in the studio at this point because I’ve spent so many hours in the studio.”

Although he has indeed learned from some of the best in the business, Corgan claims that his production style has been predominantly shaped by someone with whom he has yet to make music with.

“Probably the greatest influence on my life is somebody I’ve never worked with as a producer and that’s Brian Eno,” he reveals. “Working with Flood I learned this deconstructionist method, that to my understanding came from Eno; sort of stripping back and moving perspectives around on how you look at music. Obviously that had a big influence on Flood, who also had a huge influence on me. And having worked with someone who’s a great tactician and a great song person and sonic person, like Butch Vig, as much as I recognise that’s a really effective way to make records, it’s not my natural instinct.

“My natural instinct is to be more Dadaist. Like, why does the guitar have to sound a certain way? If you look at what I’ve done with the guitar over the years, I do whatever I want. There’s no rule there. Even in terms of the mix. You look at the way Kevin Shields mixed My Bloody Valentine, the idea is that the guitar was like the lead instrument and the vocal was almost supplemental. In the arts that’s also what I’m most attracted to. Like Man Ray. Why do we accept the world

as it’s handed to us? Why can’t we subvert it with the power of our ideas?”

Given the vast advances in technology and the development of new production techniques that have surfaced over the course of Corgan’s career, he is now of the view that a distinct line has been drawn between generations of producers. Whether it’s the influence of a producer over the direction a record takes or technological innovations, he believes that production styles can be clearly divided into ‘new’ and ‘old’.

“You could argue it’s very similar to the way the movie business is going,” he states. “There are so many cooks in the kitchen. The atmosphere of rock’n’ roll has become so competitive that no one person can do it on their own. Maybe we’re past the age of the auteur.

THE RISE IN TECHNOLOGY HAS SHIFTED THE ROLE OF THE PRODUCER. ANYONE CAN SOUND LIKE THE BEATLES NOW. MAYBE THE OLD WARHORSES AND AUTEURS ARE OUT OF DATE

BILLY CORGAN “You need someone who’s really skilled like Butch, so you can focus on the competitive part of what you have to do, which is singing well and playing well. I drank the cool aid on The Beatles idea, that we can all be our own auteurs. I’m going to cover Wrecking Ball

by Miley Cyrus for something, so I’m working on the song and researching it online…that song is written by seven people! Every famous song I’ve ever written was by myself. I arranged it myself, in many cases produced it; the idea I’d have six other people going, Well maybe there’s a better rhyme…maybe that’s what I need!

“I also think it bears pointing out that the rise in technology has shifted the role of the producer, so that maybe their role is as a vibe man at this point. You don’t need the perfect take anymore – someone can just chop you up and auto tune you.”

He continues: “The Phil Spectors of the world would try to drag gold out of somebody who didn’t even know what they were after. He could see gold where there was no gold to be found, and he found it. Then you had the rise of the auteurs, the Crosby Stills and Nashes and The Beatles, like, We can create our own world.

Then you get to the point where people can imitate.

Anyone can sound like The Beatles now. You can get the exact plugin, you can study the chord charts or whatever and look up the song on YouTube. So maybe the old warhorses and auteurs are out of date.”

Though production styles have changed dramatically over the past 25 years, Corgan is not looking back on times gone by with any misty-eyed romanticism.

www.psneurope.com

According to him, producers of today are simply taking a different approach to the business of making records.

“I think there is an old guard,” he ponders. “The Butches and the Rick [Rubins] of this world learned how to make records the old fashioned way. And I think everything that has happened over the past 10 years shows me there is a whole group of people who don’t care about the old ways.

“They’ve learned and manufactured their own new ways, which involves technology - their methodology for making records and mixing is completely different.

I don’t see it as worse or better than, it’s just different.

It’s like saying, Why hand wash your clothes when you can just throw them in the washing machine? While the clothes are being washed automatically you can focus on something else. That’s the world we’re in now. The focus has shifted on what’s important. Maybe that’s why Ogilala stands out, because it’s so not that other process. It harkens back to one man, one guitar, and if it’s really good it shows you can still compete.”

Regardless of where Corgan and Ogilala fit in today’s tech-driven studio culture, his hunger for recording and releasing new music remains fierce as ever. He already has more than enough material in the pipeline for a solo follow-up to Ogilala and has discussed the possibility of recording stripped down and alternate versions of his entire back catalogue.

And, as ever, the possibility of a reunion with his original Smashing Pumpkins bandmates remains an ongoing subject of speculation.

“Regardless of if I do anything more with the Pumpkins, which is sort of up in the air at the moment, I would like to do an acoustic-based record every 18 months,” he concludes.

“I’ve already written another album to follow up Ogilala, which is just sitting there. The difficulty is working out how this music fits in the world. It’s not easy to get on the radio and all those traditional things - it’s hard to market. My great hope is that it will be well enough received that it’ll allow me to do another record. I’d also like to do sessions where I record a lot of my old songs but in acoustic form. So over the next five years I would release 150-200 acoustic versions of my songs. I’ve released around 300 so far and there is another 100 that still haven’t been released. I could release that on my own label or something.

“Over time I would like to compile an alternate record of my songs - perhaps acoustic or piano versions as opposed to the more band-like versions. There are a lot of good songs there that have been overlooked, either because of the time that they came out or because of the production.”

At this point in his career, Corgan clearly has the freedom to do exactly as he pleases with both new music and old. And who knows what the future holds for the original Smashing Pumpkins line-up? But when he’s making music this good as William Patrick Corgan, who really cares?

P19 NOVEMBER 2017

Morrissey Photo credit: Sam Rayner

Back to School Renowned producer Joe Chiccarelli recently returned to the studio to produce a second consecutive album with Morrissey in the form of Low In High School. He tells Daniel Gumble what it was like to work with the enigmatic star and why he is a “producer’s dream”...

P20 NOVEMBER 2017

I

t seems these days that to work with Morrissey on consecutive records in any capacity is something of an anomaly. Throughout a solo career spanning 30 years he has cut an increasingly enigmatic and controversial figure. Whether weighing in on divisive issues like Brexit with suggestions that the result was “magnificent”, or mocking the monarchy at every available opportunity, he appears to be flirting on the fringes of public outcry more intimately than ever before. His reputation as an agitator has been fuelled by public spats with record labels, former bandmates and collaborators over the years, rendering the role of Joe Chiccarelli all the more unusual.

Save for a select few, Morrissey – or Mozz – as Chiccarelli regularly refers to him during our conversation – has rarely relied on the same producer more than once during his solo career – only Steve Lillywhite and Jerry Finn have attained that honour. With Chiccarelli, however, Mozz and his band have been carefully coaxed into new sonic territory .

Having worked with the likes of U2, Beck, The Killers, The Strokes, Glenn Frey, The White Stripes and Counting Crows to name a few, Chiccarelli is no stranger to working with the stars and pushing them to take risks in the studio. This was never more evident than on Morrissey’s previous record World Peace Is None Of Your Business. The album veered from the muscular, guitar-driven rock of predecessor Years Of Refusal into a world of less conventional musical flourishes by way of harp, accordion, keys and greater structural variation, gliding from minimalist acoustic croons, to brassy pop and twinkling soundscapes.

Now, with Low In High School Chiccarelli has raised the bar once again, taking a similar template to WPINOYB and sharpening its more experimental edges. Recorded at Ennio Morricone’s Forum Studios in Italy and mixed at La Fabrique Studios in the south of France and released on November 17, the resulting collection of songs is unlike anything else in the Morrissey canon. From the unfamiliar but pleasantly surprising pop of lead single Spent The Day In Bed, to the bombast of glam rock, brass-backed stomper My Love I’d Do Anything For You. Here, Chiccarelli tells PSNEurope what it was like to work with Morrissey in the studio for a second time and how he produced one of 2017’s most spectacular studio triumphs…

Tell us how you came to work with Morrissey on a second consecutive album.

Well, he enjoyed the process so much doing WPINOYB that he wanted to repeat it. Unfortunately La Fabrique Studios in the south of France, where we made that album, was booked up and the timings didn’t work out. With Morrissey, he wants to be inspired when he’s making a record - to be in a place that’s really exciting and inspirational for him.

Fabrique is a really idyllic location; a fantastic studio. He had done an album at Ennio Morriconne’s studio in Rome about 10 years prior (Ringleader Of The Tormentors) so he suggested going back there, because he feels that the energy of Rome is good for him, so that’s how we chose to work there.

What was your approach to producing the record?

As with the last album, he presented me with about 26 demos in advance. The tricky thing with Morrissey is he never records any vocals until he gets in the studio and does the actual takes, so you’re left guessing where the song is going to go. It’s quite a unique process. What he brings to a song in terms of melody and lyrics is just extraordinary. I’ve never worked with anybody in my life who can come up with such unique melodies and lyrics that really transform a track.

How much collaboration was there between you and him?

He’s a producer’s dream in a lot of ways. When he talks about what he wants from a track, he talks about it in a broad way, so that gives you a lot of flexibility. It’s not like he comes in saying, I want the piano part to be like this, and I want the guitar sound to be like that. He’ll say, This is a very brooding song, I want it dark, I want it barren, scary. And he leaves it up to you to craft that. Normally our process would be that we’d go in, put down a guide vocal with maybe a guide keyboard track or the band would play along with him and we’d do a sketch of a take.Then we build everything around his vocal. Unlike the last album, where most of the vocals are those guide vocals – around 60% of them – this album it’s probably 60% of the vocals that were redone after the fact. He’s good with his voice in terms of a director, where he will push the energy of the band by pushing his vocal. Sometimes he’ll go too far to drive the band to get the energy up, so we’ll go back and redo the vocal with a lighter approach. But he really has a great sense of the big picture and what he wants from each track.

How involved do you get with arrangements and structures?

It’s a very collaborative process. Some of the tunes are demoed thoroughly, some are just piano, so we definitely mess around with structures, adding choruses. With Morrissey it’s all about the lyric and when he feels that the lyrical message of the song is delivered properly he doesn’t feel the need for extra long instrumentals or repetitive choruses. He’s a storyteller, and the songs are like little movies or acts in a play. When the point is made and the dialogue is served, that’s all that’s necessary. Both WPINOYB and Low In High School feel very cinematic.

Tell us about the studio set up.

That studio is a really big room. It’s a scoring sized room.

We tried putting drums in various locations for different songs. In terms of microphones, it’s the standard kind of microphones, augmented by ribbon mics in front of the kit. We did use some crazy Italian ribbon mics called Braingasms – believe it or not! We used those on guitar and accordion and a few other things. The studio had a beautiful sounding Neumann SM69 that we used on a lot of the more orchestral instruments. Mozz’s vocals, as with the World Peace album, were done on a classic Neumann U47. We did some of the vocals in Italy on that mic and we also did

www.psneurope.com/studio

some at La Fabrique with a Telefunken USA U47. He has a very classic style in the way he sings. He’s very much like a ‘50s, ‘60s crooner. It might sound intimate on a lot of these tunes but he’s really a foot or a foot and a half away from the microphone. He’s got a big voice. There were a couple of times when I tried to get him closer and more intimate on the mic but it just doesn’t work, it doesn’t sound like Morrissey. There is something about the way he sounds a little further from the mic that is just his sound. In terms of preamps, we used a Neve 1073, a Pultic EQP-1A3 on the vocal and some tracks were Universal Audio LA2A – it’s a pretty classic, simple approach to recording his vocals.

And the mixing process?

Everything was done in Pro Tools 3296. No tape on this record at all because we wanted to try different song structures and edit easily. It’s always best with him to record direct to Pro Tools. The record was mixed by Maxime Le Guil who helped engineer it and we did that at La Fabrique. Both studios have older Neve consoles – Forum has a V Series Neve console and La Fabrique has a Neve 88R, which is the last version of the V series. They are

P21 NOVEMBER 2017

The wizard of Mozz: Joe Chiccarelli

very different sounding.

How involved is Morrissey in selecting which mics to use?

He’s pretty hands-on. He’s been really great and trusting so he’ll leave those decisions for us to make. If he hears something specifically he’ll say something. The Forum has a really great live echo chamber that sometimes he’d suggest recording the trumpet in, or the background vocals.

It’s all about character for him, he’s not too keen on what kind of EQ or compressor is being used, that’s not really that important to him.

How did working on this album compare to WPINOYB? The great thing with this record is that the band and I all knew each other well after the last album, so they knew what to expect and everybody trusted and respected each other. The collaboration with the band on this album was fantastic, they really dug in and they are really sensitive towards him and helping him get what he wants out of things, even if he can’t verbalise it in specific musical terms.

With Mozz it’s funny, it might be one guitar part that’s a little out of character or is a little jarring and will put him off the tune, and if you just rectify that with a simpler part or a more acoustic sound or whatever, it all falls into place. The process was definitely very healthy in that respect.

orchestral touches, and we’re here in Morricone’s studios and we haven’t taken advantage of that. I could hear a solo violin on some of the tracks, I could hear some horns and strings, and he was like, I love it, let’s do it! So we put some more orchestration on a few tunes. He’s very open like that.

There is a lot going on musically on this record. Were there any tracks that were especially challenging?

Which tracks on the record really stand out for you?

There were a couple. With each of these albums we had around 20 songs, so the tough thing is choosing what makes the final cut because everybody has their favourites, and it can be frustrating or heartbreaking when your favourite tune is left behind because it doesn’t quite fit the picture. There were tracks like Spent The Day In Bed and Who Will Protect Us From The Police? that we spent extra time reinventing because we felt they didn’t work or they were a little unfocused. Mozz is great at having listening sessions, so once every two or three weeks we would all sit back and listen to the record and see what shape it was in. One day we had a listen and I said, You know Mozz, I listen to all these tracks and it feels like it really needs some

Home is A Question Mark is a real classic Morrissey melody. From the moment we cut it I was just like, Wow, this is the type of melody I want to hear from Mozz. Israel is a really powerful statement. My Love I’d Do Anything For You is interesting in that it almost didn’t make the cut. As much as everybody loved it, it felt lyrically a little different to everything else on the album. We worked at it really hard in the last week or so, brought in the orchestration and turned it around. And when Mozz heard all the extra horns on it he was like, Wow, this feels like an opening track now. I Wish You Lonely is really powerful with another great melody.

I actually wanted to get Mozz to repeat the chorus a few times but, with him, it’s all about serving the lyrical point of the song.

P22 NOVEMBER 2017

Studio

A mic for the Real A select group of distributors, studio owners and industry press were invited to an official Audio-Technica showcase last month, demonstrating the manufacturer’s new AT5047 microphone. Phil Ward went along to find out what it has to offer...

M

icrophone manufacturer Audio-Technica gathered 50-plus industry professionals at Peter Gabriel’s Real World studio complex in south west England on September 22 for the arrival of the AT5047 studio condenser microphone. A full demonstration of the microphone’s origins and capabilities conspired with live musical entertainment, and lunch, to complete a productive rendezvous for all concerned.

Launched at this year’s Prolight+Sound, the AT5047 is heralded as a transformer-coupled cardioid, its USP concerning how the delicate configuration of four separate diaphragms – combined in the 50 Series to double the surface area usually possible – has been made more stable at the output stage.

A sequence of presentations in the famous Big Room – the partially sub-aqua and duck-garnished control room at Real World – commenced with an address by Audio-Technica’s marketing manager for professional audio Tim Page, who commented on the “natural, dynamic nature” of the new 5047. This was followed by a welcome video message from AudioTechnica president Kazuo Matsushita, and a detailed history of A-T’s microphones and its unsung engineers

by Noriko Matsui, product planning manager in Japan, who flew over especially for the event.

Next there was background on the development of the 5047 itself, as revealed by Alex Lepges, Audio-Technica Europe’s product manager for professional audio; a revealing video playback of artist endorsements for A-T studio products, presented by Edward Forth, Audio-Technica Europe’s global artist relations manager and brand projects manager for EMEA; and a closing address by Robert Morgan-Males, marketing director at Audio-Technica Europe.

Either side of the presentations, guitarist Chris Woods and kora player Kweku Mainoo engaged visitors with performances that were captured in the Wood Room by Real World engineer Oli Jacobs, and played back in the control room with technical comments about the operation of the A-T microphones used.

Alex Lepges later told PSNEurope where the 5047 fits in to the company’s studio microphone canon.

“It’s the latest in the 50 Series,” he explained, “which started a few years ago with the AT5040. The first studio mics comprised the 40 Series, which were very affordable and in line with the company’s original vision to bring high-quality recording to as many

Product demonstr

people as possible.

“So with the 50 series, confident in our abilities, we wanted to deliver something really special. The brief was unrestrictive, and the engineers came back with something radical: not one large diaphragm but four rectangular ones in a 2x2 array. The concept was to

www.psneurope.com/studio

maximise the surface without sacrificing the transient high frequencies – something typically compromised in a large diaphragm.”

This is true: four smaller diaphragms display a much quicker transient response, and if you sum them together it creates the big surface but with

P23 NOVEMBER 2017

World

Alex Lepges explains the development of the 5047 model at Real World

rations and company presentations were held in the studio’s famous ‘Big Room’

THE DYNAMIC RANGE IS HUGE. THE TRANSFORMER IS HANDMADE AND PAINSTAKINGLY MATCHED TO FIND THE SWEET SPOT FOR THIS MICROPHONE

ALEX LEPGES

lower self-noise – some 5dB SPL quieter, according to Lepges. “That was the breakthrough with the AT5040,” he continued, “but the challenge then was to create a matched quartet of diaphragms. The rectangular shape has an inherent benefit over round ones, because a diameter has one resonance frequency

– like a string on a guitar – while a rectangle has several, provided you tension the corners correctly.

If every millimetre is tensioned accurately in the manufacturing process, in the end you can have differing horizontal tensions across the diaphragm – each of which has a different resonance frequency, like a harp.”

This is key, because multiple resonance frequencies in very close proximity cancel each other out, so the microphone stops ‘ringing’ as soon as the signal stops – crowded resonances fall off much faster.

If you translate this into musical terms: rapidly arriving signals clearly overlap, so as the first wave rings, it masks the arrival of the next, and so on – and without this phase information it’s harder to localise the signal.

The 5040 solved this by multiplying resonant frequencies – so that none of them can protrude over another – thereby revealing more of the leading edge of the next phase as it comes in. “It’s physics, not marketing!” added Lepges, triumphantly.

www.psneurope.com/studio

To achieve a balanced output, however, the 5040 risks four elements, two of which are in-phase and two of which are out of phase, without a transformer and with nothing in the way of the purity of the signal – not even switching, low-cut or pad.

“Consequently, as a microphone the 5040 is a bit of diva! It will do a superb job for you, if you know how to handle it. You need a proper console, and the proper input: the impedance is significantly lower than you expect, and it has a super-high output. The input signal is potentially a real handful!” admitted Lepges.

This is deemed unsuitable for computer-pluspreamp recording norms – so, enter the AT5047. It has the same diaphragm arrangement, albeit with slightly adjusted summing, but now with added transformer for the output.

“It brings up the impedance and makes everything more controllable on all frequencies,” Lepges explained, “and the dynamic range becomes huge.

It’s more universal, more versatile. The transformer is handmade and very painstakingly matched to find the sweet spot for this microphone. Everything that happens is sorted out inside the mic, ready for delivery to the outside world.”

The sonic presence of the transformer imbues the 5047 with a unique tone, arguably less pure than the 5040 but still providing the benefits in the time domain generated by the diaphragm configuration.

“It’s a different concept,” concluded Lepges, “and, although a rectangular diaphragm is not entirely unique, this combination most certainly is.”

The AT5047 microphone is available now. www.audio-technica.com

2

mc 96 Grand Production Console

Enjo Enj E njoy njo n oyy the o th he mc m c2 96 96 vvide video id de eo o www.lawo.com

Live

P25 NOVEMBER 2017

Borgerhout, Belgium

‘The future of concert venues’ Fourteen years after the re-opening of the iconic De Roma concert venue, the historical theatre was completely restored and given a comprehensive audio overhaul. The last piece of the puzzle was the implementation of revolutionary acoustical measures and the installation of a brand new sound system, reports Marc Maes...

‘A beautiful, historic venue’: De Roma

D

e Roma, one of the most iconic venues in the city of Antwerp, Belgium, was built as a cinema and events theatre in 1927. Between 1966 and 1982, the venue became the stage for legendary concerts with artists like the Kinks, Paul McCartney and Wings, James Brown, Iggy Pop, Lou Reed and Iron Maiden gracing its stage. In 1982, the theatre shut its doors to become a part of the adjacent technical school, with the building gradually deteriorating.

In 2003, after six months of cleaning and restoring by hundreds of volunteer workers, De Roma re-opened – but it would take three more years to end the basic renovation of the building.

Now back in business, last year saw over 177,000 people attend concerts and events at the venue.

“Over the years, we had bigger and bigger

productions playing De Roma,” explains Toon Van Deuren, programme director of De Roma. “With a capacity of 1,300 seated (hall and balcony) or 1,900 standing, the day comes that you simply must make decisions and realise these plans.”

A first step in the process was to establish a solid plan for the acoustics within the venue – the De Roma team began searching for a consultant to help them design the new acoustics.

“Bart Willems, CEO of Amptec introduced us to acoustic designer Eddy Bøgh Brixen,” continues Van Deuren. “And he advised us in the application of the acoustics. The big challenge was the building’s architectural heritage value: we had to achieve maximal results in terms of acoustics, while maintaining minimal visual impact on the venue’s interior.”

www.psneurope.com/live

Bøgh Brixen went through a number of tests with several audio configurations – listening in optimal conditions was key to find out where the acoustics could be improved.

“First of all it’s a beautiful venue and it’s an historic space, so of course there are restrictions to possible alterations – any acoustic treatment should be more or less invisible or at least “blend in”, commented Bøgh Brixen.

The acoustic measurements carried out showed that the reverberation time was far too long at low frequencies (around three seconds). “The optimal time for a venue of this size meant for amplified rhythmic music is around – or below 1.8 sec,” Bøgh Brixen explained. “Some parallel surfaces were responsible for flutter echoes, that might be excited by the loudspeaker

P26 NOVEMBER 2017

Live

system. The sound field on stage was problematic, because of distinct echoes from ceiling, balcony front, side and back walls – and inside the stage room itself.”

Bøgh Brixen recommended using membrane absorbers on the sidewalls, the balcony backwall and (former cinema) projection backwall.

“We started building several installations together with the acoustic department of textile specialists ShowTex,” Van Deuren adds. “We wanted to safeguard as much as possible the original and beautifully restored inside walls and decoration, so ShowTex had to be very creative in inserting acoustic elements.”

“We have been following the Roma project since day one,” says Koen Van Kerkhoven, managing partner of ShowTex. “With Eddy Bøgh Brixen’s report on the table, we started brainstorming on the acoustics in this majestic venue – bearing in mind the building’s heritage value interior.”

One of the solutions was a recent innovative development made by ShowTex’s acoustic engineers: the company regularly had remnants of cotton and wool sound-absorbing textiles. “These remnants are recycled, shredded and compressed into acoustic baffles of various densities,” continues Van Kerkhoven.

“Covering the two walls opposite the stage was one thing – safeguarding the original wall decoration was something else. We decided to print a photographic reproduction of the wall on the textiles covering the baffles. The walls were photographed in high resolution and these big format image files were transferred on the seamless textile-covered acoustic baffles, and placed in front of the walls. An almost invisible solution with crucial impact on the venue’s acoustics.”

As the building’s concrete roof structure couldn’t fly any extra weight, ShowTex designed and developed two huge acoustic lightweight inflatable shells and placed them under the ceiling. “It’s the first time we ever manufactured and implemented these inflatables, and an absolute world premiere for De Roma. Its acoustic qualities are excellent, the inflatable is both sound absorbing and partially sound diffusing due to its shape.

The big hollow dome became a spherical dome and we resolved the prominent flutter of the past,” enthuses Van Kerkhoven, adding that in 2018, ShowTex will use similar inflatable solutions in other projects. “We like these challenges,” he adds. “There’s no such word like ‘impossible’ – and that’s the trigger for the worldwide ShowTex team.”

ShowTex also installed a new, heavy backdrop on the stage, drastically improving the acoustic comfort for the artists performing.

The side walls of the hall were covered with bass traps, manufactured by students of Het Keerpunt (The Turning Point), a social education project. “These bass traps over the full length of the venue were instrumental in absorbing excessive low frequencies and have been carefully incorporated in the infrastructure, invisible for the audience,” Van Deuren explains.

For the new fixed audio system, De Roma invited several manufacturers to go over acoustics and audio system set-ups. However, van Deuren points out that the choice for a d&b set up came up quite rapidly the choice of the venue’s three audio engineers was unanimous. “We have been involved with the project from scratch,” says sound engineer Wim van den Heuvel. “The idea behind the new sound system is to cater for the needs of productions coming in, and d&b is featured on the majority of the riders we get. Our working relationship with the brand and Amptec has grown organically, going through a number of demo’s and tests.”

The main FOH system consists of a long 14-unit line array (two d&b Vi subs on top, serving the balconies, 10 Vi8 and two Vi 12 loudspeakers on either side of the stage). “The biggest novelty is that De Roma is the first venue in Belgium to use a sub-array, featuring eight d&b V-SUB subwoofer speakers,” comments Frank Geerts, audio sales manager at Amptec, who supplied and installed the system and cabling. “The speakers are concealed under the central stage, which is covered with a speaker grill front - the whole mechanical structure is custom built by Amptec.”

On top of the eight-strong subwoofer array, the stage is equipped with two d&b down-fill V7P cabinets, and four E6 lip fill loudspeakers covering the first rows of the audience. Two more E6 side balcony fills and 14 M4 wedge monitors complete the set-up.

The main FOH configuration is optimised by d&b ArrayProcessing, making De Roma the first concert venue in Belgium with this control technology.

“ArrayProcessing allows us to carefully define the sound pressure towards a specific area of the hall,” says Van den Heuvel. “The system calculates the internal distribution of the arrays resulting in a perfect balance for the audience.”

With some 450 productions (of which 200 are concerts) per year, swift installation was key. For the audio system, the venue’s FOH position is connected via analogue and CAT6 and Madi multicables connected

www.psneurope.com/live

with an Amptec custom-made patch panel on the stage, allowing engineers to opt for either analogue or digital inputs. “We have a Digico SD10, an Avid Venue SC48 and an analogue Midas XL3 console – they can be used either as FOH or monitor desks; it’s part of our service towards the production teams and they appreciate it,” Van den Heuvel underlines.

In addition to the new FOH system, De Roma also invested in a new concert system for the venue’s 350 capacity lobby: a set of one d&b ViSUB top and a Vi10P, flown on either side of the stage caters for concerts, lectures, presentations and performances.

“Finally, we also decided to put in place a new cinema sound system, serving the balcony seats,” adds Van Deuren. “A dedicated configuration consisting of three d&b 10AL two-way line array modules on each side of the hall is used during movie projections or events staged on the balcony. A removable projection screen in the centre of the venue completes the cinema set-up.”

Both the main and the cinema system are powered by a combination of nine d&b 30D (main) and one (lip fill and side balcony) 10D four-channel installation amplifiers, placed under the backstage ceiling. A separate set of two D12 amplifiers serves the lobby sound system.

The new FOH system was first used on September 3, with the opening of the new concert season and the Glenn Miller Orchestra. “The main difference with the past is the system’s excellent speech intelligibility,” notes Wim Van den Heuvel.

For Van Deuren, the improvement of the acoustics in combination with the audio system’s flexibility is a major benefit. “An engineer dropping in opens his console and gets to hear a pristine sound without flutter – that’s crucial. In rock ‘n roll this is very important,” he enthuses. “The big test of fire of the system was our sold-out concert with DJ Shadow (Sept 25) – lots of bass and a full house, but we had a perfect sound.”

“With the d&b V-series, a sub-array and ArrayProcessing, De Roma has become a reference for future concert venues,“ concludes Frank Geerts.

P28 NOVEMBER 2017

Technology Live mixers

Perfecting the live mix

PSNEurope’s Tara Lepore takes a look at some of the best live mixing consoles available on the market…

R

apid advancements in live audio technology over the past few decades have enabled manufactures to continually improve products and create new ones all the time. Live mixing equipment not only has to be fast and powerful, but user-intuitive, as touring engineers will often have restricted time

Allen & Heath – dLive C Class “Launched in January 2017, Allen & Heath’s C Class, part of its dLive range, has rapidly become a strong contender in live sound applications that require a powerful digital mixing system in a genuinely compact format,” A&H’s marketing comms manger Jon Jannaway tells PSNEurope.

“Thanks to its small footprint but impressive capability, the C Class has earned a reputation as a

Allen & Heath’s C1500 Control Surface with CDM32 MixRack

to get to grips with new technology. It could be argued that audiences expect high-quality sound as the norm these days, and these consoles make that happen (not forgetting the people sat behind the desks, of course). We spoke to the manufacturers behind some of the best products on the market right now to find out what’s on offer…

powerful, versatile workhorse, found in houses of worship, theatres and music venues, as well as being extremely popular for festivals and ‘fly-in’ gigs where a large format touring rig is not always practical.

“For ultra-compact rigs, some users opt for true ‘surfaceless’ mixing, controlling the C Class MixRack solely via an iPad and/or laptop.

“Based on XCVI, the same 96kHz FPGA core which drives Allen & Heath’s flagship dLive S Class mixers, the C Class features the company’s DEEP processing architecture, allowing class-leading compressors and processing emulations to be embedded directly within the inputs and mix channels.

“There are three compact MixRacks in the series – CDM32, CDM48 and CDM64, plus three control surfaces, the 19” rack mountable C1500, C2500 and twin screen C3500.

The MixRacks house the XCVI

www.psneurope.com/technology

Core, providing capacity for 128 inputs with full processing and 16 dedicated stereo FX returns, plus a fully configurable 64 mix bus architecture, with full processing on all mix channels. As well as this, each surface and rack has a 128-channel I/O port, supported by a wide array of networking cards, including Dante, Waves, MADI, fibreACE optical and more. “dLive C Class is also compatible with S Class hardware and the ME personal mixing system, supported by a full ecosystem of apps, Director software, and accessories.”

THANKS TO ITS SMALL FOOTPRINT BUT IMPRESSIVE CAPABILITY, THE C CLASS HAS EARNED A REPUTATION AS A POWERFUL, VERSATILE WORKHORSE, FOUND IN HOUSES OF WORSHIP, THEATRES AND MUSIC VENUES JON JANNAWAY

P29 NOVEMBER 2017

Cadac – CDC

MegaCOMMS router) is available on a single network. Total through-system propagation delay from onstage inputs to outputs, including all console processing and A-D/D-A conversions, is 37 samples (at 96 kHz). All audio samples are synchronised before summing, for absolute phase coherency at all outputs.

“MegaCOMMS features a range of I/O, interface and bridging components, to enable direct connectivity with other networks and the wider AV world.”

“The CDC six and CDC seven control surfaces are based around a 23.5” high contrast HD touchscreen – one on the CDC six and two on the CDC seven,” explains a spokesperson from Cadac. “These combine with CDC OS in Cadac’s intuitive and swipeable graphical operator experience. Akin to the glass cockpit paradigm in aviation, it provides for a minimal learning curve for operation by less experienced engineers.

“Cadac’s legendary mic preamplifier design is coupled with a time-aligned, phase-coherent mix bus architecture, resulting in total through-system propagation delay of under 0.4 milliseconds (the audio industry’s lowest latency protocol) and the best audio quality and performance of any live mixing console, analogue or digital.

“The consoles run Cadac’s proprietary MegaCOMMS protocol, a high performance, audio network platform. Up to 128 bi-directional channels of 96 kHz/24-bit audio per port, with a total of 3,072 channels (with inclusion of

ALL AUDIO SAMPLES ARE SYNCHRONISED BEFORE SUMMING, FOR ABSOLUTE PHASE COHERENCY AT ALL OUTPUTS CADAC Cadac CDC seven (centre) and CDC six (L&R) with MegaCOMMS racks (rear)

GET CLOSER TO FLAW L E S S MO B IL E AU D I O You’re on the run after some big news. You need to be quick and practical, but most importantly, you need to capture a great story. Your smartphone records the video but you know that crystal-clear audio is essential. With the new d:vice™ Digital Audio Interface your audience will clearly hear your message, even if you work in challenging situations. Pre-programmable, easy to use and inconspicuous, the d:vice™ allows you to record amazing sound so you can tell the full story.

Made in Denmark

dpamicrophones.com/dvice

www.psneurope.com/technology

P30 NOVEMBER 2017

Technology Live mixers

Digico – SD12 “Representing the culmination of 15 years of pioneering digital console design, Digico’s new SD12 console utilises the latest generation of Super FPGA, making it compact in size, but big on power and capability,” a Digico spokesperson explains to PSNEurope.

“It features 72 input channels, 36 aux/group busses, a 12 x 8 matrix, LR/LCR buss – all with full processing – 12 stereo FX units, 16 Graphic EQs, 119 Dynamic EQs, multiband compressors and DiGi-TuBes, 12 Control Groups (VCA) and SD Series Stealth Core 2 software.

“Dual 15” digital touchscreens provide 24 channels in one view, dual operator mode and

the ability for the right-hand screen to be the master. There are eight local mic/line inputs, local line outputs and AES/EBU in/out for local digital sources. There are two MADI ports, plus a UB MADI connection for recording at 48kHz: 48 tracks of recording with the console clocking at 48kHz, and 24 clocking at 96kHz. “Further connectivity is managed by two slots for DMI cards, of which options include Dante and Waves SoundGrid modules. Plus, as with all SD Series products, there is the option to upgrade straight into the Optocore network, allowing the SD12 to sit happily anywhere on a loop with any other Optocore-enabled SD product.”

FURTHER CONNECTIVITY IS MANAGED BY TWO SLOTS FOR DMI CARDS, OF WHICH OPTIONS INCLUDE DANTE AND WAVES SOUNDGRID MODULES DIGICO The SD12 is ‘compact in size, but big on power and capability’

Mackie – DL32R “Mackie’s DL32R is a powerful 32-channel digital mixing system controlled wirelessly from Mackie’s intuitive Master Fader iPad app,” explains a spokesperson for the company. “Featuring complete wireless control over virtually all mix parameters, including fully-loaded DSP and multitrack recording and playback, the DL32R enables

you to control everything from anywhere.

“The Mackie DL32R features a mix of flexible, professional I/O in a compact 3U rackmount design. Each of the 32 inputs (24 XLR, 8 XLR/TRS combo) feature Mackie’s all-new Onyx+ recallable mic preamps, with remote control over preamp gain and phantom power. The new Onyx+ preamps outperform the industry-proven Onyx design, which has garnered rave reviews for its boutique-quality sound and performance.

Mackie’s 32-Channel DL32R is mixed via iPad control

www.psneurope.com/technology

“With complete wireless control of the system using Mackie’s Master Fader iPad app, a new world of mixing possibilities opens up. There is no longer any need for a fixed FOH position, or an expensive, bulky analogue snake. All you have to do is place the mixer where it works best – whether that’s next to the stage, backstage, or even tucked away in a utility closet.

“Using the new DL Dante Expansion Card enables the DL32R to integrate into any Dante powered AV network, adding 32x32 channels of networked audio I/O with incredibly low latency and flawless interoperation with hundreds of Dante-enabled products.”

WITH COMPLETE WIRELESS CONTROL OF THE SYSTEM USING MACKIE’S MASTER FADER IPAD APP, A NEW WORLD OF MIXING POSSIBILITIES OPENS UP MACKIE

P32 NOVEMBER 2017

Technology Live mixers

SSL – L200 “The L200 is the latest in the SSL Live range – a mid-scale console that brings the sound, flexibility, and workflow of its more powerful siblings to a much wider audience,” says Paul Macdonald from the company.

“The inverted T chassis design keeps all essential console controls within easy reach and brings arm-mounted screens and devices closer to the centre of the console. A row of three 12-channel fader tiles, plus the master and focus fader tiles, provides a total of 38 faders.

These, plus a centrally located 17” multi-gesture ‘The inverted T chassis design keeps all essential console controls within easy reach’

touchscreen, give easy access to all console functions. The L200 has 144 available full processing paths that can be configured as up to 96 input channels, 48 aux sends, 24 stem groups, and six masters. An additional 4 x 32”/ 24-out Matrix is also available.

“The L200 console’s flexible architecture allows easy drag-and-drop console configuration and surface layout specific to demands of each production, while an internal FX Rack offers the same wealth of superior quality processing options as the more powerful L300 and L500. Forty-eight instances of FX processors are available at any one time on L200.

“All show files are fully compatible across the SSL Live range and SSL’s SOLSA PC app can be used for online control and offline editing.”

A MID-SCALE CONSOLE THAT BRINGS THE SOUND, FLEXIBILITY, AND WORKFLOW OF ITS MORE POWERFUL SIBLINGS TO A MUCH WIDER AUDIENCE PAUL MACDONALD

Yamaha – Rivage PM10 “Yamaha’s flagship Rivage PM10 digital mixing system has become a fixture with some of the world’s biggest touring names and festivals, as well as being a familiar sight at a wide range of major classical, jazz, Christian and other live events,” says a spokesperson for the company.

“Available with two different sizes of control surface and I/O rack, plus a range of audio interface options, Rivage PM10 is a versatile system that can accommodate up to 400 channels

(44.1/48/88.2/96kHz, 32-bit) using Yamaha’s Twinlane audio network protocol.

“The system features 144 input channels, 72 Mix buses and 36 Matrix buses, along with 24 DCAs, 12 mute groups and up to 1,000 instantly-recallable scenes, making it a great solution for large events.

“A key feature of Rivage PM10 is its exceptional audio processing. Features include high-end analogue devices from Rupert Neve Designs, precisely modelled using Yamaha Virtual Circuitry Modelling (VCM), with up to 64 channels of Dan Dugan Sound Design automatic microphone mixing and a range of plugins. These include the

The Rivage PM10 can accommodate up to 400 channels

www.psneurope.com/technology

iconic Eventide H3000 Live harmoniser, Rupert Neve Designs compression and EQs, TC electronic reverbs and a range of Yamaha processors.

Everything about Rivage PM10 is designed to achieve sonic perfection for every situation, in the fastest and most intuitive way possible.”

EVERYTHING ABOUT RIVAGE PM10 IS DESIGNED TO ACHIEVE SONIC PERFECTION FOR EVERY SITUATION, IN THE FASTEST AND MOST INTUITIVE WAY POSSIBLE YAMAHA

PROFESSIONAL

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

With DeltaQ technology, new ShowMatch array loudspeakers more precisely direct sound to the audience in both installed and portable applications.

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

Learn more at SHOWMATCH.BOSE.COM

NEXT-GENERATION ARRAY TECHNOLOGY

P34 NOVEMBER 2017

Live

Hospitality in the Park Hospitality in the Park is a drum and bass festival held at Finsbury Park, north London.

Production Hire provided PA and lighting, as Simon Duff reports...

First class Hospitality: London’s Hospitality In The Park

2

017 is the second year Hospital Records and their events brand Hospitality have put on the Hospitality in the Park event. Both years have sold out 10,000 tickets well in advance. In the drum and bass game now for 21 years, Hospital has been home to some of the genre’s top acts, including Netsky, Danny Byrd, Camo & Krooked, and High Contrast.

The Finsbury Park site featured six large festival tents, with stages of varying sizes and smaller outdoor breakout stages. For the main and largest stage, Hospitality, a performance by Roni Size, celebrated the 20th anniversary of his iconic New Forms album.

It featured his groundbreaking new audio visual live show, combining live instruments and and state of the

art production and 3D effect projection mapping. Size is taking this one man show through 2017, as well as DJing at clubs and other festivals across the globe.

Other acts on the main stage included The London Elektricity Big Band, Danny Byrd, Nu Logic, S.P.Y. and Fred V & Grafix.

Production Hire, as they did in 2016, provided all PA and lighting, with audio featuring an array of L-Acoustics and Martin Audio PA, Avid D-Show Profile, Yamaha PM5D and Midas M32 consoles. Responsible for system design on all stages and mixing FOH sound in Hospitality was Bart de Wit, from Production Hire.

An expert in festival sound, his other notable mix and design clients includes Creamfields, as well as mix work

www.psneurope.com/live

for Jamie Cullum, Holiday on Ice and system design for Hospitality in the Park 2016.

The PA rig for the Hospitality stage consisted of an L-Acoustics main L/R hang with system design carried out by de Wit on L-Acoustics Soundvison. The L/R hang comprised of 16 L-Acoustics K2, eight per side.

Ground stacked subs were twelve L-Acoustics SB28.

Two L-Acoustics Arcs were used for infill, all driven by 14 L-Acoustics LA8 amps. For stage monitors, the side fill consisted of two Martin Audio WS218X and four L-Acoustics Arcs driven by three Labgruppen PLM2000Q amps. Wedges comprised of 14 Turbosound TFM 560 plus two Turbosound TQ425 driven by six XTA DP224 plus six Full Fat Audio FFA 6004 amps. RF

Lovebox | UK

Power to Perform XY-2 | XY-3B | high power speakers Make an impression with the XY-2 & XY-3B, designed to deliver a coherent & natural sound for large venues and outdoor events.

Pioneerproaudio | pioneerproaudio.com | #madeintheuk

Products pictured above left to right XY-2, XY-3B

P36 NOVEMBER 2017

Live

King Size: Roni Size at Hospitality In The Park

systems deployed included five Sennheiser EW300s G3 IEM mics and four Shure UR4D with UR2 Handhelds fitted with Beta58 capsules.

For FOH mix, an Avid D-Show Profile was used running at 48kHz. Output wise from the Profile to the PA, de Wit opted for L/R, sub and fill outputs sent via Labgruppen LM 44 processing over AES. de Wit explains what he likes about the Profile: “It’s ease of use on an event like this is vital, it really is festival friendly. We have quite a few guest engineers mixing and if they have not used the desk before it really is easy for them to get up and running immediately. Other desks take a bit more time. My favourite reverb on the desk is ReVibe, although I have not had to use it much on HITP. At monitor world mix engineer Jonathan Shaw worked on a Yamaha PM5D-RH V2. Working alongside me as FOH engineer and stage tech was Nico Royan.”

In terms of compression, de Wit explains how he worked at HITP: “For this festival I don’t need to do too much of that. As I am mainly working with DJs and MCs a lot of the source material is already compressed. One of the main things for me is to contain the overall level so I am using the Waves C6 multi-band compressor to take the harshness out of the mix. The multi-band is very useful to keep MCs sitting well in the mix; not pulling out loads but really finding those difficult frequencies and compressing those.”

A notable change for the Hospitality 2017 tent was the use of large drapes hung from the tent’s ceiling in order to lower the overall height of the interior, thus significantly improving the acoustics. de Wit adds:

“Sonically it has been a big help and taken away a bit of the harsh frequencies and clatter. Mixing the FOH sound for Roni Size at HIPT was Dave Swallow. He’s a great engineer. His mixes are always solid. I have done a lot of work with him and I have come to expect nothing less than a great mix from him every time.”

Roni Size: MIDI and the system tech Turning to the onstage synth set up, Dave Amso is Roni Size’s stage tech, studio engineer and keyboard player with Reprazent (Size’s live band). He has worked with Roni Size for 25 years, having joined as studio and live tech just after the release of New Forms then working on Size’s second album In The Mode.

Amso has his own studio set-up, running Logic 9.1 and vintage analogue outboard including Urei 1176 and an SSL Mix bus compressor, from which he produces under the name of D Product for Full Cycle Records, Size’s own record label, as well as working as a DJ. Amso explains the stage set up for Roni Size at Hospitality in the Park: “We are running two Native Instruments Komplete Kontrol 61 keyboards as our MIDI controllers, triggering samples and driving Kontakt samplers on our laptops, working live. There are a couple of Pioneer CDJ 900 decks and effects units going on as well. The show is a combination of live samples and a few loops playing back. But pretty much everything is 100% live. All the samples are played live.

If Roni stops playing the music will stop.”

The original New Forms album production recording included the use of Roland 760 samplers, Atari

www.psneurope.com/live

sequencing and ADAT recording.

For archive purposes, as well as for the new one man shows, Size and Amso needed to go back to those original samples in order to transfer them into Pro Tools, in order to be able to work with the sounds and carry out a full digital multitrack archive. Amso also had to rebuild a Syquest drive in order to get back to the original Roland 760 album sounds.

For the live show, a Titan Prism Sound Card and a Focusrite Saffire FireWire audio interface is used to send 12 channels from stage to the FOH mix, including kick drums, snares, hi hats, FX, sub bass, top bass, synths and vocals. A complete back up system is also run as the timecode used to synchronise the light box from where Size performs. Size uses his own IEMS, custom made by ACS Custom Moulds.

New Forms has recently been remastered for a 2017 vinyl edition by Stuart Hawkes at Metropolis Mastering for a mid November 2017 release. Amso concludes: “For me, drum and bass is still here, in good shape and a vital art form. It has evolved and gone back. The sound now is almost a new evolved sound. It went for a while to high production values, and now it seems to have come back to where it was using breaks and gritty, more original sounding samples. That is the sound I like, rather than highly polished clinical production.” www.hospitalityinthepark.london www.hospitarecords.com www.productionhire.com www.ronisize.net

P38

in the mix Ben Hillier

NOVEMBER 2017

Top of the Hill UK producer and songwriter Ben Hillier has worked with some of the biggest names in the biz. He has also produced and collaborated on one of the finest records of 2017 in the form of Nadine Shah’s Holiday Destination. Daniel Gumble caught up with him for a look back at some of his career highlights and how he is still finding new ways to challenge himself in the studio…

B

oasting one of the most eclectic CVs in the business, UK producer Ben Hillier has spent the best part of quarter of a century balancing major projects with some of the biggest names in the world of rock and pop with an on-going series of collaborations at the cutting edge of the indie scene.

Having produced and mixed records for the likes of U2, Blur, Depeche Mode, Elbow and Suede, he has also served as a songwriting collaborator alongside the likes of DM Stith, Soffía Björg and Nadine Shah, whose third album Holiday Destination, released earlier this year has garnered universal acclaim.

It is with Shah that Hillier has worked most closely over the past few years, collaborating musically on and producing each of her three albums to date – 2013’s Love Your Dum And Mad, 2015’s Fast Food and this year’s Holiday Destination. And in a departure from the more lo-fi leanings of albums one and two, the pair’s latest work marks a move towards a bigger sound and the introduction of sax – courtesy of revered saxophonist Pete Wareham - to many of its tracks.

Here, PSNEurope finds out how he made one of the albums of 2017 and what he considers the most exciting and difficult projects he has worked on to date…

Nadine Shah’s Holiday Destination showcases a different sound to her previous records. How deliberate was that change in tone, and how did the production process differ?

There are quite a few records written and recorded by producers and they have a very production-y sound; there’s sometimes more production than writing that has gone into it. So I was trying to remove control a bit on the first two albums. Once we’d written the record we’d go into my London studio and record the record live. This time we decided we’d have a slightly more up front, poppier sound, and I was more confident in my writing by then. We wrote and recorded a lot of it as we went along. A friend of mine, Ben Nichols, came into the studio and quite often we would be working on the music together and Nadine would spend more time working on lyrics. As a result the music is much more realised and advanced, and we’d be working on sounds at the same time. To finish it off we had a week up in Flood’s studio and recorded some of the drums again and some live takes to expand the sound a bit, but we kept a fair amount of the first demos in the songs. It was quite an organic process and I allowed myself to produce it a bit more, whereas before it was more about limiting myself.

www.psneurope.com/studio

What gear did you use to make the record?

I’ve got my place here in the countryside, which is called Agricultural Audio. I have some space in the middle of a working farm; me and a friend started off building a couple of control rooms out of straw bales, we used those to insulate it and acoustically treat the rooms.

They are quite big rooms with 3.5-metre-high ceilings.

And I moved my mix room down from London, so I’ve got a vintage 1960s Studer I’ve been using for a while now. A lot of the stuff was recorded through that. I also have a lot of synths down here – my ARP 2600 and a VCS3 and a bit of Eurorack modular stuff as well. I tend to run quite a few things through that. We recorded through the vintage desk on to the computer and then I mixed it back through that desk again as well.

As for mics, I wanted to get some more ribbon mics and we found some on eBay that were handmade with no name on them at all, and they cost £200. So we thought we’d give them a try and they sounded amazing.

We recorded quite a lot with them, and they are quite un-ribbony, they are quite open sounding and clear on the top-end and the bottom end is really nice. I tend to use a lot of dynamic mics; I record mainly on an SM7 because it fits her voice really well. And she does most of her live singing into an SM58, which is the same

P40 NOVEMBER 2017

start really early and he would come in with a vague idea of a song and we would start playing straight away. Then they’d be like, Quick, record this, record that, and by lunchtime they would have written and jammed out a whole song, which I would spend most of the afternoon editing. That was stage one and it was really exciting because it was pure creativity. The really difficult stage was finishing all those ideas – we ended up with about 36 – into completed songs without losing that initial spark.

Does it throw up problems between the band and the producer, or the various band members, when you have that many ideas to work with?

L-R: Martin Gore, Ben Hillier, Dave Gahan

capsule, so she works the mic really well. We also used a couple of vintage condensers – an old Lomo and a Neumann CMV563.

Tell us about how you made lead single Out The Way – one of the most sonically distinctive tracks on the record. Was that song built up gradually or was it always intended to pack such a big sound?

In general we write the music and Nadine will come in with a top line or a skeleton of a top line, then I’ll re-work the music or change the chords. And sometimes I’ll send her instrumentals for her to write top lines on, which is often a more difficult way to work, but when it does work it usually ends up sounding great. Out The Way was done that way. It started off with the drum pattern and then I put the guitar on it.

So I gave Nadine the drum part, bass and guitar and then she came up with an amazing top line for it, pretty much to the structure I’d already written.

Then we discussed getting saxophone on the record – and I’ve known Pete Wareham for a long time – so I said let’s get Pete in. That was one of the first tracks where the sax settled in and really found its place. It was the first point where the way we were going to use sax made sense and we coud use it as a blueprint for the rest of the album. The DNA of that song is really bizarre.

The drum pattern is really intense – you can try to play it quietly and it still sounds really loud. Then the guitar part is very similar, it’s open tuning and pretty simple to play, but the rhythm of it makes it very intense. And Nadine’s vocal, because of the register she’s singing in, which is a little bit higher than usual, makes everything just sound really, really loud!

What’s your approach when entering the studio with an act you haven’t previously worked with? Do you have a specific method you like to stick to, or is it more about understanding what each artist wants from the project?

I try to adapt to the artist; I’ve never been very formulaic

in my approach. I like to get people playing as much as possible, so I’m not really the ‘record the drum, record the bass, record the guitar’ type. I’d much rather get a band playing and find out what they do and what excites them. They are all so different in the way they operate so it’s a question of working out what they’re good at doing, what frustrates them and whether or not it’s good to remove that frustration! Sometimes you remove it and then they are just coasting! I guess you’re trying to find that sweet spot where they are very productive and being challenged, but without being unreasonably uncomfortable.

What has been the most challenging record you’ve worked on to date? And what’s been the most enjoyable?

Often the most challenging is the most enjoyable. I have a great relationship with Depeche Mode doing their stuff. Their demos are so advanced; they do so much work before you get in the studio. They wouldn’t think of presenting me with a song until it has all the lyrics, the middle eight etc. A lot of bands will turn up with a vague idea for a chorus and go, right, we’ll work it out in the studio.

By the third album I did with them (2013’s Delta Machine), where we knew each other so well and were really up for challenging each other, we worked very hard. Because Martin [Gore’s] tracks are very well realised, it would be quite a battle to push the songs further. You’d have to really get into the detail to work out how you could make it better, rather than just changing it for the sake of it. Every time we tried to push things further I‘d have Dave [Gahan] do a whole new set of vocal takes, and by the final version of the song he would have done 10 sets of takes. Each time his performance would get better and it would be a gradual process of pushing things forward. From a techy production point of view that was always great.

The Blur stuff was almost the opposite. On Think Tank we would do the first two or three sessions in Damon [Albarn’s] old studio in Ladbroke Grove. We’d

www.psneurope.com/studio

That was the hardest part of making that album. I still don’t think we ended up with the best songs on the record! I think the best songs are on the record but there were a few I wouldn’t have had on. There were eight songs that everyone agreed on, and then with the remaining ones there was a little bit of negotiation among the band.

One of the strangest albums I ever worked on was one with Clinic (2002’s Walking With Thee). It’s probably one of my favourite records I’ve ever done, but it was insanely hard to make, because they were really paranoid about how it would end up. They’d done their first record and then they spent about a year trying to finish it because they argued and argued about how it would sound. They are very intense about their music and they take it very seriously. So when they came to do the second album, I turned up to start the record and they gave me this booklet that was about five pages of A4, all very neatly printed out, that told me the exact structure of each song, the exact tempo and the timings of the songs down the second, a list of the instruments on it and a description of how each one should sound...

I was like, well what do you want me to do?! They said, Stop us arguing! It was hilarious. But at the time I was thinking it was awful because it was quite early in my production career and I was wondering what I could do to be creative in that environment.

I had so many limitations in the recording that my creativity ended up going entirely into areas that they weren’t as worried about. So it was things like drum sounds. The drum sounds on that record are some of my favourite drum sounds, because I could just put all my creativity into that and they would go, Great, it sounds wicked! Getting a guitar sound would take them hours because they would be so specific about it, so I’d just do whatever they wanted to keep them happy.

What’s next in the pipeline for you?

I’ve done a really nice record with Ben Nichols who plays bass in Nadine’s band. He does this really dark folk stuff called Kings Of The South Seas with Richard Warren and Evan Jenkins, and that’s coming out next year. And I’m just finishing a record with Josh T Pearson. I’m mixing that. He’s a fantastic singer and songwriter.

by

Superior Sound Quality Precise, transparent, accurate and present sound.

Even dynamics across the frequency spectrum.

Rich, warm, intelligible vocals

+LJK (ƦLFLHQF\

Precise Engineering

Unprecedented dynamic headroom allowing vocals plenty QH URCEG KP VJG OKZ JKIJ 52. YKVJQWV duress, minimum enclosure count. # GPENQUWTG ŹQYP CTTC[ KU RQYGTGF by only two Lab.gruppen 2./ - CORNKŸGTU

Meticulously crafted proprietary waveguides and driver technology produces naturally even frequency response, eliminating the need for onboard system EQ, resulting in uncompromised system dynamics, headroom and phase coherency

Lambda Flying System

Predictive Software

Quick and easy deployment.

4QVCVKQPCN CZKU GZCEVN[ DGVYGGP GPENQUWTGU GPUWTGU GZEGNNGPV EQJGTGPE[ between adjacent components.

Allows for adjustment under load and facilitates easy placement of enclosures on transport dolly

(TGG ŹQYKPI WUGT GZRGTKGPEG Easily built virtual venues and arrays.

Array optimisation in 3D real time workspace.

Live load information allows for safe rigging.

Automatic equipment listing

Geometric Energy Summation Precise natural tailoring of sound density and coverage pattern. Delay positions and array ŤUJCFKPIť PQV TGSWKTGF 5QWPF HQEWUGF QP VJG CWFKGPEG TGFWEKPI QźUKVG environmental impact High intensity Increased coverage

www.vero-system.com

P42 NOVEMBER 2017

Studio

Sub-stance Last month, Daniel Gumble popped into his local studio – Hertford’s RiverCity Studios – to find The Subways singer, songwriter, guitarist and, these days, producer Billy Lunn hard at work on the band’s upcoming fifth album. Lunn kindly invited him in for a sneak preview of the record and a snoop around the studio…

A

beaming smile, a warm handshake and a cup of tea immediately greet me as I spot Billy Lunn, the creative engine at the heart of Hertfordshire power pop trio The Subways, hard at work in his personalised room at Hertford’s RiverCity Studios. Adorning the walls of the dedicated Subways space are posters of Nirvana, The Beatles and Steve McQueen, while two of its flanks are lined respectively with extensive and impressive record and guitar collections. If ever there was space to get one’s creative juices flowing, this is most certainly it.

As anyone who knows or has met Lunn will testify, his infectious passion for all things music is plain to see, and matched only by a voracious appetite for learning and pushing himself technically and artistically. Indeed, he is currently in the middle of an English Literature degree at Cambridge University, while simultaneously writing, recording, mixing and producing his band’s as yet untitled fifth album.

His ambition has been in evidence since day one, when The Subways sought to take on the world with their own unique brand of stadium-size pop rock, with singles such as Oh, Yeah, With You and Rock’n’Roll Queen catapulting the band on to the world stage.

While consistently looking to hone his craft as a songwriter and performer, Lunn was equally studious in his observation of the stellar line-up of producers who

worked on their first three albums. Lightning Seeds frontman and producer Ian Broudie handled production duties for 2005 debut Young For Eternity, with legendary Nirvana producer Butch Vig taking the helm for follow-up All Or Nothing in 2008. Former Morrissey producer and collaborator Stephen Street then picked up the mantle for 2011’s Money And Celebrity.

After taking notes on the techniques of each of his production predecessors, Lunn elected to take on the producer role himself for The Subways’ self-titled fourth outing in 2015. Describing the experience as a learning process, he claims that the most important thing he discovered was simply that “we can do this”.

As our morning together in the studio unfolded, Lunn, in addition to a sneak peak of some new material, gave us the inside track on his studio set-up, the key things he learnt from each of his previous producers and what he hopes to bring to the second Subways record made with him behind the desk…

Talk us through the recording process for the songs on the next record.

The songs started out as ideas on acoustic guitars. The first idea has to be the best, and then everything stems from there. Hopefully they’ll be better, but you can’t start with an OK idea. I’ll record those on my phone and, if I’ve got a few hours, I’ll go through all the voice memos on my phone, catalogue them, then come to the studio with my trusty

www.psneurope.com/studio

AKG perception 220 and record them acoustically. If I’ve got four or five good ideas, I’ll send them to Charlotte [Cooper, bassist] and Josh [Morgan, drummer] and they’ll write their ideas. When we’ve all given the thumbs up, we’ll convene in this room and we will just play and play for five or six days until we feel we know and believe in every note and every beat. Then we start recording.

I set up Josh’s drum kit in here. I queue up my Pro Tools 11 HD; I’ve got my HD in/out; I’ve got the Avid preamp inputs – two for kick, two for snare, two for tom, two overhead. We don’t record cymbals or percussion, we just record the shells, so I can really pull the room mics up and get a natural drum sound. As much as I love listening to other bands, I’ve got this real bugbear about kick and snare sounding too computerised, so I’m waging the war for kick and snare being played in a room! I listen to Rumours by Fleetwood Mac and I go, Yeah, that sounds like a kick and snare! Nowadays it just sounds like impact, like a punch in an action movie. As long as it sounds like a drum set I’m happy!

Then I’ll record Charlotte’s bass parts. I’ll have two DI signals going through my Art Pro MPA II compressed by Art Pro VLA II going into Pro Tools, and I’ll put the bass amp through the pre. I use a D112, which picks up a lot of the bottom end really nicely. Then I tell them to go away and it’s just me and the guitar amps. I like to think that I’m indulging myself, whereas I think Charlotte and Josh feel

P43 NOVEMBER 2017

like they’re burdening me with the responsibility! So we are both feeling a bit guilty that it’s being done this way, but I just love it!

How are you balancing making the record while studying at Cambridge?

The great thing about making this record is that I spend a lot of time in Cambridge working really hard and just playing guitar for fun, then I get to come in here for 10 hours at a time. I won’t always be recording and mixing for 10 hours: I’ve got my guitars, I’ve got my piano, got my TV and pretty soon I’m going to have a PS4 with FIFA! It’s just a creative space.

The last Subways album was your first as producer. What have you learned from that experience?

One of the main things I learned from recording the fourth album was that we can do this. One thing that has stopped us from doing albums by ourselves in the past is people telling us we aren’t ready yet. I think that’s a bit of a cop out because nobody is going to be ready until they actually give it a shot, and I’m glad we took the chance when we did.

We had previously worked with Ian Broudie, Butch Vig and

Stephen Street and we covered all bases, pretty much.

We could have easily worked with another producer, but I think I lost my inhibitions in a meeting. Our manager asked who we wanted to do the next record and I was like, I’ll do it! And he took me at my word, and I realised I was actually going to have to do it!

Another thing we learned was that there is no wrong way of recording. The real skill is putting the time in. And trusting your ears. You can’t say, Use this mic through this preamp with these settings and it’ll be OK, because in any given situation it won’t work for a variety of reasons, so use your ears, use the time you’ve got and just give it a shot.

After we finished the last record, one of the first things I did was ask our manager to give me some money to spend on new recording equipment, so I bought a new Mac, some cheap displays, new speakers (Mackie MR6 MK3s) and a new amp system. The speakers have been amazing, transparent as hell.

What were the key things you learned from your first three producers?

There’s usually one overriding sense from each producer.

From Ian, it’s the value of getting a good performance as a unit. We recorded that pretty much live together with

very few overdubs, and it taught me the value of unity in recording. You have to sound like a band, you have to sound like you’re playing the room.

From Butch, I don’t want to concentrate too much on the pastoral side of recording an album but it’s so integral to the recording process. I got that from Butch. Everyone is at their best when they’re happy. And also, I can’t stress enough that Butch is also the greatest technical producer in the world, in my eyes.

With Stephen, it’s believing your ears. A lot of the time he would just look away and listen and trust his ears, not looking at any of the meters or dials, just listening.

What are the three pieces of kit you can’t do without?

The AKG Perception 220, because it’s never put away.

Then the DI box. It’s just a great way of getting a clean signal straight in there. It’s wonderful to have room for some woofing in there but sometimes you just need a really straight signal, and the DI is there for that. And the PreSonus Central Station – it has completely revolutionised the way I hear what comes through the speakers.

Everything here is completely invaluable and has to be used, but if I didn’t have that I couldn’t make a record.

The global resource portal for media technology content 5L^)H` *VUULJ[ UV^ VɈ LYZ L]LU ^PKLY JVU[LU[ MVY P[Z YLNPZ[LYLK \ZLYZ PZ LHZPLY [V UH]PNH[L HUK WYV]PKLZ \ZLYZ ^P[O KLKPJH[LK ^LLRS` UL^ZSL[[LYZ VɈ LYPUN H KPNLZ[ VM [OL SH[LZ[ JVU[LU[ HUK JHYLM\SS` ZLSLJ[LK JVU[LU[ MYVT P[Z [OLTLZ VM [OL TVU[O Why join NewBay Connect?

-YLL HUK LHZ` [V \ZL! Z[H` PUMVYTLK ^P[O [OL SH[LZ[ PUK\Z[Y` ^OP[L WHWLYZ VWPUPVU WPLJLZ ^LI ZLTPUHYZ HUK JHZL Z[\KPLZ [OH[ HɈ LJ[ `V\Y I\ZPULZZ HUK `V\Y JHYLLY ࠮ Categorised content (SS TH[LYPHS PZ VYNHUPZLK PU[V JSLHYS` YLMLYLUJLK ZWLJPHSPZ[ HYLHZ ࠮ Customised search @V\ JHU X\PJRS` SVJH[L [OL PUMVYTH[PVU YLSL]HU[ [V `V\Y I\ZPULZZ VY HYLH VM PU[LYLZ[ ࠮ Tailored email alerts 5V[PÄ JH[PVUZ ZLU[ [V `V\ ^OLUL]LY [OLYL PZ HU \WKH[L ^P[OPU `V\Y JOVZLU HYLHZ ࠮ Dedicated weekly newsletters Visit www.newbayconnect.com to register, browse and download content for free today.

Content Director: James McKeown jmckeown@nbmedia.com +44 (0) 20 7354 6002

Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 (0)207 354 6000

www.psneurope.com/studio

Campaign Manager: Warren Kelly wkelly@nbmedia.com +44 (0)207 354 6000

E V E SA H E! T T DA 8th November 2017, Sway Bar, Holborn, London Join us in November for another fascinating evening of lively discourse and discussion with leading lights from the pro-audio spectrum.

Register for your free tickets at www.psnpresents.com Following our hugely successful evening of fat-chewing and beer-drinking in June, PSNEurope announces the sixth PSNPresents in November 2017.

If you have any questions regarding PSNPresents then please do not hesitate to contact a member of the team below Event enquiries Emine Partalci epartalci@nbmedia.com +44(0)203 829 2614

Sponsorship enquiries Ryan O’Donnell rodonnell@nbmedia.com +44(0)207 354 6047

Ticket enquiries Abby French afrench@nbmedia.com +44(0)20 3871 7370

Sponsors

#PSNPresents

www.psnpresents.com

@PSNEurope

P45 NOVEMBER 2017

Sonic boom Since alt rock icons Sonic Youth ceased producing music back in 2011, guitarist Lee Ranaldo wasted little time in going it alone. This year saw the experimental virtuoso take on production duties for Electric Trim, his third and most unexpected solo release to date. Daniel Gumble sat down with him to ďŹ nd out more‌

46 NOVEMBER 2017

I

’m, like 61, so it’s a funny time to embark on a new stage of your career,” chuckles former Sonic Youth guitarist extraordinaire-cum-latter day troubadour Lee Ranaldo as we discuss his experimental new album Electric Trim. And despite the faintly ironic undertone in his voice, Electric Trim really does feel like something of a new start, which is saying something for a man who both pre and post-Sonic Youth’s 2011 split/ hiatus – call it what you will - has never been afraid to venture from the confines of classic rock band set up into the farthest reaches of sonic possibility.

For 30 years, Sonic Youth were - and still are - the touchstone for any alt rock/noise band, consistently producing music that redefined the very notion of ‘guitar music’ and what it meant to play in a rock band. Not content simply to tinker around with tunings that would make your head spin, one would typically be more likely to see Ranaldo or fellow guitarist and vocalist Thurston Moore attacking their instruments with drumsticks and attempting to saw through their amp rig with them, as opposed to simply picking away at a guitar. Yet simmering just beneath the dirge was enough melody and songwriterly craftsmanship to transform the potentially unlistenable into something visceral, exciting and quite often beautiful. And one could well argue that much of the band’s melodic underpinning came courtesy of Ranaldo’s unrivalled ability to blend fizzing, eviscerating guitar tones with a structure and discipline more typically associated with the classic singer songwriter. His first two solo outings, Between The Times And The Tides (2012) and Last Night On Earth (2013), with his band The Dust showcased an emphasis on more traditional arrangements that was seldom found among the Sonic Youth ranks, drawing comparisons to the likes of Neil Young and Bob Dylan.

This time around, Ranaldo decided to mix things up a bit, calling on Spanish producer Raül ‘Refree’ Fernandez to co-write and co-produce the more expansive, meandering sonic petri dish that is Electric Trim. Gone is the more conventional approach in favour of a more electronic, nonlinear style, complete with drum machines, samples and previously unexplored production techniques.

He also secured a raft of collaborators for the record, both new and old. Regular cohorts such as Sonic Youth drummer Steve Shelley and Wilco’s Nels Cline, join first time guests Kid Millions and acclaimed singer songwriter Sharon Van Etten.

Here, we find out more about Ranaldo’s mission to “use the studio as a tool” and why this new way of working has inspired him to explore new production possibilities at this stage of his career…

This is a completely different sounding record to any of your previous work. Tell us about the production process.

This record is mainly a collaboration between me and my friend Raül Fernandez . We met in 2013 through some strange vagaries of scheduling and a gig that fell apart at

the last minute in Morocco. We had a week off in Spain and we decided to make a very quick acoustic record with the whole band playing songs from my first couple of records. Then the promoters brought Raül in to mix and produce it. At the end of it he said that he’d love to work on a new record with me at some point, so we started talking and in the early months of 2015 I started sending him some really crude acoustic demos I was working on. Then, around April he said he was coming to New York, so we met in Sonic Youth’s studio in Hoboken, New Jersey, and we started working for a few days and were really excited by what we heard. We were building things up basically from nothing. It was a really interesting process, very different to how I normally work.

ELECTRIC TRIM IS A RECORD WHERE WE REALLY UTILISED THE STUDIO. WE EXPERIMENTED WITH DRUM MACHINES AND SAMPLERS. IT’S THE KIND OF RECORD I’VE BARELY WORKED ON

LEE RANALDO There was no band, it was just us in the studio. We were experimenting with drum machines and samplers and playing around with arrangements. Then he or I would play a little electric guitar or piano and we basically built it up over a year. He’d come over for a few weeks at a time and we’d work really intensively on it. It was a record where we really utilised the studio as our primary tool, trying different things out with samples, electronics and then bringing in other musicians to add instrumentation.

It was the kind of record that I’ve rarely worked on. In the late ‘80s/early ‘90s Sonic Youth made a record called Ciccone Youth where we worked in a similar fashion, coming into the studio with no real idea of what we were going to do.

Was it a deliberate move to try something so different, or did it happen organically?

On Raül‘s part it was somewhat deliberate because he wanted to make a record with me that sounded different and that challenged me to move away from a two guitars, drums, bass record. In terms of what’s going on in the arrangements, it’s very different to the last two records I made. We wanted to try different colours. Also, when we were working on the record that became Acoustic Dust [an album of acoustic versions of songs from Ranaldo’s first two solo records], I think he responded to my voice and the way I sang. In Spain he has been working with these two female vocalists singing in the flamenco style and they are both really powerful, amazing singers. He really likes to work with vocalists. And I really like to sing and we both knew going into this process that there’d

www.psneurope.com

be a lot of singing, a lot of harmonies. That’s one of the reasons we brought Sharon Van Etten in. I’ve always liked a woman’s voice next to mine and we wanted there to be a lot of places where we were working predominantly with the vocals and stacking up harmonies.

“Also I wrote a lot of the lyrics for this album in collaboration with an old acquaintance of mine, Jonathan Lethem, who is a pretty widely known music writer and novelist. I knew he had done some lyrical collaboration before and for my last couple of records I’ve been wanting to try out the idea of working with somebody else on the lyrics, just to allow for some different stuff to happen.

Jonathan responded right away and we had a really interesting collaboration. It put the lyrics on to a similar footing as what was going on with the music, which was uncharted territory for me. And that felt very experimental in a lot of very positive ways and put me in some new spaces where things happened that might not have happened if I’d gone about these demos with my normal process – it would probably sound a lot more like a band record. This way it took some different twists and turns.

Did it feel strange to relinquish control?

Music is a very social medium. For years I had this very social process of music with Sonic Youth; we wrote our music together, all of our names are on every songwriting credit because we really collaborated in a very specific way. Once I started making these records on my own it was a little bit more like being a film director, where you’re in charge of the whole thing. This time, that role shifted to Raül a little bit. There was no hesitation at all, mainly because it was such a fascinating process. We were modelling this record a little bit on some of the classic records from the ‘60s and ‘70s that we love that were made in a similar way, where you couldn’t have made the record in quite the same way without the studio as a tool – records like Pet Sounds and Revolver and Dark Side Of The Moon. There were a lot of records at that time that were real studio creations. I guess I always dreamed of working like that in the studio, because those records mean so much to me and have been such a huge part of my musical background.

And like I said, Sonic Youth approached it at one point, but that wasn’t really our working method. When I made Between The Times And The Tides I wrote something in the liner notes about how the songs started with an acoustic guitar and ended with an electric band sound and liking the fact that the well-crafted song can stand the rigour of lots of different settings musically, from electric band to solo acoustic. A couple of years ago I sent a couple of my songs to a small orchestral ensemble…I could hear these songs being presented in many different ways and this album gave us a chance to explore different ideas of how to set a song.

How did the Sharon Van Etten collaboration come about?

Sharon and I have travelled in the same worlds for a

P47 NOVEMBER 2017

bunch of years but hadn’t really met. [Raül and I] were talking about this record and having a woman come in and do vocals and somehow her name came up. So I cold called her and asked if she would be interested in coming to the studio. I guess I didn’t know she was a big Sonic Youth fan and she agreed right away. So she came to the studio and we really hit it off. She’s got an amazing voice.

There were a lot of places where we really didn’t know what we wanted but we knew we wanted her to try some things with some really loose direction, and she just went with it and did some really beautiful stuff.

How did you record the album?

The record was done on Pro Tools HD. We didn’t really utilise tape, which is kind of a new experience for me because I’m so used to using it. But that’s the way people work these days, especially if you’re working on a record where you’re doing a lot of cutting and arranging in the computer. Sonic Youth’s studio has a Neve desk. We recorded it there and we mixed three of the songs in New York and six of the songs in Barcelona on a Trident desk that Raül had recently installed in his studio.

Just how different was the recording and production process?

It was pretty different. Partly because all these songs had many more tracks than anything I’m used to. Some of the songs had 70 or 80 tracks, just because of the way we kept building them up and discovering what worked with the layers we were adding. There were moments when

Raül would turn to me and say, This is the most difficult thing I’ve mixed in my life! And there were other times when it was really easy.

Is this a way you’d like to work again, or would you move back to a more traditional style?

Me and Raül are already planning the next record. This record just wet our whistle. It established a few things and because of him being based in Barcelona and us working on it slowly over a year, that was really to our advantage.

I don’t know who takes a year to make a record these days, other than maybe Taylor Swift or Kanye [West]. But it seemed like a very luxurious way to work and it really allowed these songs time to grow and attain their full potential. Working this way in the studio was so amazing and fascinating.

How will you take such a complex record on the road?

Well, I’m like 61 so it’s a funny time to embark on a new stage of your career, but I’m totally energised by all this stuff that’s happened over the past few years, and I feel like I’m more interested in trying out a bunch of different settings. Maybe there’ll be a string quartet in the future.

We’re going to go out to tour this record in the US as a chamber trio, with Raul on keyboards and electric guitar and me on acoustic guitar and a percussionist playing pieces of the drum kit and maybe some electronic drums - we don’t want to lock it into a regular band set up. I’m trying to keep as open a mind as possible as to

the presentation of these songs. I’ve also been playing some concerts just me and acoustic guitar. They are usually seated concerts, so people aren’t standing around like they would be in a bar. People are sitting down in a nice theatre or an interesting place to hear music, like a library or a gallery space, not your typical beer-soaked rock club. That change of environment has enhanced the performance. Also, I’ll be playing to 150-500 people rather than 1,000-2,000 people. That level of intimacy has been really interesting. I love feeling that close to the audience.

It’s created an environment for the music to exist that is very different to playing in a rock club where people are drinking and talking in the background.

You’ve worked with Steve Shelley a lot since Sonic Youth split. Could you imagine collaborating with any other Sonic Youth members?

I’m sure if the opportunity presented itself and it seemed like a cool idea that it could come to pass. Steve and I still live in the New York area and end up working a lot in the studio. Over the last year or so Thurston and I have done some shows together, a couple of duo performances, maybe not playing his songs or my songs, but playing more abstract music. I would love to get Kim [Gordon] into the studio to play some guitar on something, but we haven’t found the time to do something like that yet. But I’d only want to do it if the setting was right and it seemed like a good idea and not just because I wanted to get Sonic Youth members on my record. But we’re all still in pretty close touch.”

Lee Ranaldo Photo credit: Anna Bogaciova

THE EUROPEAN DESTINATION FOR THE GLOBAL AV INDUSTRY Turning Up the Quality of Audience Listening Experiences See the full range of Audio technology and solutions at ISE 2018

REGISTER NOW!

P49 NOVEMBER 2017

Back of the net: Inside Celtic Park’s Bosch audio upgrade Celtic Park, the home of Scottish football giants Celtic FC, recently underwent an audio upgrade courtesy of Bosch ProSound UK. PSNEurope spoke to the company’s permanent installation consultant Stuart McKay to find out more…

S

tuart McKay, permanent installation and AV consultant for Electro-Voice and Dynacord, Bosch Pro Sound UK, has hailed the “massive difference” an audio upgrade has made to Celtic Park in a conversation with PSNEurope.

Home of Celtic Football Club, Glasgow’s Celtic Park is Scotland’s largest football stadium, boasting a capacity of some 60,000. In a bid to upgrade the stadium experience, the legendary football club approached PEL Services Limited, an electronics engineering company based in Northolt, north west London, to design and install upgrades to the venue’s public address and emergency sound systems.

With a robust stadium-wide IT network and existing public address infrastructure already in place, PEL advised the selection of Bosch Praesideo digital Public Address and Emergency Sound System with ElectroVoice pro audio loudspeakers in order to improve coverage, clarity and fidelity within the main bowl area of the stadium. On account of both systems being interfaced to Dante, both the Bosch Praesideo system and all Electro-Voice loudspeakers are monitored and controlled remotely via Electro-Voice N8000 NetMax digital matrix controllers.

“The 20-year-old sound system already installed in the stadium was falling behind the other major clubs and the modern expectations of the fans, especially in the largest North Stand and NE and NW corners,” McKay explains. “Many options were considered, including line arrays, but it was felt that the best solution would be the EN54-compliant Electro-Voice Innovation Series, particularly the EVH15 and the EVF15 in the permanent installation finish.

“When the stadium was modelled by Phil Huffer from Acoustics Plus it was decided that the horn loaded EVH would provide the SPL and STI required for the longest throws which were covering pitch side and the lower seating. The front loaded EVF was installed to reach the middle and highest seats in the stand.

EV CPS installation amplifiers are feeding all of the new loudspeakers for the North, NE and NW corners as well as the existing speakers in the other parts of the stadium. They are being fed from BSS Soundweb processors and EV Netmax processors. In the event of an evacuation, the EN54 Netmax processors bypass the BSS and feed the system directly. Bosch Praesideo is also looking after the smaller back of house and

concourse areas of the stadium.”

He continues: “It has made a massive difference; so much so, the fans in the other stands are complaining that their stands don’t sound as good as the North stand and they want them upgrading. They are expecting to install more EVH and EVF for the other stands on the next phase.”

The project began with the installation of the Bosch Praesideo public address and emergency sound system, serving what Vic Swain, engineering director for PEL Vic Swain, refers to as the “back of house” area: the internal portions of the stadium, including concourses, turnstiles, restrooms, and offices. The stadium system is based on dual Praesideo network controllers with an audio expander interface and six strategically placed call stations. The 100V audio system utilises legacy installed loudspeakers, all of which were tested and upgraded with Bosch line supervision sets. This was designed to allow Praesideo to check all speakers for proper line operation. The system is powered by 22 Bosch power amplifiers with onboard DSP modules.

Meanwhile, PEL called upon Croydon-based acoustic consultant Acoustics Plus to advise on deployment of the Electro-Voice loudspeakers. Research for the project included recording SPL levels throughout a game,

www.psneurope.com/installation

documenting sonic requirements and using computer modelling to map optimal locations and dispersion patterns for full coverage. Aimed down from beneath the roof, the system uses a combination of frontloaded EVF-1152D and horn-loaded EVH-1152D. “Celtic always wants to do the very best for their fans – in addition to meeting the evacuation system legal standard for Speech Transmission Index,” said Swain. “They also wanted it to sound just as good when the place is really rocking during a big match. These EV speakers accomplish that with ease, even in problem areas. We had structural engineers and riggers working closely with the acoustic consultant to make final adjustments. A lot of preparation, but on the day the speakers were hung and aimed, it was extremely quick and accurate.”

Electro-Voice CPS series power amplifiers, two N8000 NetMax DSP matrix units, and a redundant fiber ring were installed as infrastructure support for the full stadium system. To date, the new loudspeakers are in place above the north stands and adjacent corner areas.

Future phases will complete the installation above the south stands, adjacent corner areas, and west and east stands behind the goals. www.boschcommunications.com

P50 NOVEMBER 2017

Sound and vision Calling all snap-happy smartphone addicts! In each issue, we publish the best pro audio pics posted on social media in the past month. From gig shots to get-out selfies, the industry’s online community is thriving and we want to share the great work that’s going on. Want to be featured in the next issue? Tag photos with @psneurope or email tlepore@nbmedia.com @ez_audio Absolutely buzzing after @tom.grennan show at @kokocamden. Always a pleasure to mix mons for you lad! Looking forward to next year

@allenandheath GLD on monitor duty at @globalrhythmssydney hosted by @eastsideradio @eastsideradioproduction.

Monitor engineer: Michael Page #Sydney #Australia #QuSeries

@deeraudiolimited Thanks for the party tonight @xdannyxbrownx and @gorillaz And yes your spaceship is actually pretty good @avidtechnology #S6L

@capital_sound 5th year of Capital Sound with NFL at Regent Street @nfluk

P51 NOVEMBER 2017

@unrealsystems Mindmelt Stage at @iiipoints #Miami full service production and @lathebestsound by @unrealsystems @avidtechnology #S6L @digico.official #SD7

Follow us on Twitter Instagram @psneurope

@uaudio A little #studio madness from @elliotbergman. #ApolloTwin #recording #UniversalAudio

@musikmesse New in 2018: Hall 4.1 concentrates products from @musikmesse and @pls_frankfurt in the audio, DJ and recording segment. #audio #dj #recording

Business Knowledge for the Global Media, Entertainment & Technology Community

Experience all year round The IBC365 online community platform connects you with the wealth of knowledge held by IBC’s wide range of industry experts, exhibitors and speakers.

Your free subscription gives you introductory access to all IBC365 content, including:

Unique insight on the latest industry trends Opinion articles from key industry players Executive interviews IBC webinars with expert speakers In-depth technical papers Exclusive video content Download topical whitepapers

Subscribe to IBC365 for free today at IBC.org

Backtalk

P53 NOVEMBER 2017

Wise words Phil Ward meets US-born industry veteran and ‘Trump predictor’, Sam Wise…

W

ith parents in the Military and an inquisitive nature evident from the age of six, Sam Wise was never going to stick around in one place. Except he has made the UK his home for 45 years, marrying an English girl and falling in love with Europe’s many and varied cultures. As a musician, he was also drawn to the audio industry – so it was London’s early ‘70s theatre and recording milieu that kept him (a) employed and (b) well away from the Nixon administration. Eight presidents and a glittering career later, he’d like to keep it that way…

What did you realise at six years old?

If something was broken, my parents were no longer afraid to let me take it apart and try to fix it. It would usually work again afterwards! That’s how I learned to investigate, and how to reverse-engineer. Also, if they parked me next to a musical instrument – especially one that was different to the last one they parked me next to – they wouldn’t have to worry about me all day. So there was a budding combination of music and engineering right from the start.

There was always music: part-singing in primary

school and four-part hymnals in church; tuba at junior high; double bass at high school; flute and saxophones at university… soul, jazz and classical. But despite this my degree was in Electronics and Electrical Engineering, at the University of Maryland, which I don’t regret for one minute. I was both practical and academic and I found it hugely rewarding to be both an engineer and a muso!

So you didn’t drop out with Timothy Leary…

Not with Timothy Leary – but I did kind of drop out. After my studies I came to Europe for six weeks. And I’m still here. I did want to be a recording engineer, and London had more than 100 professional studios in 1971… but aside from that I could see Trump coming, although in exactly which guise you couldn’t tell then. We’d had ‘flower power’ and the Vietnam War, and I felt American society was really damaged. If I had been drafted, I would have joined a military band or the Red Cross so I wouldn’t have had to kill people. I would have risked my life to entertain troops or rescue and treat them, but ultimately people are more important than guns. And I sensed that here in London and the UK generally people

www.psneurope.com

simply cared more about each other, so I stayed. It was – and is – much more integrated.

You’re making me cry. Can we talk about recording technology?

Of course, except I struggled to get into the studios because I was over-qualified: they wanted tea boys, not electronics majors. Plus the electronics companies wanted a stayer, not a travelling American. My first job was in a Dixon’s ‘Prinzsound Hi-Fi’ camera workshop…

Ah. OK, so how did you break into this industry?

At Dixon’s I was fixing things again, but it gave me grounding in real-world technical retail, team development, commercial politics and all of that.

After a brief spell at Sony UK I found the dream job at Theatre Projects in Covent Garden. TP’s services include recording studios; lighting and sound, meaning big rental companies; manufacturing of architectural lighting; distribution; and a shop. Meanwhile, Theatre Projects Consultants was designing the National Theatre. I became the maintenance guy for virtually the whole of the West End theatre community, which taught

P54 NOVEMBER 2017

Backtalk

Wise guy: ‘People deserve reward for their hard work’

me all about product reliability, theatre operations and large systems, as well as helping to build a new recording studio in Neal’s Yard – where I got into acoustics, sound insulation and system design.

The manufacturing took off for a while: we made a successful automated film console for Pinewood in 1981 – probably the first in the UK – and developed the TecPro theatre comms range. For a while, too, our test equipment rivalled Audio Precision. But in the end, given that I’m more of a socialist than a capitalist, I lacked the ruthless business streak when it was needed. When we moved to the Isle of Wight as a separate enterprise, everything was ready but, when I told the investors I was at least as interested in the welfare of the company staff as its profits, they got nervous and we ran out of money. I was naïve, I suppose. Canford Audio picked up TecPro, and Neutrik got the test equipment. The good news is that Neutrik still employs 140 people there!

was perfect for me being a muso.

Why did you then apply for a position at Arup Acoustics?

I wanted to expand beyond comms and AV into acoustics, and Rob Harris wanted to start Arup’s new theatre consultancy practice. It was a good fit: I’d studied acoustics and had already worked with Arup guys on projects like Birmingham Symphony Hall and Bridgewater Hall in Manchester. It broadened my scope just as I’d hoped, and later on, as well as team management, I had responsibility for seeking out and securing work for us. By a natural process, that got me more involved in the early concept and design process, working with every discipline and picking up a much wider range of skills.

What happened?

Seventeen years well spent, if you ask me.

But you weren’t ready to hang up your Filofax just yet?

Fortunately Theatre Projects got in touch and sent me to Singapore to troubleshoot a sound system, and while there I bumped into ex-TPC MD Richard Brett in a restaurant. He had started his own consultancy called Techplan – later to become Theatreplan – and soon after we got home I began consulting for him.

In fact, he taught me everything I know about being a consultant. We got a lot of music venue work, which

With ‘retirement’ age approaching, I negotiated to continue managing an Arup project in Portugal in a more independent capacity that kick-started my own business, Venue Strategies – plus an ex-colleague from Arup called Neill Woodger lived very close to me and we got talking. I didn’t want to retire completely, but I didn’t want to travel as much, so we linked up.

He’s about 20 years younger than me!

www.psneurope.com

More ‘strategic’ work is very attractive: I love to help create innovative, practical, beautiful and cost-effective solutions and advising clients on the things that make venues work: original auditorium design, building planning, stage machinery, production lighting, sound, comms and AV, as well as implementing that advice.

That’s how I wanted to complete the tail end of my career, and it’s perfect because Neill takes on all the political and administrative meetings! I’m sitting here now with AutoCAD open on my computer – and Stravinsky’s Rite Of Spring playing in the background, because that’s my next concert as a musician. So now I travel less, and spend my time focusing on figuring out how everything fits together and – crucially – making much more music!

In your Ten Commandments, what does the one about running a business say?

People deserve reward for their hard work or their investment, or both, but unbridled capitalism fails to deliver it fairly. All successes are partnerships to some degree, even if you don’t know exactly why, and we depend upon each other much more than you’d think from the way business is organised.

But there you go; life is full of unpredictable human beings. Look who’s in charge now… sam.wise@venue-strategies.co.uk

The 8" driver with everything in perfect balance We

our FEA

JEMQA PK AHAOPEKJż KQN >AOLKGA EJEPA HAIAJP J=HUOEO REOQ=HEO=PEKJ OK_S=NA >NEJCO PKCAPDAN I=CJAPE?ż IA?D=JE?=H =J@ =?KQOPE?=H @AOECJÅ» P DAHLA@ QO AILKSAN KQN iqki qÆ >=OOÆ•IE@ @NERAN SEPD = LANBA?P >=H=J?A KB HKS BNAMQAJ?U ATPAJOEKJ =J@ OAJOEPEREPUż I=GEJC EP E@A=H BKN QOA EJ kÆ„S=U ?=>EJAP ?KJ[CQN=PEKJOÅ»

CF0820BMB

From a range of small-diameter, high performance Celestion professional drivers

MANUFACTURERS Contact Celestion to request a sample

celestion.com