News

Avid and Dolby team-up for Atmos certification

Avid and Dolby have announced the first Pro Tools-centric Dolby Atmos training and certification. Accessed through the Avid Learning Partners program, the self-paced course will cover the integration of the Dolby Atmos Renderer with Avid’s flagship audio software.

Comprised of 40 hours of self-learning and 18 hours of instructor-led training, held over three days, the course concludes with a professional certification exam. Upon completion of the coursework and passing the exam, candidates will earn the Avid Certified Professional: Pro Tools | Dolby Atmos certification credential. It serves to allow Pro Tools mixers to recognise the components of a Dolby Atmos content creation studio, and outline workflows for creating immersive audio in Pro Tools. Students will also learn techniques for working with Dolby Atmos beds and objects, Pro Tools session management, Dolby Atmos Renderer configurations, and final delivery formats.

The training course, PT210D Pro Tools Dolby Atmos Production, is available from www.avid.com/courses.

Diversified builds custom IP solution with TSL

Diversified faced a challenge at BerkleeNYC's campus-based recording facility formerly known as Avatar Studios. In the process of building an IP network for the school’s Power Station studio, Diversified turned to broadcast workflow experts TSL Products to provide an IP routing interface that marries its GTP-V1 controller and Virtual Panels into a solution known as ‘IP-Cross Connect.’

Diversified then hired DNF Controls to create software and a flexible matrix that allows any of BerkleeNYC’s four recording studios to operate separately or share audio and video resources. Thanks to the custom design, Power Station’s IP network supports three floors of audio studios with nearly two dozen 4K-ready PTZ cameras as well a basement live-performance space. The software control layer acts to ensure that all the individual pieces of audio and video gear can easily be found.

diversifiedus.com

Axelsson opts for maximum Genelec

Maxe Axelsson has selected more Genelec monitoring to equip the mastering facilities at Sweden's PAMA Records. The upgrade sees the studio add the firm's 8351B coaxial three-way monitor and the W371A adaptive woofer system.

“We originally had the Genelec 1038ACs as mains," Axelsson says, "We loved the sound of these three-way centre speakers in a stereo setup... but then we had a problem with the bass that we couldn’t fix, so we decided to get in the W371s not really thinking it would be the final solution."

However, after the system was calibrated, he was more than happy with the change. "We had never seen that type of installation work before," he added. "We are not disappointed, we love the system!”

PAMA also uses the GLM loudspeaker software for configuration and day-to-day operation. “It’s more than a good speaker calibration system," Axelsson says, "it’s great for comparing levels while we’re mastering as well as finalising little details. We also use it as a monitor controller.”

www.genelec.com

Calrec Apollo for Dome's Gateway

Canada-based Dome Productions has unveiled a new all-IP SMPTE 2110 OB mobile unit replete with a Calrec Apollo digital audio console.

Called Gateway, the truck is Dome’s first large-scale, all IP, UHD/HDR unit and is currently being used for TSN and Rogers SportsNet on their hockey broadcasts. The Apollo was commissioned and managed by Calrec’s Canadian partner SC Media.

The decision to go with the Apollo came down to several features, says Al Karloff, Manager of Engineering Services, Dome Productions: “It’s important for our clients to have the power of the Apollo’s 1020 DSP paths, as well as the double layer of faders for direct access on the control surface. There’s also a large A1 operator base that makes for better and more consistent productions.”

Gateway is part of a drive by Dome to broaden its offerings: “We’re excited to take advantage of optimised and new workflows, Karloff added, "Now, virtual paths can be dynamically connected to change workflows depending on the show."

www.calrec.com

Audio Suite moves and hires

The Birmingham, UK-based Audio Suite facility has made a move to a historic building in the City's Jewellery quarter and appointed engineer, mixer and producer Marcus Byrne as director of UK audio post-production.

Byrne's CV includes recording and playing on albums with acts such as The Sugarbabes, One Republic, Mika, The Saturdays, and Annie Lennox; as well as live performances with Take That.

Managing Director, Dr. Neil Hillman, says "We are obviously delighted to welcome Marcus on board. His almost-25 years of studio engineering and mixing experience is an amazing fit; and the fact that our

CEDAR Audio Approves Dante Virtual Soundcard

After "extensive testing", CEDAR Audio has announced its approval of the Dante Virtual Soundcard for CEDAR Cambridge, providing a way to connect its flagship system to installed Dante networks.

Tony Webster, senior engineer for CEDAR Cambridge explained, "Virtual Soundcard [is] a robust way for connected systems to communicate, and it's especially beneficial for customers with larger, distributed audio networks. They will now be able to patch other Dante equipped systems to CEDAR Cambridge's Ethernet port with no special cables or converters, and no more moving of equipment."

Dante Virtual Soundcard is an inexpensive software hub for Audinate's AoIP protocol, and allows a PC or Mac to connect with Dante audio devices on the same network.

www.cedar-audio.com

long-term relationship with each other has always been as collaborators, rather than rivals, makes this a logical and easy next step on both The Audio Suite’s and our own personal journeys."

The move sees a master control room upgrade with Avid HDX2 running Pro Tools Ultimate through an Avid D-Command ES console, coupled to the Avid MTRX Studio audio interface, NLA Video Slave 4 ADR hardware and software, SSL and Focusrite pre-amps, with Neumann and PMC monitoring. ADR sessions will also benefit from a larger workspace of 4.2 x 2.5m, with sufficient space for boom recording.

www.theaudiosuite.com

Producer Perry picks DPA after Alicia Keys session

Following a New York session with Alicia Keys, producer Linda Perry asked her own engineer Luis Flores to add the 4015C Wide Cardioid and 4011A Cardioid to

their collection.

“Ann Mincieli [Keys' engineer] had DPA 4015s on the piano and Linda fell in love with them. It was the first time she had ever specifically requested a mic for the studio.”

Flores now employs a pair of 4015Cs on piano, but also has a pair of 4011As for hi-hats and cymbals. "We were always on a rotation of microphones for the piano. Ever since I started using the DPA 4015s I have not removed them. There is no noise whatsoever."

www.dpamicrophones.com

APPOINTMENTS

PMC has made staff and structural changes in the last month, the most fundamental being the decision to appoint a board for the first time in its history. Owner and founder Peter Thomas now acts as chairman, with Jeff Willcocks as CEO. Also central to the running of the family concern is Pete's son Oliver Thomas, who is now commercial director — having previously overseen new product design — and Tom Loader, son of PMC’s co-founder Adrian Loader, who is now operations director.

“PMC is expanding fast," say Thomas, "and it is not feasible to expect one person to have knowledge of every aspect of the business.” The younger Thomas, has also been a driving force behind PMC Studio, the company’s recently opened Dolby Atmos music mixing suite, and demo facility. That development has also seen the appointment of engineer Heff Moraes in the role of UK business development manager.

“Heff’s credentials are second to none," says CEO Jeff Willcocks, "He thoroughly understands modern recording techniques, he has excellent contacts with artists, producers and record labels, and he has hands-on experience of PMC’s products."

Moraes started at Sarm Studios in 1984, and went on to work with artists like Frankie Goes To Hollywood, Grace Jones, Paul McCartney, Simple Minds, Annie Lennox and Whitney Houston. More recently, he oversaw the building and management of the studio based at Tape, a private members club in London.

At PMC Studio, he will demonstrate the company’s full pro audio product range, including a monitoring system for Dolby Atmos music mixing. “I hope we can encourage current and well-known artists to mix in Atmos," he says, "because content that young people want to buy is what will drive the format,” Finally, Dan Zimbelman has joined the company as senior export business development manager, a US-based position that will see the former Neve-era Focusrite and API man — a near-50-year music industry veteran — utilise his experience and contacts to work with new and key clients and provide specialist advice on all aspects of studio monitoring.

APPOINTMENTS

Elements, provider of innovative, highperformance media storage and server systems for post-production and broadcast, is welcoming Thomas Grønning Knudsen to the team as head of integration and security. Knudsen joins from M2 Film in Denmark, where he has implemented Elements technology into its production.

Knudsen is also tasked with strengthening IT security within the Elements ecosystem, as well as taking responsibility for the third-party storage qualification programme, which allows users to choose the right qualified storage structure for their requirements while running the Elements tools and features on top.

Working from Aarhus, Denmark, he will divide his time between supporting clients worldwide and taking an active role in development and strategy at the company headquarters in Düsseldorf, Germany.

DPA microphones has decided to establish its own sales force in France, meaning that as of May 1st, 2021, DPA Microphones France has taken over responsibility for all sales in the territory from Audio2. DPA Microphones France will be headed from Denmark by Martin Møller Park, DPA’s VP of Sales for France, while members of Audio2's sales force will join DPA Microphones France from the date of the transition. As well as handling sales and support, they will also play a key role in providing customer feedback.

“On behalf of the French team, we are very happy and proud to join the DPA Family”, says Christophe Bonneau, Regional Sales Manager, DPA Microphones France. “We have worked together for many years and built up a strong team. We know the customers and DPA well. Being part of DPA was the logical outcome as we had acted for years like we were the brand itself. The French team will be familiar for most customers with Antoine Renard and myself working with sales and Alex Bonnie-Tholon working with Customer Care and handling orders from customers. And finally, Nicolas Miljeu and his brother Guillaume Miljeu working with marketing and IT.”

DPA’s Kalle Hvidt Nielsen believes it has “a strong, loyal customer base… Together with our dealer network, we want to grow the DPA presence in France. With this change, we hope to make the DPA brand more accessible.”

Lawo helps wrangle indie broadcasters

Cologne's 674FM has varied set of demands put upon its studio facilities, as an independent Internet radio station that puts out more than 100 live programs from the in-house studio, festivals and public events every month - driven by 130 independent "program makers". As part of an upgrade plan, and with a continuously growing number of broadcasts, the non-profit decided on radio solutions from Lawo.

It chose Lawo’s ruby radio console, with adjacent touchscreen for its ability to control various features using Lawo VisTool, a GUI that gives access to mixing, EQ & dynamics controls, and other software features - including console 'snapshots' for each user. The mixer and software controls a Power Core 1U DSP mixing engine with the ability to handle analogue, digital and AES67 networked audio sources. The station’s server and playout PCs are integrated into a RAVENNA/ AES67 network using Lawo’s R3LAY VSC virtual sound card software, and controlled with R3LAY Virtual Patch Bay.

www.lawo.com

Blue West upgrades with an API 2448

Los Angeles studio Blue West, run by producer/musician Bill Jabr and head engineer James Kang, has now installed an API 2448 recording console to upgrade the facility.

With previous clientele including Andre 3000, Dwayne “the Rock” Johnson, Kiko Cibrian, Wale, Ne-Yo, Pi’erre Bourne and the late Juice Wrld, Blue West wanted to move to a mid-format console for its control room that combined analogue character with a modern workflow. The 2248’s front-end tracking, monitor section and ease of use were standout features for Jabr, who says the API gives Blue West “a solidly built, quality analogue body that stands on its own.”

Jabr started his first Studio in 2009, with Kang joining as the very first intern. Five years later, the pair branched out to LA — bringing with them the ethos of putting their setup in the best room they could afford. Having established a good reputation for their work at both sites, they now say they’re “excited to be able to buy a classic recording console like the API 2448.”

www.apiaudio.com

Lostboy links up studio with Flock Audio's Patch

Rising pop producer Pete Rycroft (aka Lostboy) has seen chart-topping success in the UK during lockdown thanks to his private studio, which is built around a Patch software-driven analogue routing system.

"I am drawn to the science behind the tools I use, but it is a constant battle to not let the technology overtake the creativity.”

Which is what drew him to Flock Audio's Patch as a way to blend his older gear into his computer-based workflow, and minimise the time spent setting up.

“I am conscious of downtime in a creative environment. Downtime can affect everyone’s energy, and hitting a creative roadblock is not ideal. In my studio, vibe is everything. For someone who has used any DAW, it is obvious what you are doing [with Patch] straight away.”

www.flockaudio.com

Abbey Road Institute brings Angel back to life

Angel Studios, which closed last year after 40 years, has been leased as the new home for Abbey Road Studios’

education division, Abbey Road Institute.

It was rumoured that the Islington site would be redeveloped as housing, but this intervention ensures that it persists as a bookable. commercial recording facility while also serving a second role as base for the Institute’s growing student population.

Angel Studios will reopen in the Summer and stand as the flagship location for the school; one of seven separate sites across the globe. While the Institutes says demand has outgrown its current St. John’s Wood location, students will continue to use the school’s dedicated facility and the at Abbey Road.

www.abbeyroadinstitute.co.uk

SSL SBi16 goes on location for HEAR

Broadcast music mixers John Harris and Jody Elff's new service enables them to apply their production skills remotely from their respective private studios. The partnership, HEAR (Harris-Elff Audio Resources), leans on AoIP and digital audio components, including multiple SSL SB i16 SuperAnalogue stageboxes, to remotely mix and record live music and other events for TV and other media.

Their Pro Tools-based solution allows them to remotely control Dante-networked digital audio equipment positioned on site, including up to 128 mic preamps, and generate a feed for live broadcast in stereo, 5.1 or Atmos — while also grabbing a multichannel recording for later remixing.

For events that require only a limited number of audio inputs, HEAR sends an 8U rack to location, with Dante-enabled SSL SB i16 stagebox. That offers 16 channels of SSL's mic preamps and can be remotely controlled through SSL’s Network I/O Controller app, allowing Harris and Elff to adjust and monitor input levels and access features such as mic/ line switching, phantom power, pad and a limiter on every channel.

www.solidstatelogic.com

Audio restoration for Good Time Records

Specialist audio restorer Graham Joiner has begun a marathon project to convert 233 analogue master tapes to HD digital.

The archive, now owned by Good Time Records, includes music by The Rockin’ Berries, Kenny Lynch, Frankie Vaughan, Marvin Gaye, Wilson Picket and Jackie Moore. “Some of the original boxes were mouldy and falling apart," say Joiner, "and all the tapes had to be baked to prevent the oxide from shedding.”

Graham's Audio Restored studio has turntables, Studer cassette decks, Revox 1/4" tape decks and Steinberg’s Wavelab. The latest addition to his equipment list are three Prism Sound Titan audio interfaces.

“GTR wanted their tapes transferred at a high resolution sample rate so that they could be stored as Ultra HD WAV files. Prism Sound’s Managing Director Jody Thorne recommended Titan because the units could be linked over a Dante network.”

Graham purchased three Titans with MDIO Dante cards and a Focusrite Rednet Dante PCIe card so that he could transfer 24-track audio directly into his computer and restore the material for possible new remixes, releases, and sample packs.

www.prismsound.com

SHOWS FOR 2021

MPTS, London Postponed until May '22 AES Show Spring [Digital] 25-28 May Midem Cannes 1-4 June ISE Live & Online Barcelona 1-2 June ISE Live & Online Munich 8-9 June INFOCOM, Florida 12-18 June ISE Live & Online Amsterdam 15-16 June ISE Live & Online London 23-24 June High End, Munich 9-12 Sept Summer NAMM, Nashville 15-17 July AES Education Conference, Nashville 22-24 July PLASA, London 5-7 September IBC, Amsterdam 10-13 September NAB, Las Vegas 9-13 October