Pro Sound News - January 2021

Welcome to the JANUARY 2021 issue of

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CONTENTS

Companies to Watch 2021 In our annual look at

what’s in store for the year ahead, a variety of pro audio manufacturers assess their 2020 and share insights as to what you can expect from them—and the industry at large— over the next 12 months.

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Saving the Dylan Archive More than 60 2-inch master tapes from the Bob Dylan Archive were slowly being ruined by adhesion syndrome. Iron Mountain’s Kelly Pribble shares how he meticulously preserved the tapes before they were irreparably destroyed.

REINFORCEMENT

COLUMNS

SES on the Move Not even the pandemic could stop tour and event sound provider Special Event Services from opening its new 52,000-square-foot company headquarters in Mocksville, NC.

The METAlliance Report

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GEAR

PUNCH-IN MixedByAli Acquires Former Death Row Records Studio • Bruce Swedien, Legendary Engineer, Dead at 86 • AES 2020: An Online Hit • Rowing Championships’ Ungentle Audio • Shure Aids Bocelli Project • Monitor Moves Inspire the BossHoss • Touring with an 80-Ton Boat

RECORDING

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Coast Mastering Digs In Michael

Romanowski suffered for his clients’ art, going without heat in his home for 18 months as he dug out 10 feet beneath his house to create the new home of Coast Mastering.

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Studio Showcase: Noise Nest Inspired by pro skateboarder

Rob Dyrdek’s now-defunct Fantasy Factory, producer/entrepreneur Nick Gross developed a small songwriting facility into Noise Nest, a sleek new studio complex in Hollywood.

POST

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Capturing Anyway Stories New

York City’s Anyway Café is cute, quirky and the subject of a new web series pilot where musical production mixes were tackled remotely by broadcast event mixers John Harris and Jody Elff.

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Fighting for Audio’s Seat at the Table Audio technology helps the

podcast Twenty Thousand Hertz explore how we experience sound in the modern world, aiming to “bring joy to sound itself.”

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Real-World Reviews Rich Tozzoli

shelled out $10K for an Apple Mac Pro Rack; was it worth it? Also: Rob Tavaglione reviews Austrian Audio’s new Hi-X50 and X55 headphones, while Fela Davis puts Sennheiser’s new MD 435 and MD 445 mics through their paces.

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Innovations: Lauten Audio LS-308 Microphone Lauten

Audio founder Brian Loudenslager explains how the company produced a microphone expressly designed for recording situations where isolation is essential but nearly impossible to achieve.

SOUND BITES

Tracks 22 Studio Products 36 SR Products 37 Sound People 40 60-Second Interview 41

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Grammy-winning engineers Al Schmitt and Frank Filipetti compare opinions and practices on making the most of your mics.

sounding board

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Audio industry pro Mike Dias breaks down five steps to becoming a skilled networker.

view from the top

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Ash Levitt, president of Heil Sound.

music, etc.

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John “Feldy” Feldmann, leader of ska-punk heroes Goldfinger, shares how the band recorded its latest album, Never Look Back.

Pro Sound News (ISSN# 0164-6338) is published monthly by Future US, Inc., 11 West 42nd Street - 15th Fl, New York, NY 10036. Pro Sound News is available without charge in the USA to qualified professionals engaged in sound recording, broadcast, video recording, audio-visual, sound reinforcement and associated business. The publisher reserves the right to refuse applications and restrict free copies sent to a company or organization. For subscription information or to email customer service, please visit our online Subscribe Center at www.MyPSNmag.com. Reprints available upon request, call our Reprint Coordinator at Wright’s Reprints: 877-652-5295. Periodical postage paid at New York, NY and additional mailing offices. POSTMASTER: Send address changes to: Pro Sound News, P.O. Box 234, Lowell, MA 01853. Please allow 6-8 weeks for address changes to take effect. © Copyright 2021 by Future US, Inc. PRINTED IN U.S.A.

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prosoundnetwork.com | January 2021

NEWS

FROM THE EDITOR

BRING ON THE ‘HITS’ IN 2021

Volume 43 • Number 1

CONTENT

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ith the turn of the year duction expenses in the year those upon us, there are lots of costs were incurred. As a caveat, ways to say goodbye to the deduction would be available 2020. For instance, on Jan. 1, you’ll only for “Qualified Sound Recording find me in the backyard, jamming my Production[s],” which the act defines 2020 calendar into a paper shredder, as “a sound recording … produced dumping the results onto a roaring and recorded in the United States.”

BBQ grill, and then jumping up and “Because most large public gatherdown on the cold, dead ashes for good ings have been prohibited since the measure. Unequivocally, 2020 was a pandemic began, musicians and music terrible year, and while 2021 will be producers have been among the hardest all about the road back, no doubt it clive.young@futurenet.com hit by the coronavirus,” said Feinstein will start out as more of the same. in a statement. “Our bill would provide However, let’s hope that doesn’t apply to Conrelief by allowing independent musicians, technicians gress’ inability to come to the aid of the music and producers to deduct their production expenses in and live events industries. As I write this in midthe same year they occur, rather than forcing them to December, the bipartisan RESTART Act—which spread those deductions out over several years." would aid small businesses like sound companies The move for additional support to recordand venues—is still languishing, as is the bipartisan ing pros and musicians comes at a time when the Save Our Stages Act, which would provide grants pandemic has severely curtailed business for many. to eligible venues, producers, promoters and others According to a survey conducted by the Copyright to help cover expenses.

Alliance in June, 88 percent of creators lost income While passing these proposed pieces of legisdue to the coronavirus pandemic—more than lation would be much-needed booster shots for double the national average for other industries. the live events and touring side of the industry, Approximately half of the respondents had lost 90 there’s now newly proposed legislation that would percent or more of their income. help out recording pros, too—and not just during Noting that the Senate companion to the House COVID times. bill already enjoys broad, bipartisan support, Harvey Introduced to the Senate on Dec. 3, the Help Mason Jr., chair and interim president/CEO of the Independent Tracks Succeed Act (HITS Act, https:// Recording Academy, said in a statement that the bit.ly/2JEZecO), would allow musicians, engineers introduction of the HITS Act in the Senate “lays and producers to deduct 100 percent of recording the groundwork for creators to produce new music production expenses in the year those costs were and create jobs amidst a year filled with economic incurred, rather than in later years. This isn’t a crazy uncertainty. This change in the tax code—similar to idea—film, TV and theater productions already get the tax treatment of other creative industries—will that benefit. Passing the HITS Act would just proincentivize more music production.” vide some equality for the recording world.

Congress has proven time and again that it can The bipartisan-backed bill was introduced to move quickly when it wants to. If the Help Indethe Senate by Sens. Dianne Feinstein (D-CA) and pendent Tracks Succeed Act (or RESTART or SOS) Marsha Blackburn (R-TN), while companion legissounds like something you want to become a reallation was introduced in the House by Reps. Linda ity, it only takes a few minutes to make your voice Sánchez (D-CA) and Ron Estes (R-KS). heard. Drop your senator a line—you can contact If the HITS Act were enacted, claimants would the Senate at https://bit.ly/3mStcbv—and tell ’em to be able to deduct up to $150,000 in recording proplay the HITS.

Clive Young

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prosoundnetwork.com | January 2021

PUNCH-IN MIXEDBYALI ACQUIRES FORMER DEATH ROW RECORDS STUDIO

BY CLIVE YOUNG los angeles, ca—Grammy-winning

mix engineer Derek “MixedByAli” Ali and business partner Daniel P. Maynard have purchased the former recording studio of 1990s hip-hop mainstay Death Row Records. Numerous landmark albums of the era were recorded at the facility, including Snoop Dogg’s The Doggfather, Tupac Shakur’s All Eyez on Me and Dr. Dre’s The Chronic 2001. The facility has been rechristened NoName Studio.

In an Instagram post that began, “This is the most exciting news I’ve announced since the birth of my daughter,” Ali revealed the acquisition, adding that NoName will undergo major renovations over the next two months. When complete, the site will consist of two mixing rooms that will be focused around Solid State Logic desks and Augspurger monitors, and it will additionally house the offices of the EngineEars workshop series and online mixing service.

Citing the studio as the birthplace of “records that shaped my childhood and inspired me to create the music I make today, being from the West Coast,” Ali’s post included a speedy, gearfilled video walkthrough of the facility, with boxes, keyboards and more stacked everywhere.

“We’re looking forward to harnessing the energy & history from this studio and [plan to] continue pumping out nothing but timeless hit records just as they did in the ’90s,” Ali wrote in the post.

Ali will go into that effort with a lot of momentum behind him. Since starting to work with Top Dawg Entertainment in 2010, he has been nominated for six Grammys and won twice (Best Rap Album 2015 for Kendrick Lamar’s To Pimp a Butterfly, and Record of the Year 2018 for Childish Gambino’s “This Is America”).

EngineEars • www.engineears.org

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Derek “MixedByAli” Ali has purchased the facility that created classic tracks by Snoop Dogg, Dr. Dre, Tupac Shakur and others.

SAMUEL WHITWORTH / CC BY 4.0

prosoundnetwork.com | January 2021

news

Bruce Swedien, Legendary Engineer, Dead at 86 florida—A

giant among recording engineers, Bruce Swedien died peacefully Nov. 16 at the age of 86.

Over the course of a 65-year career in engineering and production, Swedien was nominated for 13 Grammy Awards and received five, including for his work with Michael Jackson and Quincy Jones on 1982’s Thriller, the top-selling album of all time, with an estimated 66 million copies sold.

Jackson and Jones were far from the only major names that Swedien recorded, however. That list, which reads like a who’s who of 20th century popular music, includes—to name only a few—Nat King Cole, Natalie Cole, Paul McCartney, Curtis Mayfield, Sergio Mendes, Diana Ross, Barbra Streisand, George Benson, Dinah Washington, Tommy Dorsey, Herb Alpert, Roberta Flack, Rufus & Chaka Kahn, LL Kool J, the Smothers Brothers, Andrew Bruce Swedien died Nov. 16 at the age of 86. Renowned for recording Michael Jackson’s 66 million-selling Thriller Previn, James Ingram, Eydie Gorme, Joe Williams, album, Swedien worked with a who’s who of 20th century popular music.

Jennifer Lopez, Mick Jagger, B.B. King, John Lee Hooker, Herbie Hancock, Lionel Hampton, Lena Horne, Missing Persons, Jimmy Reed, Patti Austin, tor recording studios, before joining Bill Putnam’s the three soon reunited to record Jackson’s 1979 hit Sarah Vaughn, Donna Summer and David Hassellegendary Universal Recording as a staff engineer album Off the Wall, which had four Top 10 hits and hoff. the following year. ultimately sold over 20 million copies. They would Swedien’s recording philosophy was simple, as It was during that time that he truly came into go on to create 1982’s Thriller, 1987’s Bad and 1992’s he told PSN in 2014: “The top thing is: music first. his own as an engineer, he told PSN: “My mentor Dangerous, and Swedien won engineering Grammys Everybody thinks that you listen, that you learn was Bill Putnam in Chicago. He was marvelous. for all three albums. He additionally nabbed Gramhow to make records by listening to records, but [Soon] I was recording all the big bands at that mys for his work on two of Jones’ own projects: you don’t. You have to go out point in time: Stan Kenton, 1990’s Back on the Block and 1996’s Q’s Jook Joint. and hear live music in a good Count Basie, Duke EllingSwedien moved to New York in 1994, and acoustic situation, and from ton—yeah, everybody.” Durthen later to Florida. In the 2000s, he wrote three there you build a benchmark ing his time there, in 1962, books that extensively detailed his working methfor your ear…. You can’t Swedien garnered his first ods and recording philosophy—2004’s Make Mine learn how to make records Grammy nomination, for Music, 2009’s In the Studio with Michael Jackson and BRUCE SWEDIEN by listening to other people’s engineering Frankie Valli and 2013’s The Bruce Swedien Recording Method—and records because then you’ll the Four Seasons’ evergreen also began teaching master classes around the never be able to express yourself. You’ll always have single “Big Girls Don’t Cry.” world with his “In the Studio with Bruce Swedien” that other thing. It will be too much of an influIt was also during that time that he befriended workshops. During his career, he was additionally ence.”

Jones while the latter was the president of Mercury awarded 10 Grammy certificates and two ASCAP While Swedien had his influences and mentors Records; it was the start of a friendship that would Composer Awards, and was nominated for five in the studio, he found his own way over the course last the rest of his life. After going independent in TEC Awards. of a considerable career. Born in Minneapolis, MN, 1969, Swedien found himself usually engineering in His passing on Nov. 16 was announced on Faceon April 19, 1934, Swedien began working in local New York or Los Angeles, and he eventually moved book by his daughter Roberta, who paid tribute basement studios while still in high school, and to L.A. in 1975. When Jones took on the role of to her father as having had “a long life full of love, married his lifelong companion, Beatrice Anderson, music supervisor for the 1978 movie adaptation of great music, big boats and a beautiful marriage. We not long after graduation. Although he started his the Broadway musical The Wiz, he recruited Swedwill celebrate that life. He was loved by everyone.” own recording studio at age 19 by converting a ien to record the soundtrack with him, marking the He is survived by his wife of 67 years, Bea, and former movie theater, he moved with his wife and first time the pair worked with Michael Jackson, his daughters Roberta Swedien and Julie (Loren) three kids to Chicago in 1957 to work at RCA Vicwho starred in the film. While the picture flopped, Johnson. He was preceded in death by his son David.

“The top thing is: music first.”

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prosoundnetwork.com | January 2021

DAVID GOGGIN

BY CLIVE YOUNG

news

AES 2020: AN ONLINE HIT new york, ny—Despite

being forced online by the pandemic, the AES Fall 2020 Convention (www. aesshow.com) was a hit, welcoming nearly 4,400 attendees from around the world for a month’s worth of livestreamed and on-demand sessions featuring top names in audio engineering and

production. Event highlights included featured livestreamed events with Finneas, Jackson Browne and Friends, and Imogen Heap, as well as the Platinum Panels series, which hosted top recording engineers, producers and mastering engineers.

Meanwhile, the traditional Tech Tours also

went virtual, allowing visitors to see inside Skywalker Sound (Nicasio, CA), Galaxy Studios (Mol, Belgium), The Village Studios (Los Angeles, CA), Blackbird Studios (Nashville, TN), Abbey Road Studios (London, England), United Recording Studios (Los Angeles, CA), and Capitol Studios (Los Angeles, CA). Roundtables were held that focused on hip-hop and R&B, immersive and spatial audio, audio history, networked audio, sound reinforcement, game audio and XR, immersive music and more.

BRIEFS Shure Acquires Stem Audio chicago, il—

Expanding its footprint in the conferencing audio market, Shure (www.shure.com) has acquired California-based Midas Technology, also known as Stem Audio, which specializes in table, ceiling and wall microphones as well as loudspeakers, control interfaces and hubs. As a result, Shure aims to further expand and diversify its solution offerings, while Stem Audio will gain access to the global infrastructure and support capabilities that Shure provides.

Alan Parsons Debuts Online Recording Course

santa cruz, ca—Art & Science of Sound Recording (www.artandscienceofsound.com) has launched ASSR-Online, an online recording course led by producer, engineer and artist Alan Parsons.

Rooted in Parsons’ Art & Science of Sound Recording DVD series, the course offers 26 video-based lesson modules with new and updated content, and leads to industry certification awarded upon course completion.

JAM Industries Acquires The Music People berlin, ct—Pro

audio, MI, lighting and consumer electronics distributor Jam Industries (www. jamindustries.com) has acquired Berlin, CTbased The Music People (www.musicpeopleinc. com), parent company to TMP Pro Distribution and On-Stage Stands Products, making TMP a full subsidiary. TMP will continue to operate as a standalone organization. No layoffs are planned, and Sharon and John Hennessey, co-presidents of The Music People, will continue serving in those positions.

prosoundnetwork.com | January 2021

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international news

Shure Aids Bocelli Project camerino, italy—The

At the World Rowing Championships, an Allen & Heath SQ-5 console handled all live and streaming sound.

ROWING CHAMPIONSHIPS’ UNGENTLE AUDIO poznan, poland—There are nautical enthusiasts who may row, row, row their boat gently down the stream, but they are nowhere to be found at the World Rowing Championships. The three-day rowing regatta is the annual culmination of the sport, and ensuring that all in-person spectators at this year’s edition—held on Lake Malta in Poznan, Poland, in October—could hear the commentary and become immersed in the experience was audio engineer Marcin Baran of MTS Studio, who mixed the event on an Allen & Heath SQ-5 console.

Baran chose the SQ-5 to handle all live and streaming sound, including eight commentary channels in multiple languages, wireless mics for the medal ceremonies, and music playback. The SQ-5 was fitted with an SLink card, giving Baran the extra SLink port he needed to deploy independent GX4816 and DX168 I/O expanders. One expander fed the various zones of the lakeside complex, while the second fed the main P.A. in the medals area as well as multiple speaker zones in the stands, with help from the built-in delays on the SQ’s buses. Further mixes were sent to commentators’ headphones, to two separate livestreams and to an OB van.

As heats started on the far side of the lake and ended one and a quarter miles away from the spectators, a key challenge was to give fans in the grandstands and viewers at home a sense of immer-

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sion in the races. A submix of ambient mics captured the waterside sounds and starting signal from the start line, and the signal was transmitted via old analog cables laid under the lakebed many years ago. The signal proved to be noisy, so Marcin connected a laptop running Waves X-Noise Native via the SQ’s USB port to identify and tackle the problem frequencies. Once the boats were underway, the audience remained in contact with the action on the lake by way of ambient mics and cameras mounted on a boat that followed the athletes.

With so many different elements to manage, automation and streamlining of workflows was essential. Baran noted, “I created one group for all commentators that didn’t feed into any of the mixes but triggered the duckers on all music inputs. I used an analog Bettermaker mastering limiter for the streaming and I used eight instances of SQ’s DynEQ4 dynamic EQ on all the commentator channels. With the mixer set up in this way, everything practically mixed itself, leaving my hands free to look after the music. For me, the SQ is a small, handy mixer with enormous possibilities. I love using this mixer on tour with bands. SQ-5 is also the heart of my mobile recording studio setup.”

Allen & Heath • www.allen-heath.com World Rowing Championships • www.worldrowing.com

Andrea Bocelli Foundation (ABF) recently rebuilt Camerino Music Academy in Italy after the school was destroyed by an earthquake in 2016. Aiding the effort, Shure provided new gear for the facility’s more than 160 enrolled students.

The Andrea Bocelli Foundation, like other nonprofits, has experienced a significant reduction in fundraising due to COVID19, so when the Camerino project and its need for audio equipment was brought to the attention of Shure by Bocelli’s engineer, Andrea Taglia, Shure answered the request with an assortment of audio gear, including KSM studio recording microphones, Microflex gooseneck mics, SLX-D digital wireless microphone systems, and professional studioquality SRH headphones.

“We are pleased to lend our support to the Andrea Bocelli Foundation for this important and worthy project,” said Christine Schyvinck, president and CEO at Shure.

“The Camerino Music Academy aligns with the objectives of Shure’s Corporate Social Responsibility program, supporting the development of future generations of musical artists, particularly under challenging conditions. It is a privilege for Shure to be associated with Mr. Bocelli and this exceptional organization.”

Shure • www.shure.com

When the Andrea Bocelli Foundation built the Camerino Music Academy in Italy, Shure stepped in with a gear donation to support the effort.

prosoundnetwork.com | January 2021

international news

MONITOR MOVES INSPIRE THE BOSSHOSS berlin, germany—Berlin-based seven-piece country-

trash-punk act The BossHoss has upgraded its studio with a Genelec 8341 monitoring system in preparation for recording the group's 11th full-length release.

The band, known for its unique country and western-flavored interpretations of pop hits, previously used Genelec monitors in rented studios and its own editing bay. Heading into recording sessions for a slated 2021 release, it turned to German audio supplier SMM for equipment advice.

“When working on a new album, we always like to try out new equipment to drive creativity,” explained BossHoss guitarist, songwriter and producer Sascha Vollmer. “A friend of mine from SMM recommended I give Genelec a try, and sure enough, when I was introduced to the 8341s, I was instantly hooked.”

The band is now using a stereo pair of 8341s.

“Since we have installed the 8341s, we don’t use our midfield speakers anymore,” Vollmer said. “The

BossHoss guitarist, songwriter and producer Sascha Vollmer with his Genelec 8341 monitoring system.

stereo image is second to none—really precise, accurate and exactly what we needed.”

Vollmer gravitated to the GLM (Genelec Loudspeaker Manager) software and its ability to autocalibrate the 8341 setup to suit the band’s everchanging recording environment. “Having the free-

Touring with an 80-Ton Boat norway—The

reach the crowds, engineer Arne Grimstad opted for a simple Alcons system based around six LR14 and BF181 compact subwoofers, powered and controlled by a Sentinel10 amplified loudspeaker controller.

Bassist Hogne Rundberg explained, “We needed a compact, lightweight P.A. that didn’t take up much space on board and was easy to handle. At the same time, we did not want to compromise on the

sound quality in any way for open-air audiences.”

Once everything was in place, the band set sail on its coastal summer tour of northern Norway, starting in Furuflaten and ending one month later in Lysnes. Lead singer and guitarist Kjetil Holmstad-Solberg shared, “I have never been on a more comfortable tour. Your bed was close and you did not have the stress of catching planes, trains or other transport. This really gave touring a more pleasant flavor.”

Violet Road • www.violetroad.no Alcons Audio • www.alconsaudio.com DANIEL MIKKELSEN

pandemic has brought concert touring to a halt around the world, but that didn’t stop Norwegian folk-rock act Violet Road, which traded life on the road for life on the high seas.

When the group’s 60-plus date summer tour went up in smoke, it turned around and bought an 80ton boat, transformed the vessel into a tour bus on water—with its own stage and Alcons Audio P.A.— and then booked 18 socially distanced concerts at different ports.

The Vulkana is a 73-foot former fishing boat built in 1957 and later rebuilt as a spa and tourist craft. With space for 17 people—a crew of five and 12 passengers—it had everything the band needed, including a full kitchen, below-decks lounge with a fireplace, sauna heated by a wood fire oven, hot tub on the aft deck and, most crucially, a diving board.

When the boat was tied up at piers, its foredeck served as the stage for Violet Road, which performed for on-shore audiences of up to 200 socially distanced people. Ensuring the sound could

dom to adapt with the GLM application was ideal for us as we are often having to change furniture as well as instruments hanging on the walls,” he said.

“GLM gave us flexibility as well as quick and easy configuration if we wanted to switch rooms.”

The monitors have helped the act’s creative process as well. “Sometimes when we’re listening back to each song, we realize that we have to add extra elements. We probably wouldn’t have picked up on that type of detail with any previous monitor.

That’s why we want to continue to use Genelec for future recordings and mixing sessions. We don’t want to miss anything else.”

He added, “Just recently, I had a long car ride and listened through our last three to four albums.

The new album was mixed with the Genelec system, and I realized that’s the mix I’m most proud of—it just translated so perfectly. Genelec has become an essential part of our studio.”

Genelec • www.genelecusa.com

After COVID-19 scuttled Violet Road’s summer tour, the Norwegian band bought a 73-foot boat and transformed it into a tour bus/stage on water.

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prosoundnetwork.com | January 2021

COMPANIES TO WATCH

2021

BY CLIVE YOUNG

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With the CS-Series turning up in installation and live sound systems already, it’s a sign of things to come, said Montgomery: “As we all rebuild from 2020, our plan is to continue to lead the industry with innovative products and technology.”

The technologies at play in the industry are numerous and varied, and getting them to coexist can be a challenge—but that’s changing, as Yamaha’s director of marketing, pro audio, Preston Gray, pointed out: “In 2021 and beyond, we’ll continue to see high demand for networked devices that work together seamlessly. By designing our audio technologies to be as connected and intuitive as possible, we’re making it easier to match the right system to the right environment. Our products deliver highperformance sound quality on their own, but when used together, they form powerful system solutions.”

R&D doesn’t happen in a vacuum, of course, as Gray noted, adding, “Through close collaboration with sound engineers, system integrators and channel partners, and an ongoing emphasis on innovative product and technology development, we can amplify what matters most for people and embrace new opportunities for driving the continued growth of our industry.”

“Pivot” may have become the most overused word of 2020, but that’s because the times demanded so many to do just that. Companies

Gary Boss

whose products resonated across markets were able to make the most of those sudden transitions, such as Audio-Technica. Gary Boss, marketing director, explained, “Many of the live sound and commercial audio products that we regularly sell and support were no longer in demand due to pandemic-related closings of venues and businesses. This allowed us to shift our focus to work-from-home/createfrom-home products. While some folks set up impromptu home offices with the help of A-T USB microphones, headphones and headsets, others took the time to work on music or content creation from home by utilizing our 20 Series and 40 Series microphones.” A-T’s 2021 plans include introducing

prosoundnetwork.com | January 2021

GETTY IMAGES

ith the turn of the year, 2020 might now be a thing of the past, but we’ll be feeling its effects for a long time to come. The spread of COVID-19 that began last spring brought the pro audio industry to a standstill, resulting in a difficult and often frustrating year, where some manufacturers and studios thrived, while live sound professionals and providers struggled.

Pro audio manufacturers, too, were affected by those same concerns; now, whether coming off a strong year or a stressful one, their expectations are high for 2021, as the entire industry is ready to hit the road to recovery.

“All the limitations imposed by 2020 provided Adamson with an opportunity to increase our focus on product and technology development, and build the strength of our engineering and R&D team,” said Darcy Montgomery, head of marketing at Adamson Systems Engineering. “The direct result of that was the June launch of CS-Series, our industry-leading intelligent loudspeaker platform, at a time when travel and demonstration events were all but impossible.”

Now, in 2021, Adamson is launching a new education program to highlight its CS software suite and has additionally been shipping CS upgrade kits worldwide, allowing existing users to add AVB connectivity and amplification to S-Series cabinets.

more “feature-rich content creation microphones” modern times,” he said. “L-Acoustics was not spared as well as promoting the network-enabled 3000 and had to pull together on all fronts to reimagSeries wireless systems, originally launched at the ine, create and diversify, while also protecting our beginning of 2020, and the Engineered Sound line workforce and partners.” of conferencing microphones.

The result was a wildly busy year, packed with Corporate agility—the ability to make fast decidaily webinars, a virtual global launch for K3, a sions and then facilitate them—was a key necessity merch store that supported industry charities, and in 2020, as John McMahon, Meyer Sound senior the expansion of the L-Acoustics Creations divivice president, could probably attest. “Meyer Sound sion. New offerings were afoot, too, with Contour is fortunate to be a privately-owned company, and XO in-ear monitors and installation market-focused one that is solutions-oriented rather than strictly releases for its M1 and Ai Series. “As we look forproduct-oriented, both of which ward in anticipation of a better helped us to make changes quickly 2021, we take everything we’ve in response to the global pandemic,” learned from the past year to conhe said. “Working alongside our tinue shaping the future of sound, strong, dynamic leadership team is and we reflect with gratitude upon a group of experienced, next-genthe vital relationships, spirit of eration engineers who work on the resilience, humanity and resolve development of future loudspeaker that we’ve encountered throughout and digital products for a range of the industry in this time of crisis,” John McMahon solutions. The Constellation acoustic said Vaissié. system led the way in 2020, and new Some pro audio companies technologies, from the ULTRA-X20 to MAPP 3D to simply seem to be permanent regardless of what’s Spacemap Go, underscored that innovation remains happening, be it a stellar year or a worldwide panat the heart of Meyer Sound Laboratories.” demic, and Shure, which marked its 95th anniverStepping into 2021, said McMahon, the comsary in 2020, is definitely one of those businesses. pany has new products on the boil, including Over the course of 12 months, it introduced new “compact, but powerful point source and line array products ranging from Microflex Advance gear, the loudspeakers, and a breakthrough solution for the SLX-D wireless system and DuraPlex subminiature post-production and private cinema markets.” mics, to the MV7 podcast mic and MV5C home 2020 gave KRK some time for reflection and office mic for the WFH crowd. Shure also acquired planning, as Sterling Doak, director of marketing conferencing mic specialists Stem Audio; made a at parent company Gibson Brands, explained. “2020 strategic investment in Wavemark, a software comhas been filled with many unexpected challenges, pany for theater, broadcast and content streaming leaving us more excited than ever to dive into a applications; and began collaborating with Huddly brand new year,” he said. “At KRK, we are thrilled Cameras on networked system product bundles. about the new product announcements we have on 2021 will see those new business connections bear deck for 2021. While we’ve been stuck in lockdown fruit for the first time, and Shure’s AONIC listening for the majority of the year, we’ve taken the time to line will expand as well. analyze our product lines, as well as the changing “2020 was obviously a very challenging year for demands of the music industry, to determine how we can best tailor our gear to meet the needs of artists and producers around the world. By expanding KRK’s studio monitor and headphone lines in 2021, we are committed to supporting music production at all levels with the essential equipment needed to build a high-quality project studio—anytime, anywhere.”

2020 was not merely a pause, however, as Laurent Vaissié, CEO of L-Acoustics, averred. “2020 was the year the world went silent. Beyond the tragic loss of lives in the pandemic, our live events industry faced a disaster of a magnitude unseen in Larry Italia

prosoundnetwork.com | January 2021

the industry, and d&b was not left unchallenged,” said Larry Italia, president/CEO, d&b audiotechnik Corp. Undeterred, the company launched its Certified Pre-Owned program, aiming to assist customers in terms of sustainability, while also providing options to venues looking for a system. At the same time, the company unveiled d&b FanBlock, which provides custom crowd noise at sporting events via d&b speaker systems. d&b also continued to promote its A-Series arrays and KSLi line array speaker system, as well as the new 44S compact flush mountable speaker. It all paved the way for what’s ahead, said Italia: “Another ‘byproduct’ of these challenging times is a clear focus on prioritizing where opportunities and market needs lie. We will have many more key solutions to be announced and delivered in 2021, and look forward to the mobile market recovery later in the year.”

Over at Celestion in the UK, said Ken Weller, product marketing manager, “we’ve made the best of it by staying close to our customers and setting the stage for better times ahead, with some serious concentration on R&D work.” That resulted in a pair of software products: HornWizard, which allows users to determine whether a particular horn specification could work in practice, and the SpeakerMix Pro plug-in, which lets users to capture and mix IRs in a DAW. “In the first quarter of the new year, thanks to further investment in our UK production facility, Celestion will introduce a series of premium, highend UK-manufactured P.A. drivers,” reported Weller.

At least three new guitar speaker products will be released, too, alongside more virtual products.

While better times ahead are widely anticipated, the industry has to get to them first. Jack Kelly, president of Group One, the U.S. distributor of Audiotonix, said, “For those companies and individuals involved in live events, the situation remains extremely challenging, but there is a glimmer of sunshine with the beginning of vaccine approval and deployment. Throughout the Audiotonix companies (Allen & Heath, Calrec, DiGiCo, KLANG and SSL), from the very start of lockdowns last spring, we have maintained and, in most cases, increased our investment in R&D across the group.

The result will be an unprecedented number of new product launches in 2021. We are excited at the prospect of bringing these products to market, personally, face to face, and if the fates allow, maybe we can revisit all our friends around the world.”

That’s a sentiment the whole industry can rally behind.

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RECORDING COAST MASTERING DIGS IN

BY STEVE HARVEY berkeley, ca—It took 18 months for Michael

Romanowski to build the latest iteration of Coast Mastering under his Bay Area house, during which time he and his wife were without heat. “The furnace was the first thing to go. It was like camping,” he says.

Berkeley-based Pancoast Construction dug down 10 feet below the house, which is on a slope, to accommodate Romanowski’s plans for a mastering room that supports today’s leading immersive formats. Acoustical consultant Bob Hodas tuned the room and devised an ingenious bass trap that makes use of a 3-foot cavity above the 11-foot ceiling. Studio design consultant Bob Levy was also involved from the start of the project.

The finished room is outfitted with a 9.1.6 monitoring setup for Dolby Atmos Music work— Romanowski consulted with Dolby’s Ceri Thomas from the get-go—and can additionally accommodate Auro-3D. With the addition of two floor-level front speakers, the room can also handle Sony 360 Reality Audio projects.

Three Focal Scala Utopia EM speakers deliver the LCR channels, with six Focal Utopia Diablo Evo speakers providing side and rear zone coverage.

“I found I was drawn to the sound of the inverted beryllium dome tweeter—it’s very natural—and how Focal handles their drivers seamlessly across octaves,” he says. A Meyer Sound sub provides LFE. Romanowski’s quest to replace his aging Pacific Microsonics Model Two converters led him to Bricasti. “The pairing of the Focals and the Bricastis has worked out great,” he says. For overheads, he installed Neumann KH 310 speakers on tracks to allow repositioning. “I like how their high-frequency dispersion works with the Focals. It gives me a nice fullness from the ceiling without any compromises.”

There is no mastering console. Instead, Romanowski works with just a workstation screen

and keyboard in front of him. He uses Steinberg’s WaveLab. “It uses the same engine as Nuendo,” he notes. Nuendo is what he uses for tracking, mixing and now immersive mastering because it can handle ADM files within Dolby Atmos. The new facility includes a tracking room, and he’s been mixing Sony 360 Reality Audio projects for Sonic Studio’s Jon Reichbach and his Streamsoft Artist Connection music service.

Literally undermining his house was no simple task, but it was worth it, Romanowski says. “Immersive music is ripe for so many problems: phase issues, presentation issues. If we’re going to get it right, we need rooms like this to keep the bar high.”

Coast Mastering • www.coastmastering.com

Right: Michael Romanowski opted to build Coast Mastering without a mastering console, but kept gear within arms' reach.

Below: Digging out underneath a house would make any homeowner nervous, but the resulting facility was up and running before the project was even completed.

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prosoundnetwork.com | January 2021

SAVING THE DYLAN ARCHIVE FROM ADHESION SYNDROME

BY STEVE HARVEY are familiar with sticky-shed syndrome, which can cause the magnetized coating on certain recording tapes to separate from the backing due to the deterioration of the binder—the glue—holding them together. Now, one archivist is drawing attention to a new issue that can render some old tapes unplayable.

In “Forever Young: Preserving the Archive of Bob Dylan,” an online panel hosted by the Recording Academy in November, Kelly Pribble, principal studio engineer/preservation specialist at Iron Mountain Entertainment Services (IMES), discussed what he called “adhesion syndrome,” which affected the masters for two Dylan albums. “The edges are bound together, and as you unwind the tape, it rips the tape,” Pribble explained. The condition can pull the oxide from the backing, creating pinholes.

IMES began working with the Bob Dylan Archive a few years ago. The projects found to be affected by adhesion syndrome were the Empire Burlesque album, released in 1985, and 1986’s Knocked Out Loaded album.

“Broadly, we’ve been working through Dylan’s session tapes chronologically,” said Mark Davidson, Ph.D., archives director of the American Song Archives, who also took part in the online discussion. “When we started working on these tapes in the last year and a half, we were up to the mid-’80s when we first experienced this sort of problem.”

“All together, there were 63 2-inch masters from Bob’s two records that we were able to safely unbind and transfer successfully,” said Pribble. “We were extremely proud to have had the opportunity to be a part of Bob Dylan’s legacy, to be able to pull these out, recover them, transfer them and provide the files to the organization.

“I didn’t have to do much once we were unbound and transferred. The audio was pretty good,” said Pribble of the affected master tapes.

That was largely due to the way these Dylan sessions were conducted, it seems. Adhesion syndrome is worst where the pressure is greatest, close to the

In the process of preserving two mid-1980s Bob Dylan albums, IMES’ Kelly Pribble had to save the original tapes from what he calls adhesion syndrome (see inset).

new york, ny—Many

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reel hub, he said. “I learned that they would let tape roll for a minute or two before they recorded anything. That was very helpful with this collection.

If [recording] had started right at the beginning of the tape, I probably would have had more problems with it.”

Pribble enjoyed the fly-on-the-wall experience of listening to the sessions, he said. “Bob would just start playing a lick on guitar, everybody would join in and it was a song. That was amazing to listen to.

“The edges are bound together, and as you unwind the tape, it rips the tape.” KELLY PRIBBLE There’s banter back and forth, and starts and stops.

I felt like I was in the studio the day they recorded it.”

He captures analog audio assets through Prism Sound ADA-8XR converters at 192 kHz/24 bit. “I use those Prism units because I just love them. They don’t color the sound. As an archivist, I don’t want to color what’s on the tape when I make a digital

file. If it’s digital, I go bit-forbit so there’s no loss.”

Another issue, observed by other archivists, is a loss of lubricant, which leaches out of the tape and can eat away at the tape heads. “For a long time we didn’t realize what this was,” Pribble said. After he had the residue tested, he sent the lab results to a tape manufacturer, which confirmed it was a match for the lubricant included in tape recipes between roughly 1970 and 1990. “This is kind of a horror story,” he said. “This is the end of the lifecycle of a tape. Archivists are seeing this around the world.”

The mid-1970s tape recipe used by Ampex is now also causing the binder to disintegrate. “It no longer binds the magnetic particles and the lubricant to the back carrier—whole sections fall off,” he said. He is not seeing this as much as issues associated with a loss of lubricant, he said, but he has come across several examples.

For the last 10 years, Pribble has been using a tape recovery and preservation process that he created, but with his dedication to saving tapes like those in the Dylan archives, he’s still working to improve the process. “I’ve been going to school at night to study mechanical engineering just to be able to build machines to do what I need to be able to recover tapes!”

Iron Mountain • www.imes.media Bob Dylan Center • www.bobdylancenter.com

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studio showcase

NOISE NEST INVESTS IN THE FUTURE

BY STEVE HARVEY hollywood, ca—Nick Gross, drummer, producer and entrepreneur, is a busy man, recording and performing with a variety of bands while overseeing Gross Labs, his growing entertainment, media and investment company. Amid all that action, Gross found time over the past year to expand his Noise Nest production complex in Hollywood.

Now spanning an entire block in the heart of Hollywood’s media district, Noise Nest began more modestly under another name about eight years ago. “We leased the smaller space for the first three years for a production team that I had at the time.

We used it as a songwriting facility,” says Gross.

“We later built it out to be more of a recording studio facility where other managers, publishers and labels could use the space.”

When his neighbor’s larger building became available, Gross snapped it up, gutting the structure

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Above: Noise Nest's Studio A is centered around a split API 1608 console and a Slate Raven system. Right: Studio C (top) adjoins a small vocal booth, while Studio B (bottom left) sports an SSL Nucleus. The live room in Studio A (bottom right) has ample space for artists.

and calling in Peter Grueneisen’s nonzero\architecture to design a three-room complex with lounges, kitchen and other amenities. He then had designer and acoustician Chris Owens of F.C. Owens revamp the two production rooms in the original, smaller building.

“It started as this sort of punk rock, grungy little studio and it’s turned into a multipurpose, multiuse content factory,” Gross says. His vision

for Noise Nest was inspired by pro skateboarder Rob Dyrdek’s now-defunct Fantasy Factory in downtown Los Angeles, which he calls “a cool and creative way to think outside of the box.”

The initial two rooms catered to outside clients while Gross was growing his business, but Noise Nest now focuses on in-house content creation.

“I host a lot of our internal publishing and label clients. They each get to use the space for free,”

“I wanted to take the feeling of old recording studios, whether that was old brick or old wood or analog gear, and give it that high-end, digital, 2020s, modern vibe.”

NICK GROSS prosoundnetwork.com | January 2021

he says. “We’re doing all kinds of things: music production, live streaming, gaming. It’s an epic live event space—we built two basketball courts.”

The Gross Labs umbrella company, launched in 2018, encompasses record label and music publisher Big Noise Music Group, Noise Nest Animation, esports organization Team Rogue, and philanthropic education and self-discovery platform Find Your Grind. Gross co-founded Big Noise with Venture Records co-founders Jon Cohen and John “Feldy” Feldmann, the man behind SoCal ska-punk band Goldfinger. Signings include The Used, Ashley Tisdale and The Wrecks. Gross still sometimes plays with Goldfinger, as well as his own bands, Half the Animal and girlfriends. His many investments range from consumer products to new tech ventures.

A common thread throughout Noise Nest is PMC speakers. “The choice of PMC was a nobrainer,” says Gross, who first heard the monitors at the studios of his friend, producer and songwriter Dr. Luke. “They’re incredible. We’re super stoked to have them.” Studio A features PMC’s flagship QB1-A in-wall main monitors, while various IB1S-A, twotwo.6 and twotwo.8 models provide nearfield coverage there and in the other rooms.

There is a consistent aesthetic between rooms.

The largest space, A, is dominated by a massive console supporting a split analog API 1608, with the main desk to the left and 16 more channels to the right, plus a Slate Raven system. “It’s a one-ofa-kind desk that I wanted to build out with a cool mixture of analog and digital. The outboard gear that sits behind it is pretty special as well,” he says, and includes SSL and Neve mic preamps.

prosoundnetwork.com | January 2021

The tracking space is just the right size, he says: “It gets the job done. We wanted to be smart with the space and be as effective as we could, knowing that we wanted to build three studios in a 4,500-square-foot building.”

The B room, equipped with an SSL Nucleus and soffited Genelec 1238A SAM main monitors, transforms into an indoor/outdoor space. “People can be playing basketball outside and see what’s going on inside the room at the same time,” he says. The console in Studio C, the smallest room, overlooks a small booth and houses an industry-standard vocal

chain—Neve 1073 preamp and Tube-Tech CL 1B compressor—with ATC SCM25A Pro monitors and a rack of additional outboard gear.

“All three studios have their own vibe. I wanted to take the feeling of old recording studios, whether that was old brick or old wood or analog gear, and give it that high-end, digital, 2020s, modern vibe.

So we have white brick everywhere and polished concrete for all the floors,” says Gross. “It’s just a fun hang and a good vibe. You don’t want to leave.”

Noise Nest • www.thenoisenest.com Gross Labs • www.grosslabs.com

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top tracks

tracks: A LOOK AT THE RECORDING SCENE

ARTIST: CHAD EVERETT BUTLER ALBUM: REMNANT LABEL: SELF-RELEASED PERSONNEL Produced by: Rob Tavaglione, Chad Butler Engineered by: Rob Tavaglione Studios: Catalyst Recording (Charlotte, NC) EQUIPMENT NOTES: Roswell Colares; Millennia Media; Daking FET3 compressor; Focal Trio11 studio monitors; Brainworx, Waves and Newfangled Audio plug-ins

ARTIST: BILL CHAMPLIN ALBUM: LIVIN’ FOR LOVE LABEL: IMAGEN/ WUNDERGROUND PERSONNEL Produced by: Bill Champlin Engineered by: Bill Champlin, Carmen Grillo, Alan Hertz, Bruce Gaitsch, Lenny Castro Mix Engineer: Alan Hertz Studios: Gold Mine 2, Big Surprise Studios, Hz Workz Studio Mastered by: Joe Gastwirt at Joe Gastwirt Mastering EQUIPMENT NOTES: Trident console, Avid Pro Tools, Apple Logic, MOTU Digital Performer, Genelec studio monitors

ARTIST: REXX LIFE RAJ ALBUM: CALIFORNIA POPPY 2 EP LABEL: EMPIRE PERSONNEL Produced by: Kyle Betty, with ReeceBeats, DrewBanga, Ian Santillano Engineered by: Rexx Life Raj, Migui Maloles Mix Engineer: Alex Tumay Studios: Do What Sounds Good Studios (New York, NY) Mastered by: Michael Denten at Infinite Studios (Bay Area, CA) EQUIPMENT NOTES: Universal Audio Apollo Twin, Apple Logic Pro, Neumann TLM 103 mic, ADAM Audio A7X studio monitors

ARTIST: ARTHUR NASSON ALBUM: WHACK MYTHOLOGY LABEL: SELF-RELEASED PERSONNEL Produced by: Arthur Nasson Engineered by: Arthur Nasson Studios: Home EQUIPMENT NOTES: Focusrite Scarlett 18i8; Apple Logic Pro 9; Tannoy Proto-J Plus studio monitors; AKG C414, MXL V57, and Shure SM57, SM58 microphones

ARTIST: ROD ABERNETHY ALBUM: NORMAL ISN’T NORMAL ANYMORE LABEL: SELF-RELEASED PERSONNEL Produced by: Neilson Hubbard Engineered by: Neilson Hubbard Mix Engineer: Dylan Alldredge Studios: Skinny Elephant Recording (Nashville, TN) Mastered by: Jim DeMain at Yes Master Studios (Nashville, TN) EQUIPMENT NOTES: API 1608 console, Avid Pro Tools, Barefoot MM26 studio monitors

notes

Louisiana Philharmonic Streams with Rupert

new orleans, la—Mischa

Kachkachishvili, owner of Esplanade Studios, used a remote setup of 32 channels of Rupert Neve Designs (www.rupertneve.com) ClassA RMP-D8 Dante-connected microphone preamps and converters with Neumann and Schoeps mics when tasked with recording the Louisiana Philharmonic Orchestra’s virtual 2020 season during the coronavirus pandemic.

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Garth Richardson Connects with Dante vancouver, bc—Music

producer Garth Richardson has renovated and updated his Farm Studios in British Columbia, connecting his house, recording studio and other buildings with Dantenetworked (www.audinate.com) Focusrite (pro. focusrite.com) RedNet HD32R, A16R, MP8R, X2P and AM2 units, enabling recording—and social distancing—anywhere on the seven-acre property.

Republic Records Installs SSL Origin Console los angeles, ca—Republic

Records, a division of Universal Music Group, has installed a 32-channel SSL (www.solidstatelogic. com) Origin analog in-line mixing console, purchased through Vintage King, at its 6,000-squarefoot Republic Records Studios facility in Los Angeles. The facility has produced six No. 1 albums over the past 18 months.

prosoundnetwork.com | January 2021

the metalliance report

BY FRANK FILIPETTI The METAlliance: Al Schmitt, Chuck Ainlay, Elliot Scheiner, Frank Filipetti, George Massenburg and Niko Bolas, along with the late Phil Ramone and Ed Cherney. The METAlliance’s mission is to promote the highest quality in the art and science of recording music. www.metalliance.com

The METAlliance includes (clockwise from top left): Frank Filipetti, Elliot Scheiner, Chuck Ainlay, George Massenburg, Niko Bolas and Al Schmitt.

METALLIANCE MIKING

C

huck Ainlay and I were talking about microphones. We thought that it might make a nice column. Then we thought, “Wait a minute—we have the greatest resource in the world right here in the METAlliance. His name is Al Schmitt!” So I interviewed Al. Here’s a portion: Frank Filipetti: What is the first thing that you look for in a microphone? Is it frequency response, polar pattern, off-axis response, emotional response?

Al Schmitt: I think it’s more emotional than anything. I’ve been doing this for a long time and working on every kind of microphone you can imagine at some point in my career, and yeah, it’s become an emotional thing. I’ll have a favorite mic I love to go to on certain things; sometimes it’s a condenser mic, and sometimes it’s a ribbon mic. It depends on the artist and the circumstances of what we’re doing, and how we’re going to do it. If it’s somebody like Michael Bublé, who wants to sing right in the middle of the rhythm section with the

prosoundnetwork.com | January 2021

band, I’ll use a [Neumann U] 47 on him, in a cardioid position to get some rejection from the other side. He’s got really good microphone technique, so that works for him. Some others, you can’t do that.

Frank: You like to use a U47 in cardioid—part of that is because you’re looking for rejection, but are you also looking for any proximity effect?

Al: Well, a little bit of proximity effect, but it’s more about the setup. If the artist is in an ISO booth, you might use a different mic than if you had them in the room. It also depends on how much time you have. If you’re overdubbing a vocal, guitar, whatever, and you have time, then you can experiment with mics, and it’s a great learning process. When you’re doing that, you think, “Oh, I love this 47 a lot,” or “This [Neumann U] 67 sounds pretty damn good to me.” And “How about that [Neumann] M50, or even [a Shure] SM7?”

We’re fortunate; we get to use the best microphones in the world. A lot of people who read these magazines have little home studios, and the most

expensive mic they have might be a $300 microphone or even a USB. They have to do the best they can with what they have. I’m fortunate that I have a great collection; I know you do, too. And when I work at Capitol, they have unlimited mics.

Frank: Let’s say you have an artist who wants to be in the room with the musicians. Do you encourage or discourage that, especially if the producer wants to punch in or be able to tune the vocal later?

Al: You don’t punch in, especially if they’re in the middle of the section and you have all that bleed. You’re gonna hear that unless you’re punching in everybody at the same time, so yeah, you can’t do that. You’ll have to redo the vocal as an overdub and then fix whatever parts you want to fix that way.

Years ago, when you couldn’t punch in, the singer sang with the rhythm section and you needed to keep the vocal on top. Experience taught you how to use your microphones for separation and isolation. In the end, it’s the years of experience that teach you how to do that.

Frank: How about today’s way of making records, where isolation of every track is placed at a premium for fixing and tuning after the fact?

Al: Making vocals perfect always bothered me.

Some of those recordings, where every note is right on the mark, it just becomes robotic. It doesn’t sound human after a while. Frank Sinatra didn’t sing every note in tune. You can fix a thing here and there, but to go in and tune every note, do we really have to do that? I don’t know. I don’t like to make music like that, and I try to stay away from that.

Frank: I do, too. It’s what I call the “stone wall effect”—that the old stone walls with their lack of symmetry grab me more emotionally than the newer walls with their straight lines and perfect symmetry. When it gets too perfect, you lose that emotional response.

Al: Totally agree.

To be continued….

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POST

When Anyway Stories shot six acts performing in a café, Remote Production Group handled the production mixes live via the internet.

CAPTURING ANYWAY STORIES

BY CHRIS REILLY new york, ny—Located

around the corner from the former site of punk birthplace CBGB, The Anyway Café is a Russian jazz club with a similarly scrappy ethos. It’s been a Lower East Side staple for 25 years and home to countless musical adventures. On any given night, you might hear classical, flamenco, standards, gypsy, jazz, bluegrass, opera or even Tuvan throat singing at The Anyway. It all makes for a colorful vibe, some of which was captured this past summer for a web series pilot, Anyway Stories which was all shot in one day, despite the pandemic.

Mobile production mainstay All Mobile Video recently purchased an AZilPix Studio.One—a unique video capture system able to record 7920 x 6004 resolution and output eight individual video streams—and wanted to create a demo reel for it.

Enter Anyway Stories producer Charlie Martin,

24

who’d long wanted to capture The Anyway’s magic for posterity. Martin knows a thing or two about legendary venues, having mixed The Ramones, Talking Heads, The Police and others at CBGB during its glory days. In short order, The Anyway was set to host AMV’s AZilPix demo reel.

When AMV arrived to shoot six acts in one day, the AZilPix unit was the perfect fit inside the tiny café, taking up far less room than eight separate cameras, but the audio capture was going to be difficult. Rather than use an audio truck, Lenny Laxer, AMV senior vice president, suggested bringing in Remote Production Group (RPG), headed by broadcast event mixers John Harris and Jody Elff.

They in turn suggested bringing in a small rack with Millenia Mic preamps, dual Pro Tools rigs running on Mac Minis, Focusrite Red and RedNet Dante interfaces, and proprietary networking gear.

Using Unity Intercom’s Unity Connect software,

the engineers remotely controlled the preamps and Pro Tools rigs, allowing them to independently mix performances live from their respective SSL Nucleus-equipped studios in Burlington Township, NJ, and New Paltz, NY. Program audio/video was sent back to AMV via a 10 Mbps bidirectional bonded cellular connection.

Once AMV received the feed, the team pushed it up to YouTube. It was this bonded cellular data path bridged to the public internet that allowed Harris and Elff to remotely control their Pro Tools rigs at The Anyway and monitor their stereo mixes. The result was a live “multicamera” shoot with no video, audio, uplink or generator trucks, creating a quality reel at a production cost a fraction of that required for a traditional shoot.

Remote Production Group • www.remoteproductiongroup.com Anyway Stories • https://bit.ly/3gN53Rh

prosoundnetwork.com | January 2021

NETFLIX POST PANEL ENCOURAGES WOMEN IN SOUND

BY STEVE HARVEY hollywood, ca—“There are a lot of things that need to be shaken up. A lot of the rules are made by men for men,” said independent sound designer Paula Fairfield on Netflix’s recent “Women in Sound” panel. The interactive virtual event explored representation Whitney McElveen in the sound community, with a panel of women working in post-production, dubbing and music sharing their experiences in the industry.

Participating in the panel, moderated by Whitney McElveen of Netflix’s Creative Technologies & Infrastructure team, were Fairfield; Lora Hirschberg, an Oscar- and BAFTA-winning re-recording mixer at Skywalker Sound; Cindy Takehara, an Emmy-winning sound technology specialist working for Netflix; and Cristina Flores, a dubbing production supervisor in the streamer’s International Dubbing team.

Fairfield, who has two Emmy wins for her work on Game of Thrones, recounted incidents earlier in her career when she was followed late at night on two separate lots. “I tried to say something about it. In those days, you didn’t bring that up [or bosses might say] ‘you’re difficult, you’re a problem.’”

Her career might have gone a different way if, as a result of those incidents, she hadn’t turned down jobs that put her in similar situations, she said. “Figure out early on in your career what you need to do your best work,” advised Fairfield, who has built a succession of studios in order to work in her own environment.

“Men mentor one another,” she added. “We need to do this for each other as women.”

“Your difference is your strength,” said Hirschberg. You are being hired for your perspective, she said: “That’s your power, the thing you need to rely on and trust.

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“As women in a [profession] that’s predominantly men, we hold back and try to fit in. Don’t do that. You have to assert your own tastes, your own interests and your own personality, and you’ll be successful. It worked for me.”

She added, “It’s a good time to stick your neck out and try to get those jobs and knock on the doors. I think people really do want to include more women and the people who have been excluded for so long.”

When everyone is involved, everyone is better for it, Hirschberg said. “Every project I’ve ever had that’s had a diverse crew or an interesting set of people involved has always been the most fun, the most creative and the best project. When it’s a monoculture, it’s boring and stale.

“Netflix is a really important place for this because the point of Netflix is to open all these windows and doors so that people can see the entire world of television. That’s encouraging for all of us to participate in that,” she added.

Asked for advice she’d give women starting out in the industry, Takehara said, “The advice I wish I’d had when I was starting out is to understand that no one has everything figured out. Even with people who seem to be successful, you don’t know what struggles they had to overcome, so don’t compare yourself to anybody else. Focus on making a better version of yourself.”

When she was starting out, said Takehara, who has worked in her native Japan, Colombia and the United States, “I thought if I asked for help, people were going to think I wasn’t capable of doing anything. If you need help, just ask. You’ll be surprised.

A lot of people will be willing to help you.”

Netflix – Inclusion & Diversity • https://jobs.netflix.com/inclusion

BRIEFS Bi-Level OB Truck Rolls with RTS burnsville, mn—Washingtonville,

NY-based facilities and integration company M&J Systems Technologies is meeting the challenges of COVID-19 with the first vertically expanding broadcast truck, which is equipped with an RTS (www. rtsintercoms.com) ODIN OMNEO digital intercom matrix. The 40-foot-long trailer provides remote workstations on two floors and additionally offers a two-person announcer booth.

Harris Mixes Remotely with Neumann burlington, nj—Multi-award-winning

broadcast and mix engineer John Harris, music mixer for the televised Grammy celebration for the past 30 years, has set up a remote 5.1.4 immersive mixing environment at his home using Neumann (www.neumann.com) KH 310 monitors at LCR, KH 310s in the rear and four KH 120s overhead.

Up Schitt’s Creek with Lectrosonics los angeles, ca—Bryan

Day, sound mixer for TV comedy series Schitt’s Creek, whose final season set a record for the most Emmy Awards won in a single season, captured production dialogue with Lectrosonics (www.lectrosonics.com) Digital Hybrid Wireless Venue and Venue2 modular receivers, LR beltpack receivers, HMa plug-on transmitters and SSM micro transmitters.

Miking for Manipulation

montreal, qc—Brian D’Oliveira, founder and creative director at La Hacienda Creative in Montreal, records the otherworldly sounds of his 900-plus unique instruments to produce award-winning work for films, TV and videogames using a matched pair of Sanken (www.sankenchromatic.com) CUX100K microphones. The high-resolution response enables him to manipulate the audio in post.

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NATALIE SHIELDS

FIGHTING FOR AUDIO’S SEAT AT THE TABLE

BY JIM BEAUGEZ new york—In film, sound is often considered secondary to the visual elements, said Dallas Taylor, creative director at New York-based sound design studio Defacto Sound. “If the industry itself—where we only have visuals and sounds—still has a hard time identifying sound as a really creative storytelling tool, then I think the rest of the world probably still has a hard time with this.” Taylor aims to challenge and overcome those misperceptions with the podcast Twenty Thousand Hertz.

Defacto Sound creates trailers for movies and promos for television networks and other entertainment ventures, and Taylor’s work there exists at the intersection of visual and audio media. That focus is often reflected in the topics on Twenty Thousand Hertz, which dives into the stories behind well-known sounds, such as the Netflix “ta-dum” and the signature slap-and-pop bass guitar riffs on Seinfeld, sharing with non-professionals some of the secrets previously known only to sound engineers.

Taylor also takes on meatier subjects like the loudness wars and how we transmit sound as radio signals to satellites, the moon, Mars and beyond.

Every episode follows the rule that if a sound is mentioned, it must be represented. “It’s one thing to say, ‘On the moon, we have a delay of two and a half seconds round trip,’” he explained. “It’s another thing to hear that delay happen in real time. You really start to hear that latency between the two.

“At some point, you get so far [into space] that the radio frequencies we’re searching for get so noisy with everything else out there that we completely just fade into the background,” he added.

“Even if we were trying to get the communication out there, it’s so muddled with the noise of the universe.” To illustrate the idea for listeners, in the “Space Audity” episode, Taylor degrades the audio of an astrophysicist explaining the concept until the

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Twenty Thousand Hertz host Dallas Taylor uses the stories behind famous sounds to take a deeper look at what sound is and what it means in the modern world.

glitches fade into white noise.

When creating a podcast about the nuances of sound, it’s crucial to remember that one’s listeners will be hyper-aware of the show’s audio quality.

That focus presented challenges for Taylor when the pandemic made it impossible to send a tape syncher or book studio time to record interviews.

Now, each interview has a unique set of circumstances he works to overcome through apps like Tape Sync, platforms like Zencastr and Cleanfeed, and occasionally the microphone of a smartphone— but that’s a worst-case scenario.

“Surprisingly, the microphones on new phones are pretty good,” he said. “The reason we sound worse over the phone just has to do with the infrastructure. There are some options to record people with the raw mic from an iPhone or an Android phone. It’s just a matter of tapping that.”

The simplest way, he noted, is to have interviewees record their part of the conversation via their phone’s voice memo function, with the quality set to high. Tape Sync does basically the same thing, but it sends the audio file to him at the end of the interview. Zencastr and Cleanfeed open the door for outboard USB microphones, which naturally provide a much better sound.

“I’ve noticed that post-COVID, more people

have microphones because of the circumstances.

That’s good for us,” he said. “We have somebody on our team running [interviewees] through the tech and getting them set up and prepped, and [they] send over a sample before we ever get on a call. When we actually connect via Zencastr or on Cleanfeed, we have it all worked out beforehand.

Even if someone isn’t super technical, if they have a USB mic, we can usually get around that.”

For his own voice, Taylor tracks with a Shure SM7B dynamic microphone because it only picks up what is directly in front of it and has a stable tonality. “I like the fact that a dynamic microphone is not picking up my kids screaming from downstairs,” he said. “I’ve taken this microphone to hotel rooms, and when I’ve had to do little one-line pickups for the show, they match perfectly. It doesn’t pick up the room nearly at all.”

For a podcast about sound, that kind of perfectionism is crucial, as it helps underscore the show’s ethos. Twenty Thousand Hertz, said Taylor, grew out of the idea that sound deserves a seat at the table. “I wanted to make something that started to bring the joy to sound itself, almost like a chef’s table feel, but for sound, to hopefully get culture more in tune and more conscious about their sense of hearing.”

Twenty Thousand Hertz • www.20k.org

prosoundnetwork.com | January 2021

REINFORCEMENT

Miami’s Nu Deco Ensemble returned to playing live shows in October, with precautions ranging from masks to Plexiglas to social distancing in place.

NU DECO ENSEMBLE’S NEW SHOWS

BY STEVE HARVEY miami, fl—The

Nu Deco Ensemble demonstrated its flexibility when the coronavirus pandemic brought the genre-bending orchestra’s sixth season to a premature end in March 2020. Six months later, after several months of engaging its audience over digital platforms, the ensemble was back to live outdoor performances.

Founders and creative directors Sam Hyken and Jacomo Bairos formed Nu Deco in 2015 with the aim of reimagining the chamber orchestra for the modern age. The hybrid ensemble, which combines traditional and modern instruments, has carved a niche with new arrangements of music by the likes of Daft Punk and Queen, and special commissions of orchestral works by contemporary artists, including Kishi Bashi, Robert Glasper and Pascal La Boeuf.

prosoundnetwork.com | January 2021

Nu Deco has retained the same independent audio team since its inception, says Hyken. “Amplification is a crucial part, as we’re deliberately trying to create a futuristic sound, a new version of what an orchestra should sound like in a concert hall and beyond. We consider the audio team almost as members of the orchestra because what they do for live sound and the recording component is so critical. We recently have come to an agreement with a video team on the same level.”

Every performance is captured to the highest quality audio and video formats, but Nu Deco’s concerts, which are now being streamed, are live, not pre-recorded. “One of the things that made us who we were in the beginning was playing in intimate venues,” says Bairos. “We asked ourselves how we could capture that intimacy in all the music we do but also have some pizazz. We decided to have a live shoot. It’s a live show.”

The first concert since the pandemic hit, with guest artist José James at Miami’s North Beach Bandshell in late October, had all the hallmarks of a Nu Deco show—just no audience, and with masks and Plexiglas screens visible on stage. Since the repertoire is all custom, says Hyken, the ensemble can easily scale the size of the ensemble to meet social distancing requirements.

“We’ve been working with Baptist Medical, one of the best hospitals here, to check all our protocols,” he says. “Anyone coming from out of town, like José James, is rapid-tested every day.

We follow the CDC and local recommendations to the letter.”

Bairos says the ensemble also benefits from Florida being a right-to-work state, with no union agreements restricting live performances. “We’re one of the few orchestras still playing.”

Nu Deco Ensemble • www.nu-deco.org

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SES ON THE MOVE

BY CLIVE YOUNG mocksville, nc—Special Event Services (SES) was founded in a garage in 1986, but this past fall saw the audio, lighting, video, design, staging and live event production company move into a massive new facility that could take that garage—and the house it was attached to—and swallow them whole.

Located on a 15-acre site at 216 Angell Knoll Ave. in Mocksville, NC, the 52,000-square-foot, pre-engineered metal structure includes conference rooms, offices, warehouse space, numerous loading docks, a rigging workshop, a lighting and video studio, extensive parking and, most importantly, a lot of storage space.

The need for more storage had been plaguing founders Jim Brammer and Jeff Cranfill for decades.

In 1994, SES acquired a former RJR Tobacco warehouse and fully expected that the building had all the room SES would ever need. As both the company and production technologies matured, however, the warehouse became overcrowded to the point that during slower times of the year, some gear had to be left on trucks simply because there was not enough storage space inside the facility.

In the ensuing decades, Brammer, along with SES partners Cranfill, Don “Bogie” Cates and Jason

Farah, began envisioning a more functional building. In fact, SES attempted two other times to build a new headquarters, but the projects never broke ground for a variety of reasons. Ironically, with the new facility at hand, SES has more construction on its to-do list, as the company plans to build a rehearsal facility that will allow productions to develop and practice in a full-sized space matching a tour’s typical performance venues. The company expects to create 14 jobs and invest $8,850,000 in the expansion project.

Like many event production companies, SES expected to spend 2020 building on the momentum of the previous year, having spent 2019 working on 46 tours and more than 850 shows for clients including the Avett Brothers, Luke Combs, the Zac Brown Band, Hootie & The Blowfish, Ed Sheeran and Lynyrd Skynyrd. Despite the pandemic’s blow to the industry, the SES team’s enthusiasm for finishing the two-year construction project never flagged.

“Opening a building in the middle of a pandemic may not seem like the wisest decision,” said newly vested partner Michael Brammer, “but for our staff, it’s been a beacon of hope we can rally around.”

Special Event Services • www.specialeventservices.com

BRIEFS

Mississippi Church Expands

holly springs, ms—Heritage Apostolic Church in Holly Springs, MS, recently built a new sanctuary for its growing congregation, opting for an open two-story space with tiered seating along the stairways on either side. Covering the entire space are 16 Fulcrum Acoustic (www.fulcrumacoustic.com) FL283T dual 8-inch subcardioid modules in two separate arrays on either side of the altar.

Take Me Out to the Opera

tulsa, ok—The Tulsa Opera took over ONEOK Field, home of the Tulsa Drillers minor league baseball team, to stage an outdoor, baseballthemed version of Verdi’s Rigoletto with the help of sound provider Axiom Audio, which fielded 24 L-Acoustics (www.l-acoustics.com) Kara enclosures, six SB18 subs and a dozen Kiva IIs for side-fills. The system also included a DiGiCo SD10 FOH mixing console paired with two SDRacks.

John Hopkins, R.I.P.

Special Event Services’ new 52,000-square-foot headquarters in Mocksville, NC, includes conference rooms, offices, warehouse space, a rigging workshop, and a lighting and video studio.

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Hopkins, FOH engineer and tour manager, died of undisclosed causes Nov. 21 at the age of 50. A native of Oquawka, IL, Hopkins got his start in audio mixing at Gabe’s in Iowa City, IA, before going on to tour with doom metal and hard rock acts like Sleep, Corrosion of Conformity, Overkill, High on Fire, Uncle Acid and The Deadbeats, Neurosis and one of his own all-time favorite acts, The Melvins.

FACEBOOK/BIG BUSINESS

quad cities, ia—John

prosoundnetwork.com | January 2021

audio op-ed

UNTETHERING LIVE MUSIC WITH 5G

BY LEONARD LEE Leonard Lee is managing director and founder of neXt Curve, a boutique advisory firm based in San Diego, CA.

T

prosoundnetwork.com | January 2021

Live Music Production: Live music is a mission-critical operation. 5G has the potential to bring unprecedented mobile flexibility and agility to live music production. It can provide the ultrareliable wireless connectivity that reduces the complexity and cycle times for production setup and teardown. 5G also has the potential to improve the flexibility of a venue and its ability to support the infrastructure needs of international acts and the global portability of their equipment.

Live Music Audience/Fan Engagement: The multi-access nature of 5G will enable new cyberphysical approaches for artists and show designers to engage with the audience. This can be through real-time messaging, multicasting, gamification and a multitude of other digital interaction modes that augment the physical experience at massive scale and in real time.

Live Music Experience Capture: Each live performance is a unique experience. 5G will enable novel approaches for extreme-fidelity video and audio capture, such as volumetric media and drone-based videography.

These new applications will require wireless connectivity and the industrial-grade performance and broadband capacity promised by 5G. Live Music Event Broadcast & Sharing: Finally, 5G promises to deliver the high throughput needed to make the live broadcast of new immersive media formats possible. It will also provide the massive capacity that will allow members of the audience to share live multimedia content with each other, the artist and friends on social media during the course of a live performance.

We are very early in the process of thinking through how 5G can revolutionize live music. The artist, the show designer, engineers, venue operators and the equipment vendors will be critical participants in the rethinking of the live music experience, the venue and the business of live music as a whole. 5G is a vast ecosystem that the live music industry can and needs to explore in order to uncover the applications that will revolutionize the future of live music. neXt Curve • www.next-curve.com GETTY IMAGES/KARL WEATHERLY

here is no shortage of available and emerging technologies that can expand the frontier of innovation and creativity in live music now and in the post-pandemic era. Despite the hype, 5G is a tremendously exciting technology that will change the way we think of connectivity, computing and how we architect systems.

What if the snake could be replaced with a high-bandwidth, lowlatency connection that is wireless from the board to the stage? What if the multitude of devices on stage could be auto-provisioned in a secure and trusted fashion, connected by a highly reliable communications infrastructure? What if high-definition audio could be pumped wirelessly across all the speakers and monitors in a venue without interference and distortion?

What if devices could be expressive and smart?

Technologies such as 5G and the Internet of Things (IoT) are expanding the possibilities for how we can drive live music innovation. In particular, 5G brings about capabilities that can revolutionize how we connect things on stage and how artists can connect with their audiences. Much talked-about 5G features such as enhanced mobile broadband (eMBB) and ultrareliable low-latency communications (URLLC) are making industrial-grade wireless connectivity a reality.

Current and emerging 5G technologies and deployment architectures have the potential to deliver ultra-low latency connections across a live music platform—which includes audio, visual and lighting systems—while enhancing the flexibility and adaptability of a stage configuration or venue.

5G also brings powerful technologies that mobile network operators use to operate and manage their

networks with 5 nines (99.999 percent uptime) reliability. We are seeing early trials of 5G networks being used to support industrial-use cases that require 6 nines (99.9999 percent) reliability.

5G technologies are not just for big telecom operators; they can be right-sized for various private network implementations on licensed and unlicensed spectrum. Live music venue operators will be able to consider a wide range of private and carrier-hosted network deployment options to support their clients’ productions as well as to connect audiences in and beyond the venue.

Based on neXt Curve’s research, there are six areas in which the live music industry can apply 5G and IoT concepts to reinvent live music.

Live Music Performance: 5G is a global technology driven by a unifying standard established by the 3GPP. While regulators have provided alternative spectrum for wireless equipment to operate on, 5G presents an opportunity for the live music industry to shape spectrum policies that foster wireless performance tech innovation, or perhaps untether the industry from regulatory concerns altogether.

Live Music Design & Engineering: 5G has the potential to revolutionize stage and show design by introducing a new level of flexibility that wireless technology can bring. It can also enable novel mobile robotic applications that can bring about new dynamism and channels of expression to the stage, which we are already seeing with dronebased light shows.

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GEAR

BY RICH TOZZOLI Rich Tozzoli is an awardwinning, Grammynominated producer, engineer and composer for programming such as FOX NFL, Pawn Stars and Oprah & Deepak Chopra. www.richtozzoli.com.

The Mac Pro Rack dominates the 10 RU rack that houses it in Rich Tozzoli’s workspace.

APPLE MAC PRO RACK

I

f there’s one thing that we studio people like, it’s consistency in our gear. As the primary brains to most setups, the computer is central to that theme, so when my trusty Mac Pro “cheese grater”—which ran perfectly for 10 years—went down for the count a few months ago, I didn’t take it lightly. It was time to make some big decisions.

I weighed the basic questions we should always ask ourselves when upgrading: Do I stay with my current platform (a Mac, in my case)? What’s my budget? What’s the latest hardware on the market to fit my I/O needs? Am I buying for the short term or long?

30

Over the last few years, I thought about upgrading my old Mac Pro, my primary DAW platform, when I ran into roadblocks with OS upgrades, software and Pro Tools compatibility, but the little “trash can” shape that Apple used for Mac Pros manufactured between 2013 and 2019 just didn’t work for me.

I didn’t want to put my Avid HDX card and my UAD Octo card into a chassis. The trash can form factor is now history, however. After working on my laptop for a few months to get me through my “crisis,” I made the move and went big with a new Mac Pro Rack.

Luckily for me, my friend, producer/drummer extraordinaire Omar Hakim, had recently

real-world

reviews

been through the whole process, so I had a guide.

“Right before I got my new Mac, my ‘trash can’ suffered a catastrophic thermal meltdown,” he told me. “I ended up using a laptop for a few months while I was waiting for the release of the new Mac Pro Rack. I settled on a 12-core Mac Pro Rack model with 96 GB of RAM, a 2 TB factory SSD card and a base video card. I added two 2 TB internal Samsung SSD EVO 970 NVMe M.2 cards with two Vantec PCIe adapters—components I purchased, assembled and installed myself.

I then loaded up my two Avid HDX cards and Universal Audio Satellite PCI card. My studio has never run smoother!” He noted that he purchased the base amount of RAM from Apple and bought the rest from OWC. With his feedback in mind, I made the decision to purchase a Mac Pro Rack over an iMac Pro or Mac Mini. I visited Apple.com and went through the process of ordering the components I wanted: a 3.2 GHz 16-core Intel Xeon W processor-based machine with the base 32 GB of 2933 MHz DDR4 RAM to get started.

I also worked with Rob Zenn at Alto Music on this purchase; Zenn convinced me to get the AMD Radeon Pro W5700X 16 GB graphics card, as it includes four additional powered Thunderbolt 3 ports. We made sure the hardware came with macOS Catalina version 10.15.5 installed so as not to get into conflicts with the upcoming Big Sur OS release.

The good news: I had a machine that would rock. The bad news? It came to a whopping $9,900.

However, since this is the brains of my setup, which I use every day to compose, mix or create music, I judged it to be a good allocation of funds. Besides, it’s a tax write-off!

prosoundnetwork.com | January 2021

When the machine arrived, crated in foam, I couldn’t believe what a monster it was. It’s built like a tank. I was taken aback by its design and downright sturdiness. I’ve had a lot of Macs in my day, but nothing like this. It came with eight PCI Express expansion slots, two of which were filled by my Avid HDX card and the Universal Audio UAD-2 OCTO card.

Engineer Mike Dwyer and I slipped on the heavy-duty rack rails (sent separately from Apple) and slid it into the 10-space rack I purchased for it. We hooked up an HDMI video cable from my Samsung to the Mac, set up the cool black wireless keyboard and mouse, and fired it up. Within a few minutes, it was game on.

Next, we attached a single AVB Ethernet cable from my new Avid Carbon interface to the Mac Pro, and plugged in a Native Instruments Komplete Kontrol S88 Mk2 keyboard and PreSonus FaderPort 8 into two of the included USB ports. I had made an Apple Time Machine backup of my laptop the night before and saved the data on a portable SSD drive, which I hooked up to the new computer. Using Apple Time Machine’s Migration Assistant, I transferred the files from my backup to the new Mac Pro The Premier Supplier of Professional Audio, Video and Lighting Equipment Rack, and while it took almost two hours, everything transferred over to the new Mac: Pro Tools 2020.11, Reason, all of my Vienna Instruments, Omnisphere, Universal Audio Console and all of my plug-ins. I opened Pro Tools and everything simply worked. With just a few software updates, “Full Compass has been an essential resource it was the easiest migration I’ve ever experienced. for my company. They are always there for me when This week, I’m ordering 32 GB more RAM I need that last-minute product for a project.” and a few SSD internal drives to load the chassis – Greg White, Audio Engineer & up even more. It’s been flawless in its performance Owner of Madison Pro Audio so far, and not even my heavy virtual instrument sessions can choke it. For the first time, I’ve found a machine that works faster than I do, which has already helped my creativity. For me, it’s already worth the money.

Apple • www.apple.com

“For the first time, I’ve found a machine that works faster than I do, which has already helped my creativity. For me, it’s already worth the money.”

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11/5/20 11:38 AM

AUSTRIAN AUDIO HI-X50 AND HI-X55 HEADPHONES reviews real-world

M

icrophones and headphones are both transducers, doing basically the same thing but in reverse of each other, so it should come as no surprise that Austrian Audio has brought its considerable microphone expertise to the headphone market. The closed-back Hi-X55 and Hi-X50 (“Hi” as in high excursion) sport the same drivers, the same overall design, and a unique frequency translation that stands apart in the marketplace.

OUT OF THE BOX Unlike many headphones today, the 50 and 55 have an understated, classy look based on dark greys, satin blacks and sleek lines. The padded aluminum headband is thick enough for rigidity, but vented down the middle (laterally across your head) to allow air circulation and a more comfortable fit with less weight. The earcup adjustment sliders are firm, with only slight indentations that hold in place. The oval earcups swivel on strong pivots with metal In our tests, guitar-playing and vocalist clients mostly preferred the Hi-X55 headphones.

BY ROB TAVAGLIONE Rob Tavaglione owns and operates Charlotte’s Catalyst Recording and has been a longtime studio contributor. www.twitter.com/robtavaglione

hinges, and fold inward for compact storage. When in place on your ears, the headband is positioned slightly forward on your head—an unusual feature that feels nicely balanced and encourages long-term comfort.

About the only difference between the 50 and 55 is the earcups; the smaller 50 sits directly on

top of the ears, while the larger 55 completely surrounds the ears. This difference accounts for not only the slightly heavier weight of the 55 (still a reasonable 305 grams, only 20 grams more than the 50), but also the different frequency response between the two models (both rated from 5 Hz to 28 kHz). With a low impedance of 25 ohms, the resulting efficiency is a loud 118 dB SPL/V. The 44 mm drivers use a ring magnet system moving a copper-clad aluminum voice coil with a reportedly strongest-in-class magnetic field. The combination of power, stiffness and light weight makes for fast and accurate voice coil movements with very little “wobbling,” according to Austrian Audio, resulting in more punch and detail, and less coloration and distortion (less than 0.1 percent at 1 kHz). The ear pads are a soft, leatherlike material over slow-retention foam, with a large L and R inside the cups, clearly marking each at a glance.

The 50 and 55 each ship with a 3-meter straight cable, terminated with a proprietary twist-lock mini-plug on the earcup side and an 1/8-inch miniplug (with a 1/4-inch screw-on adapter) on the other end. A storage bag is included.

IN SESSION There’s a solid feel and balance to both headphones that impresses right off the bat. When mounted on my head, the weight distribution had no particular pressure points; they’re reasonably snug and didn’t feel like they were going to fall off my head should I lean forward. Despite the similarities, these headphones create very different listening experiences.

The 50’s ear pads are not much bigger than one’s ear and exert a good bit of pressure on them, but they weren’t uncomfortable. I found I could wear them for fairly long periods of time for mixing, but for a long day of tracking or overdubbing, the pressure was a little fatiguing.

For longer sessions—or for people who don’t like on-ear designs (of whom there are many)— the 55 displays the same comfortable balance but with absolutely no weight or pressure on the ears.

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prosoundnetwork.com | January 2021

Austrian Audio’s Hi-X50 and Hi-X55 headphones at Catalyst Recording.

These feel spacious, but offer a sonic presence that seems a bit further away and feels like “listening in a small room” compared to the 50. Despite these significant differences, there isn’t a right or a wrong headphone here; it’s purely a matter of personal taste and preference. I found most clients preferred the 55 for fit, like I do, but some preferred the smaller size of the 50—especially my clients who like to use headphones instead of earbuds while on the go.

After a lengthy break-in period, I found the 50 and 55 to sound quite similar, different only in midrange frequency reproduction. Both have a tight, focused and accurate sound that is quick, punchy and tightly damped, not at all loose or flabby. Dynamics are nuanced and imaging is clearly defined, with the phantom center sounding truly centered. The tonal balance is not at all warm here; it is more clinical and exacting, more flat than sculpted. The bottom is strong when the source material is strong, but there is seemingly no hype; if the source is at all lacking in low-end fullness, then the headphones scream “thin.” Likewise, if the source is brittle or thin up top, the Hi-Xs will starkly relay that. There is no smoothing or sculpting to mitigate the problem.

It is in the midrange that I find the Hi-Xs to be so different from either of the prevailing market trends: a scooped out at 400-ish “smiley face” curve with considerable hype on both ends, or monster bass boosts. In general, the mids sound flat on the 50 and 55, and it takes some getting used to. You’ll reconsider some of your mix moves for sure. Not only are mids abundant here, but the 50 seems to have a response bump around 700 Hz that I wish wasn’t there, although with a little subtractive EQ,

prosoundnetwork.com | January 2021

Austrian Audio's Hi-X50 headphones, intended for use in live sound and studio settings, offer a little more bottom end and less bulk.

I was able to get superb results. The 55, in my estimation, had two response bumps—one at 500 Hz and another at 1.2 kHz—that got in the way of

Both share a tight, focused and accurate sound that is quick, punchy and tightly damped, not at all loose or flabby. making accurate EQ decisions, although in all fairness, with a little subtractive EQ, it sounded quite good too.

THE FINAL MIX I found myself loving almost everything about the Hi-Xs with time and extended use: the fit (even

though I wear glasses), the soft ear pads, the long straight cable, the well-marked L/R designations (for the talent’s sake), the excellent punch, the note differentiation among very low notes and the precise transients. Over time, I did not get used that stark and unforgiving midrange (and the accompanying mid-bumps) and could not mix solely on the 50 or 55, although they could inform decisions with other monitoring. For tracking and overdubs, my guitar-playing and vocalist clients mostly preferred the 55 over the 50, while the drummers and bassists preferred cans with a more boomy bottom and less midrange response.

The inevitable question beyond “Do you recommend them?” (I do) is “Which model is better?” and that can’t be answered. For people who “don’t like things on their ears,” they’re going to get a better user experience with the 55, which feels really roomy and open, if a bit less intense. For those who want a little more bottom end, more immediacy and a bit less bulk, the 50 will fit the bill nicely.

Austrian Audio • https://austrian.audio

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SENNHEISER MD 435 reviews AND MD 445 DYNAMIC HANDHELD MICROPHONES real-world

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n November, Sennheiser introduced the dynamic MD 435 and MD 445 handheld vocal microphones for use in live sound settings. The heads on these mics are based on the legendary Sennheiser MD 9235 wireless handheld microphone head, which has been used on the biggest stages and with the most famous artists in the world. Many of my friends who mix big hip-hop artists rely on 9235s for their ability to handle loudness and their cardioid rejection—great for avoiding feedback from the monitors.

Those features of the 9235 head are found in these two mics as well. The MD 445 is a high-rejection supercardioid microphone and the MD 435 is cardioid. Both microphones are great for high sound pressure levels (max SPL is 163 dB) like a snare drum or guitar amps, but they can also handle a delicate human voice. They’re not as sensitive as a condenser mic, of course, but each one has a great natural sound in the higher frequencies. After checking out the frequency responses for each microphone, I noticed the MD 435 peaks at around the 5–7 kHz range in a way that reminded me of the Sennheiser 935, capturing very clean sound with a little help in the higher

frequencies for vocals. Meanwhile, the MD 445 has a darker yet slightly fuller sound because the frequency response has a smoother curve at those 5–7 kHz frequencies. Both microphones needed a decent amount of gain from my mic pre to get a respectable signal, but there was little to no white noise created.

I’m a big fan of the supercardioid polar pattern from my live mixing days—and now in my studio, too, for getting for ultimate rear rejection—and in that respect, the MD 445 really knocks it out the park.

The beautiful vocal response that it produces is second to none in dynamic handheld microphones, and I found I like this microphone on male vocals a little better for the darker lower frequencies.

In use, I found that handling noise for both handhelds was almost nonexistent, as you can hear for yourself on a special episode of The Art of Music Tech podcast that I recorded with my business partner Denis. We recorded an entire podcast using the microphones, and at one point switched mics so we could hear how each performed with female and male vocals. I was amazed at the silence while we traded microphones—there were none of those weird low-

While Sennheiser’s MD 435 (foreground) and MD 445 are intended primarily for live use, they’re useful in the studio, too, as Fela Davis found while putting them to work at One of One Productions.

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BY FELA DAVIS Fela Davis is a 2019 Hall of Fame inductee at Full Sail University. She owns 23dB Productions and One of One Productions Studio, which specializes in podcasting, video, and music production. Clients include the Holding Court with Eboni K. Williams podcast, SiriusXM, Atlantic Records, iHeartRadio and numerous Grammy Award-winning musicians. www.oneofoneproductions.com

frequency thumps that are common with handheld microphones. That truly blew me away, and it’s exactly why I would use them for a live podcast setting: They sound excellent and reject the noise that’s happening behind the microphone.

Out of the two, the MD 435 is my favorite for a female vocalist because of the sweetness around the 8 kHz range. I didn’t need to EQ frequencies as much as I would for the MD 445. I don’t like to tweak things if I don’t have to, so I would definitely have this in the audio toolbox for a female vocalist. As I mentioned earlier, the MD 435’s sound reminds me of a richer-toned Sennheiser 935. The two exhibit similar frequency responses, with the MD 435 at 40 Hz – 20 kHz and the 935 topping out at 18 kHz. The MD 435 has a silky tone on the top end that’s not too harsh, but lets the vocals sit on top.

Overall, the MD 435 and MD 445 are amazing microphones. The mic bodies have a slick black finish and the nice feel and shape that we’re used to seeing from the Sennheiser brand, along with a weight that is solid but not heavy. Each microphone retails for $499, so it’s not a beginner’s microphone, but the purchase would be well worth it for a road warrior engineer or vocalist. I’d even suggest it to podcasters who record in a non-studio setting. Sennheiser has continued its legendary evolution in the microphone world.

Sennheiser • www.sennheiser.com

prosoundnetwork.com | January 2021

innovations

A NEW SONIC PALETTE LAUTEN AUDIO LS-308 MICROPHONE

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ecently, we extended our vidual sound sources for recordSynergy family of microing. There is a life and energy that phones to include the comes with recording this way, LS-308, which is a microphone but it is extremely difficult to do expressly designed for recordwell—and microphone bleed is a ing situations where isolation is nightmare. Our belief was that essential but nearly impossible if we could achieve this level of to achieve. It is the first largeisolation with a mic that could also diaphragm condenser in history to handle high SPL, we would have offer a full 270 degrees of off-axis something truly unique that solved rejection, reducing sounds from a really big problem. nearby sources by up to 25 dB. After proving that the polar

BY BRIAN While the design and development pattern could be achieved, we LOUDENSLAGER of the LS-308 were fraught with needed to take a much closer Brian Loudenslager is the challenges, we are proud to have look at the circuit design. This founder of Lauten Audio. created a microphone that is a true is where things got complicated. “problem solver” in the studio, and Our original prototypes were the first of its kind. really rough. We tried numerous The original idea for this microphone came design options, including small-diaphragm capsules from a conversation I had with an engineer and because we thought they might be easier to deal friend named Fab Dupont. He was experimenting with. (They weren’t.) At the end of the day, we with a “lip microphone,” an old radio microphone just couldn’t get the timbre or response we wanted that you put right on your mouth. It rejects everybecause of the physics involved in the design. thing except what it’s pointed directly at, but the The pivotal moment for us turned out to be bandwidth is almost non-existent. Fab asked me mastering a double bias circuit, which places two if we could do a microphone with similar rejecidentical microphones into one. It sounds easy tion, but with a large-diaphragm condenser kind of enough, but each circuit has to be matched persound. I didn’t think it was possible, but I ran the fectly. If a single resistor is slightly out of spec on idea by our chief engineer and physicist, Charles one of the circuit boards, it will be unbalanced and Chen, Ph.D. Charles confirmed my assumption, but introduce phasing issues. You also have to handI couldn’t get the idea out of my head. tune two large-diaphragm condenser capsules that After a good bit of back and forth, I had a “what are moving around in the same microphone exactly, if” moment: What if we used the principles of a which is easier said than done. shotgun microphone, but made it purpose-built to There were other inherent limitations we had close-mic loud sound sources like kick drums, toms to work with as well, all of which were dictated by and guitar amps? Charles began exploring designs physics. For instance, we could only reject 25 dB in based on this idea, but as great engineers often do, sounds below 7–8 kHz. This is why the microphone he came back with something completely different: is sonically more akin to a ribbon than a condenser. a concept involving a second-order cardioid pattern This timbre works wonders on intended sound that resembles the flame from a lighter, but is actusources, but the mic also takes EQ exceptionally ally an ultra-narrow cardioid pattern. well if you need more top end on a sound.

At this point, you may be asking yourself, “Why An unexpected challenge turned out to be how even try to achieve such a severe degree of isoladirectional this mic is. Most microphones have tion in a studio microphone?” The answer is that a wide sweet spot that allows them to be placed we wanted musicians to be able to record with each similarly with positive results—but not the 308. It other in the same room live, while isolating indihears like a laser, which can be very confusing or

prosoundnetwork.com | January 2021

even frustrating in terms of mic placement if it’s your first time using the mic. The difference in timbre you achieve just by moving the microphone in half-inch increments straight across a woofer, for example, is significant. We tell users that you have to forget everything you know about mic placement because it doesn’t apply here. When you embrace that, you begin to realize that you have the ability to capture some truly unique sounds that you weren’t able to in the past.

The LS-308 is the most unique microphone we’ve ever made. It’s not going to work on everything, but it’s a problem-solver that does what no other microphone can. Want to track electric guitars in front of a live drum kit or the beater of a kick drum with almost no bleed? No problem.

Want the perfect vocal mic? This probably isn’t it.

Lauten Audio is a tiny, family-owned company that crafts unique microphones to solve problems. We hope you enjoy the 308 as much as we do.

Lauten Audio • www.lautenaudio.com

Lauten Audio LS-308 microphone

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studio products

1 Steinberg Nuendo 11

The version 11 update of the long-running digital audio workstation offers an array of new and improved features, including the ability to produce Dolby Atmos content entirely within Nuendo, professional metering including a Netflix Loudness Meter and Intelligibility Meter, SpectraLayers One, enhanced sound design tools, and exclusive sound effects content. The Netflix Loudness Meter is calibrated to the streamer’s Sound Mix Specifications and Best Practices, measuring dialogue-gated loudness. The AI-powered Intelligibility Meter indicates in real time the effort of the listener to understand speech in the mix.

2 Earthworks Audio ICON Microphones

Earthworks Audio’s ICON USB and ICON PRO XLR microphones are designed for use in podcasting, remote working, streaming and home recording.

The condenser-type ICON USB offers a frequency response of 20 Hz to 20 kHz, uses a cardioid polar pattern, and can take on up to 132 dB. The phantompowered ICON PRO expands on those specs with a frequency response of 20 Hz to 30 kHz and a max acoustic input of 139 dB. Both versions weigh 1.5 lb. The mics feature an integrated M-2R swivel ball joint that can be disconnected and remounted on any studio mic stand or boom arm.

3 Scope Labs Periscope Microphone

Scope Labs’ first microphone is the Periscope, an omni-condenser microphone with a built-in compressor for creative recording. The goal of constructing the mic with an omni capsule followed by a compression circuit is to highlight textural nuances that the mic captures, with the aim of providing a “hyper-realistic” sound. Its capsule with full frequency response captures sounds in detail and passes signal to the built-in compressor that gives the mic its unique fingerprint. The Periscope is manufactured in-house at Scope Labs in Finland.

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4 Waves CLA Epic Plug-In

Designed with Grammy Award-winning mix engineer Chris Lord-Alge, Waves’ CLA Epic plug-in brings together Lord-Alge’s complete suite of reverbs and delays, which are used to help create depth and dimension in a mix. Waves CLA Epic is centered around four specific delays (Slap, Throw, Tape, Crowd) and four reverbs (Plate, Room, Hall, Space). The plug-in operates by sending multiple delays to multiple reverbs on each track, so the delays become part of the overall sonic landscape. Users then control the exact blend with console faders, may activate any or all of the plug-in’s eight effect modules, and blend them using the plug-in’s console-type faders.

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5 Blackmagic Design Fairlight Desktop Console

The 12-fader Fairlight Desktop Console with integrated HDMI interface is intended for new users, smaller studios, commercials, and online and independent work. It features a familiar mixer design with 12 motorized faders, control knobs and illuminated buttons for channel identification. The built-in HDMI output lets customers connect a display, giving them the same interactive graphical feedback of audio status and metering as larger Fairlight consoles. By default, the console works in Strip Mode, giving customers one channel strip per track. Focus Mode lets customers assign all of the select buttons and knobs on the console to work on the parameters or plug-ins for a single track.

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prosoundnetwork.com | January 2021

live products

1 Yamaha CL/QL Neutrik Mic Preamp Control

With the recent release of CL/QL firmware v5.6, Yamaha has added specific support for Neutrik’s NA2-IO-DPRO Dante network device. The NA2-IO-DPRO is a 2-in/2-out breakout box designed to connect legacy audio equipment with the Dante network. It features high-quality microphone preamps and two Dante ports for either redundant setup or daisy chaining. The I/O device is intended for use in a network setup for line, mic and AES signals. Using the DPRO device on a truss, for example, would be a simple way to set up ambient miking with short cable runs, and then control it remotely via a Yamaha CL/QL console.

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2 EAW MKD1200 Series Installation Loudspeakers

The two speakers in Eastern Acoustic Works’ MKD1200 Series—the MKD1294 and MKD1264—are three-way designs engineered to produce high output levels for use in installed applications ranging from stadiums to small music venues. Both models incorporate dual 12-inch lowfrequency transducers with 3-inch vented voice coils, and coaxial 3.5-inch voice coil midrange and 1.75-inch voice coil high-frequency compression drivers. Nominal beam width of the MKD1294 is 90° horizontal x 45° vertical, while that of the MKD1264 is 60° horizontal x 45° vertical.

The large-format horn in the MKD1294 and MKD1264 may be rotated for altered pattern control, providing sound system integrators with installation options.

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3 Audix TM2 Acoustic Coupler for IEMs

TM2 is an integrated acoustic coupler for in-ear monitors (IEMs) designed to help live sound and studio engineers test IEM performance for artists. With the TM2 and readily available measurement software such as Rational Acoustic’s SMAART or Studio Six Digital’s Audio Tools, a monitor engineer can confirm the functionality of each performer’s IEMs before a show.

The TM2 includes adapters to fit a range of IEMs, including custom molds. The TM2 can also be connected to an acoustic calibrator for greater measurement precision.

4 Allen & Heath SQ MADI Option Card

The MADI Option Card for Allen & Heath’s compact SQ desk enables a variety of possibilities for integration with broadcast and recording systems, OB vans and third-party consoles for high-channel-count feeds over coaxial cables. The dual-port MADI card supports two streams of 64 channel bi-directional 24-bit/48 kHz serial digital audio transmission using two 75 ohm coaxial cables per port. An additional aux connector can be configured to mirror stream 1 outputs, pass thru stream 1 inputs, or as a word clock input or output.

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5 Yorkville Sound Synergy SA102, SA115S Loudspeakers

Aiming to provide a smaller, lighter, more portable version of its Synergy point source system, Yorkville has unveiled the SA102 active full-range loudspeaker and SA115S active subwoofer. Equipped with a 10-inch LF woofer and one HF compression driver, the SA102 delivers 1,200 watts (program) and 2,400 watts (peak) and provides a 7 degrees up, 38 degrees down coverage pattern.

Like its predecessor, the cabinet can be turned 180 degrees from top to bottom to flip the coverage pattern. The SA1153 subwoofer sports a Danley-patented 15-inch tapped horn, allowing it to deliver 6,400 watts (program) and 13,000 watts (peak) in a compact cabinet.

prosoundnetwork.com | January 2021

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PEOPLE SOUNDING BOARD

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e’re a few columns in, so I figure it’s about time that I introduce myself and tell you a little bit about me. I’m a sales and marketing guy, and I get things done by growing relationships and connecting dots. Like many of you, I normally work behind the scenes to make the “show” come together. I launch products and move projects forward while staying comfortably in the background.

It is pretty safe to say that anyone who knows me well knows that I love the sales process and that I live for customer service—but my truest and deepest passion revolves around customer relationship management (CRM) systems. I can preach the benefits of having a well-groomed contact database until I’ve cleared the room. For those of you who have worked with me over the years, you know that once I get on that soapbox, I can go on and on. And on.

But here’s why I’m so passionate about this topic and why I write this column: It works. I’ve worked for some of the most respected companies in the pro audio space, and as the executive director of the In-Ear Trade Organization, I represent top manufacturers from all over the world. I firmly believe this is because of the contacts that I have nurtured in my network, from my own personal CRM system. Everything I accomplish is because of the people I know.

The thing is, I’m not a sound engineer and I’m not a musician. I didn’t even start off in this this space. It was a series of serendipitous events that brought me here. As I became more successful, I wanted to deconstruct how I approach network-

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ing and see if I could effectively teach others the steps that opened doors for me. Once I began to put some of my thoughts down on paper, I realized that I really had something to contribute. I started coaching teams about how to network authentically and gave talks about why Nobody Likes Networking.

Then COVID hit, decimating our industry and impacting friends and colleagues. I figure that my tools can help now more than ever and I’m committed to getting the message out there.

So here’s what I do. Here’s my system. None of these steps is inherently difficult on its own, but the trick is to do them all together.

Step 1: Say Yes—The next time someone invites you somewhere, say yes. The next time you get asked to do a small project with a new team, say yes. The next time you get an opportunity to meet someone new, say yes. If it’s a stretch and slightly out of your comfort zone, that’s a telltale sign to say yes.

Step 2: Show Up—Keep your commitments.

Don’t be late. Be reliable. It is always easier to find a reason to get out of doing something new than to show up. Showing up is the hardest part, but it sets everything else into motion.

Step 3: Suit Up—Get in the game. Prepare for the event. Do your homework. Figure out who’s going to be there and take the time to learn something about them in advance.

Step 4: Follow Up—In every social interaction, there is always an exchange of ideas and commitments, and your job is to pay attention to what those are and to follow up on them. Maybe you

GETTY IMAGES

5 STEPS TO BECOMING A SKILLED NETWORKER

BY MIKE DIAS Mike Dias writes and speaks about What Entertainers Can Teach Executives and Why Nobody Likes Networking. He is the executive director for the In-Ear Monitor International Trade Organization and the vice president of sales for Earthworks Audio. He loves to trade stories, to talk shop, and to hear about your networking successes and failures! mike@inearmonitor.org.

offered to make an introduction, or you found a common overlap on a shared interest—maybe it was a book, a recipe, travel advice, anything. Take the time to follow up on it. If you mentioned the book, send it. If someone recommended a book, read it. And don’t forget to log your notes into your personal CRM system.

Step 5: Move It Forward—Keep the momentum and figure out a way you can help or be of service. Check in at a later date. Make introductions.

Share articles on your mutual interests.

Do this and you’ll be on your way to turning random contacts into friendships. It all starts with saying yes. By investing time and energy into helping those around you, you grow your circle of friends, colleagues and acquaintances. Sooner or later, people will refer to you as well-connected and a good networker. Your circle will expand from there.

prosoundnetwork.com | January 2021

view from the top

HEIL SOUND MAINTAINS ITS DIY SPIRIT ASH LEVITT, PRESIDENT, HEIL SOUND

BY TAMARA STARR

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ny pro audio company that has been around for more than 50 years is used to change, and Heil Sound, well-known for its microphones (and ham radio gear), is no exception. In November 2020, Ash Levitt was appointed president of the company, the culmination of his personal journey within the Fairview Heights, ILbased company.

“I actually first worked for Heil Sound when I was in high school—soldering, building and packaging products,” Levitt said. “Despite going to college on a jazz scholarship for guitar, my degrees were in psychology and I was a research psychologist in academia for a number of years.”

While Levitt initially took a different career path, he remained connected to pro audio, playing in bands and regularly doing consulting work for Heil Sound CEO and founder Bob Heil. “I was essentially working in two parallel worlds, writing research papers during the day and attending soundchecks and meeting with FOH engineers and artists at night,” he recalled. “I spent a lot of that time shadowing Bob Heil as well, going to studio sessions with him, learning his perspective on product design, and watching him engage with engineers and artists.”

It was an eye-opening learning experience for Levitt—one that eventually led to him returning to the company in 2017, where he leveraged his research skills to better understand the company’s user, dealer and distributor market research.

Despite casting a long shadow in pro audio, Heil Sound remains a small company in terms of personnel and is essentially a family business. Most of its

employees have worked there for years in a variety of functions. While parts are sourced from around the world, product finishing and quality control is still handled in-house, as is product development and R&D, working with professionals in the field.

Levitt pointed to the new PR 37 vocal mic as a prime example, noting that multiple FOH engineers used prototypes on the road with different productions, including the Warped Tour. “The final product is so much better for it, and we are thankful and indebted to them for their invaluable real-world feedback,” he said.

Heil Sound has always maintained a strong DIY sprit, which has fostered a company culture and philosophy closer to an agile startup than an industry cornerstone. Maintaining that viewpoint takes an active effort. “We have genuine concern in listening to engineers and artists,” he said. “We pride ourselves on having boots on the ground, so to speak, and on being reachable and responsive to the working professionals in the industry.”

This philosophy carries through to all interactions with customers, dealers and distributors.

Levitt hopes that the company’s methods show that they are music fans and musicians themselves, and that they’re passionate about helping people achieve the best sound they can.

Helping customers achieve their goals in turn helps Heil Sound determine its objectives. “My attention is simultaneously focused on the details and the big picture in terms of finding the right balance with our product line, vision, brand initiatives, and ensuring that our short-term and long-term strategic goals are met,” he said.

Live sound has always been a key part of Heil Sound’s history and product lineup, but with con-

“We have genuine concern in listening to engineers and artists. We pride ourselves on having boots on the ground, so to speak, and on being reachable and responsive to the working professionals in the industry.” ASH LEVITT prosoundnetwork.com | January 2021

Ash Levitt, president, Heil Sound

certs sidelined during the pandemic, the company is finding its biggest market now is podcasting, streaming and home recording. “We have long had a solid foothold in these spaces, so we were well positioned when the pandemic struck and those products started flying off our shelves,” Levitt said.

In fact, sales for some of Heil’s podcasting-related products have increased by 900 percent year-overyear, and Levitt expects that figure will only continue to grow.

Much as live events are expected to come back in 2021, so will demand for the products that make them happen. With that in mind, Levitt has short- and long-term goals for initiatives in that market that will be implemented over the next couple of years. For now, he acknowledged, the live sound world has bigger concerns. “Our hearts and thoughts are with everyone in the live sound industry who is struggling right now,” he said.

“We sincerely hope that industry workers and independent venues are able to hold on until we can all safely experience live concerts again.”

Heil Sound • www.heilsound.com

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applications (including distance learning) as well as students’ potential future fields; and coordinate projects with Pliskin and the rest of the team to increase the brand’s market share in post facilities.

sound people Eastern Acoustic Works has appointed pro audio veteran Michael Palmer as its director of U.S. sales.

Palmer will oversee all aspects of sales throughout the country, working closely with manufacturer sales reps Michael Palmer and regional sales managers.

He will liaise with EAW’s installation and touring applications teams, as well as consultants, contractors and concert/event production companies. Palmer comes to EAW from Allen & Heath and L-Acoustics, where he steered those manufacturers through growth periods as U.S. national sales manager and head of sales U.S. and Canada, respectively.

Industry veteran Matt Czyzewski has joined AtlasIED as executive vice president, a role in which he will drive sales and business strategies, product development and more.

He expects to uncover Matt Czyzewski future business and sales opportunities while leveraging brand awareness among dealers, distributors, and decision-makers in the education, hospitality, retail, healthcare, corporate, house of worship and other markets. Most recently, Czyzekski was president of Renkus-Heinz, a role that followed a 22-year tenure at Biamp.

Full Compass has expanded its national sales team with four pros drawn from the manufacturer and independent rep side of the industry. Parker Bradley is a former national sales manager from beyerdynamic, who also spent time at Mackie/ Loud Audio as a regional sales manager and at Guitar Center as a district manager in the Austin, TX, market. Lin Buck, a veteran of the pro AV industry, was most recently director of sales at MSE Audio. Prior to MSE, he was the senior manager for Harman’s Live Entertainment sales division, and additionally spent several years at Electro-Voice/Bosch as a regional sales manager.

Ricardo Hurtado previously worked at McFadden Sales representing brands such as Shure, AtlasIED, Williams, Vanguard and others. Prior to that, he

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Parker Bradley

Lin Buck

Ricardo Hurtado

Daniel Bostick

worked at Techrep Marketing, which represents Sennheiser, PreSonus, UA, Genelec, Phillips, QSC and other lines. Daniel Bostick previously worked at Full Scale AV/Techrep Marketing for several years, where he directed its inside sales support team and distribution operations, and managed its North American field sales force. That work followed time spent at AKG/Harman out of Nashville as a key accounts manager, and at Mackie Designs in Washington as technical sales trainer.

Focusrite Pro has added to its sales force with the promotions of Matt Pliskin to the role of broadcast and immersive audio sales manager, and Peter Tilley to the position of educational and post-production Matt Pliskin sales manager. Pliskin’s responsibilities will include strengthening relationships with the broadcast community in the United States and Canada; building on Focusrite Pro’s presence in the immersive audio community and the postPeter Tilley production and recording verticals; and coordinating projects with Focusrite’s post-production sales personnel to increase the brand’s market share in post facilities. Meanwhile, Tilley will build relationships with the educational community; serve as a resource for educators and students on the use of Focusrite Pro in educational

Clear-Com has expanded its Military, Aerospace and Government (MAG) team with the appointment of Kevin Broce as government accounts manager. He reports directly to director of government solutions Kevin Broce Patricia Griffin. Broce previously worked in a business development role focused on the western region of the United States at a leading intercom company. In that role, he established and maintained relationships with end users, resellers and system integrators in broadcast, AV, entertainment, sports and HOW markets, among other related duties. Prior to that, he worked in business development for Meyer Sound.

Media technology and engineering firm Advanced Systems Group has expanded its audio team with the additions of Jeff Briss as audio ambassador and Collyer Spreen as sales engineer. Previously, Briss coJeff Briss founded systems integrator Cutting Edge Audio Group in 1993, and remained with the company until he retired (temporarily) in late 2018.

Meanwhile, Spreen provided pro audio consulting and sales for Cutting Edge, following more than seven years as a Collyer Spreen pro audio solutions specialist for Avid Technology. A Pro Tools expert, he continues to work as a freelance recording engineer through his company, Soundasleep Productions.

Karan Kathuria

Renkus-Heinz has appointed Karan Kathuria as director operating across Asia, Oceania and SAARC. He previously worked in a variety of roles at Bose, Harman and MUSIC Tribe.

prosoundnetwork.com | January 2021

TYLENE “TY” ROBINSON

60

second

interview

DIRECTOR OF SALES AND MARKETING, SYMETRIX Q: What is your new position, and what does it entail?

My new position as director of sales and marketing puts me in a position to be a catalyst for our marketing and global sales teams, allowing Symetrix to be nimbler and more effective in cohesive sales and marketing efforts. I oversee and partner directly with our regional sales managers across the globe as well as leading our internal marketing and inside sales teams. These teams enable a smooth process for order entry through fulfillment, sales enablement, sales operations and marketing with a highperformance mentality.

Our goal is to break down the barriers to entry for integrators and end users in utilizing our products

Q: What are your short- and long-term goals?

My short-term goals are to really empower our teams on the vision and get them running at even higher performance levels. I want to enable and empower the talent we have internally and across the globe. Part of that goal is to get everyone aligned on the Symetrix message. We have a lot to offer and we want the world to know it. As we move from short-term to long-term vision, our teams will be ready to tackle the next big things coming from Symetrix.

Q: What is the greatest challenge you face?

I’m pleased to say that facing great challenges is what keeps me jumping out of bed and excited to come to work every day! My greatest challenge is that there are so many exciting things to tackle and we have so many great ideas—there just isn’t enough time in the day. Every day, we come to work hopping busy and we leave feeling a great sense of accomplishment as we see our efforts growing.

In a way, it feels a bit like we are in startup mode.

I’m an

AES

member.

Q: How has your background prepared you for your new role?

My background is a varied evolution of skills that I lovingly refer to as my “mixed bag,” which, when hybridized, come together to uniquely prepare me for success in this role. I started my career as a graphics and web designer and went pretty far down a digital marketing path. Through the eventual leadership of various projects, I pivoted to a period of developing an interest in project management and operations management via Lean Six Sigma.

The combination of creativity and understanding of design, plus operational excellence mixed with clubhouse leadership abilities, have aided my evolution into this role.

Q: What new marketing initiatives are we likely to see from the company?

We are really excited about some of the barriers we are breaking down with our marketing initiatives. We have aligned and activated our partners globally in amplifying a unified message across the world. Our marketing focus in the coming months will center on what we are referring to as the “Show Me How” initiative. Our goal is to break down the barriers to entry for integrators and end users in utilizing our products, and show them how Symetrix can assist them in providing lucrative value-added solutions.

prosoundnetwork.com | January 2021

Are you?

Join me DANIELA PARDO QUINTANA

www.aes.org/join

Recording Engineer, Musician, Student AES Educational Foundation 2020 Scholarship Recipient 41

GOLDFINGER GETS NOSTALGIC WITH NEVER LOOK BACK CALEB ALVAREZ

BY STEVE HARVEY

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ohn “Feldy” Feldmann likes to stay busy. Over a three-decade career, he’s done just that, fronting bands, holding down A&R positions, co-founding a record label, and producing and writing for a list of artists as long as your arm.

Then came the pandemic. Feldmann, Grammynominated for his work with Blink-182 and Fever 333, got down to business in the studio at his home in Calabasas, CA, re-recreating back catalog hits by Goldfinger, his seminal California ska-punk band.

The other far-flung band members contributed their tracks, with video, and Goldfinger’s Quarantine Video series was born.

Inspired, Feldmann sat down to write and produce a new Goldfinger album, the band’s ninth studio full-length since forming in 1994. Never Look Back was released Dec. 4 on his label, Big Noise.

Over Zoom, Feldmann gave PSN a virtual tour of his studio, where he’s currently working with Avril Lavigne, and talked about his pandemic productions.

ON THE QUARANTINE VIDEOS The idea came out of me knowing my own brain and knowing that an idle mind is the devil’s playground. I have got to be busy, and at the time, we didn’t know what COVID-19 was, or if it was a straight killer. I came up with this idea to record my parts and see if the guys could do their own parts in their respective houses.

The first song was “Here in Your Bedroom,” which was apropos. I just ripped it off YouTube and put it in a Pro Tools session. We set up a click template and I sang and played along to the original. All these videos are one take of me playing guitar and singing. Everyone else would send me their takes and I’d put them in the session. I wanted it to sound like a live show, so our live mix engineer, Jon Graber, mixed all of them.

ON PRODUCING NEVER LOOK BACK I wrote most of it in quarantine by myself. The

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Producer/singer/guitarist John Feldmann (center) and Goldfinger.

whole album was recorded in quarantine. It’s a fun, nostalgic Goldfinger album. We’ve got ska, punk, reggae—all the flavors.

Mike Herrera, our bass player, lives in Bremerton, WA, and did all his parts at his studio. Moon [Valjean], the guitar player, lives in St. Louis; he did all his stuff on a little Pro Tools “light” system.

Jon Graber has a studio and recorded [guitarist] Charlie Paulson there. Everything else was done here.

A lot of people want to sing their lead vocals to the vibe and hear the finished music to get the energy of the song, but I couldn’t do it that way. I would record my final vocals, all the doubles and all the harmonies, and all my guitars. I’m definitely a fan of Rupert Neve: I have the Brent Averil 1073s, the Vintech 1073s. I use the Slate Dragon as my 1176 modeler—I love that thing.

I sent everyone my finished parts with a click track. A lot of times I would program the drums; EZ Drummer has all my samples in their Pop Punk EZX. Travis Barker [of Blink-182] played a lot of the drums on the record; he lives in Calaba-

sas. Nick Gross [Big Noise co-founder] also played some of the drums. I’ve got a great drum room and a great drum kit, so we cut all of the drums at my studio. They were one of the last things I did on this album.

ON REMOTE PRODUCTION I had Mike [Herrera] sing a bunch of stuff. He’d write a verse, send me the lyrics, and I’d say yes or no: “Maybe you can give it another shot.”

Monique Powell from Save Ferris sang on one song. I said, “Could you give me more ad libs? I don’t feel your presence.” She did four different takes. She was in an apartment in London on a laptop, screaming into an SM58, so I used [Antares] Mic Mod [software] and changed it to a Manley Reference Gold.

Every album I’ve ever made, I’m in the room with the musicians and I’m saying, “Let’s try that again.” This time, I got the parts and had to make use of whatever they sent me. Thank God I’ve got such great musicians!

Goldfinger • www.goldfingermusic.com

prosoundnetwork.com | January 2021

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