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40 YEARS LATER, JOHN MEYER AND FRANCIS FORD COPPOLA BRING SENSUAL SOUND TO APOCALYPSE NOW: FINAL CUT

5.19 Contents

Photo: Courtesy SH Acoustics

Volume 43, Number 5

28 FEATURES 24 On the Cover: Sound and Movies— Bringing Low End to Apocalypse Now: Final Cut BY TOM KENNY

28 The Sounds of Liberty: Immersive, Interactive Museum Audio BY JENNIFER WALDEN

34 Hilltop Studios Nashville: A 56-Year Legacy, Still Going Strong

MUSIC

TECH

14 Remastering U2

36 Technology Spotlight:

for Vinyl: Scott Sedillo of Bernie Grundman Mastering Tackles the Catalog BY DAVID GOGGIN

16 Studio News & Notes: Mercer U to Reopen Capricorn Sound, Georgia; One Union Relaunches in SF

18 Classic Tracks: “Hello, It’s Me,” by Todd Rundgren BY ROBYN FLANS

LIVE

BY TOM KENNY

20 JUNGLE Takes Its Soul on the Road BY TODD BERKOWITZ

22 Live Sound News & Notes:

Storstova Culture House Upgrades; Aerosmith Opens Interactive Las Vegas Residency

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Studio Monitors 2019

40 New Products: Studio and Live Sound 42 Review: Steinberg AXR4T Audio Interface BY MIKE LEVINE

44 Review: Royer Labs dBooster BY BARRY RUDOLPH

46 Review: Steven Slate Drums 5 BY MICHAEL COOPER

50 Back Page Blog: Studio & Live BY MIKE LEVINE AND STEVE LA CERRA

DEPARTMENTS

10 From the Editor 12 Current 49 Marketplace/Classifieds On the Cover: John Meyer of Meyer Sound and Francis Coppola, photographed in early April 2019 in the library on the filmmaker’s Napa estate, three weeks before the premiere of Apocalypse Now: Final Cut. Photo: Steve Jennings. Mix, Volume 43, Number 5 (ISSN 0164-9957) is published monthly by Future US, Inc., 11 West 42nd Street, 15th Floor, New York, NY 10036. Periodical Postage Paid at New York, NY, and at additional mailing offices. POSTMASTER: Send address changes to Mix, PO Box 8518, Lowell, MA 01853. One-year (12 issues) subscription is $35. Canada is $40. All other international is $50. Printed in the USA. Canadian Post Publications Mail agreement No. 40612608. Canada return address: BleuChip International, P.O. Box 25542, London, ON N6C 6B2.

Vol. 43 No. 5

May 2019

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CONTENT VP/Content Creation Anthony Savona Content Director Tom Kenny, thomas.kenny@futurenet.com Content Manager Anthony Savona, anthony.savona@futurenet.com Technology Editor, Studio Mike Levine, techeditormike@gmail.com Technology Editor, Live Steve La Cerra, stevelacerra@verizon.net Sound Reinforcement Editor Steve La Cerra Contributors: Strother Bullins, Eddie Ciletti, Michael Cooper, Gary Eskow, Matt Hurwitz, Steve Jennings (photography), Sarah Jones, Barry Rudolph Production Manager Beatrice Weir Managing Design Director Nicole Cobban Design Director Walter Makarucha, Jr.

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Current From the Editor

The Scientist and the Bard A few weeks have gone by since the photo shoot, but I still can’t believe that 40 years after first being mesmerized by Apocalypse Now as a 16-year-old, Mix is featuring the legendary director Francis Coppola and John Meyer, equally talented in his own left-brain, science-and-reason-based way, on the cover. Full-disclosure: Apocalypse Now is certainly one of my top five desert island movies. And John Meyer is certainly one of the top five minds I have met in my 30 years with Mix. And as part of my job is to select each month’s cover story, I willingly admit to playing favorites in this particular choice. But it’s much more than that. Over the years, one of the threads in this column has been my fascination with the interaction of the left and right lobes of the brain through the corpus colossum. The logical and the creative, the ego and the id, science and the arts. The fluid interaction between technology and the arts has always seemed to me especially pronounced in professional audio, embodied in people like the late, great Stephen St. Croix, George Massenburg, Jack Joseph Puig and many, many others. That interaction between the left and the right takes place across all the entertainment arts, of course it does; but it sure seems prevalent in audio. On this month’s cover we have the epitome of the Scientist and the Bard! Sitting left and right. Sound & Cinema. Talking about the low end. “What John and I understand is that John is ‘a creative on the technical side,’” says Helen Meyer, co-founder of the company. “So from the beginning, really starting with Francis Coppola, we would partner with these artists who would want something that hasn’t yet been done, something that would help them to create. That has pushed us forward as a company in every thing we do. It has pushed us to create an experience for the artist and their audience, whether it’s in cinema, or a show like Cirque, or a world-class symphony hall.” With the 40th anniversary re-release of Apocalypse Now: Final Cut, there will be plenty of stories focused on the visuals, the restoration and the legacy. I doubt you’ll find one based around the 40-year friendship and collaboration between two such brilliant minds, where the focus is on Infrasonics and the decades-long desire to deliver the true impact of war—in all its rumbling, roaring, visceral, gut-punching, bone-rattling terror—through sound. And let’s not forget the movie, which stands the test of time and

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will someday go down as one of the finest examples of storytelling through the unity of sound and picture. Everything in the film is real; no digital effects, no compositing. What you see is what they shot. And Walter Murch’s groundbreaking, Oscar-winning sound design absolutely changed the way we hear films, representing perhaps the epitome of his lifelong search for the balance of Clarity and Density in a track. You don’t have to like war movies to appreciate the artistry, both audio and visual, in every frame. At the same time, during the waning days of 70mm prints, it basically ushered in Dolby 6-channel sound, with split surrounds, the forerunner to 5.1 Dolby Digital in the early 1990s. And now, Final Cut is ushering in a new dimension of low-frequency energy, down below the audible range to 13 Hz, where we feel, then hear, or sometimes hear, then feel, the true impact of what war might actually feel like out there in the real world. I didn’t know any of this at 16, when I had to drive 40 miles to West Lafayette, Ind., for the nearest movie theater. I’m sure the screen was small and the sound bled through the walls. I probably heard it in stereo. But I didn’t know about all that. I just remember being mesmerized, transfixed, horrified and enthralled all at the same time. As my daughters Molly and Jesse like to say, “Dad, they don’t pay you enough, but the perks sure are good.” They’re right. The night after I write this, I’ll be driving up to Skywalker Sound in Marin County with my movie buddy and longtime friend and colleague Greg Sutton for a special-invite screening of the film, with an introduction by Walter Murch. The Stag Theater is one of the finest in the world, for sound and picture, with a fullon Meyer Sound, Dolby Atmos system, newly calibrated and supplemented with four VLFCs. I’m ready for the ride down the river and the scream of “Arc light!” I’m ready for the napalm and the tiger. The rain in the jungle. Wagner immersing the room. For a fan of sound and cinema, it doesn’t get much better than that.

Tom Kenny Editor, Mix

Current // news & notes Marcy Ramos, Innovative HVAC Expert, 1947 – 2019 CREDITS RANGED FROM ELECTRIC LADY STUDIOS TO JUNGLE CITY TO LE POISSON ROUGE Marcy Ramos, an innovative and highly regarded HVAC engineering and design specialist, died of natural causes at his Staten Island, N.Y., home on Monday, April 1. A long-term associate with WSDG — Walters-Storyk Design Group, Ramos received his Bachelor of Mechanical Engineering degree from Manhattan College in 1969. That same year Ramos met fledgling architect/acoustician John Storyk, who had just begun work on the design of Electric Lady Studios in NYC’s Greenwich Village. Storyk engaged Ramos to design the complex ductwork installation for the soon to be world-famous studio. That HVAC system is still in service at the studio, which continues to churn out hits in its original location. Ramos went on to design HVAC systems for more than 500 WSDG recording and broadcast studios, educational and performance facilities, including Jungle City, Jay-Z’s Roc The Mic, Le Poisson Rouge and other complex assignments from Monaco to China. In 1977, Ramos joined the WTC Planning Division as the Project and Planning Engineer responsible for the integrity of World Trade Center Mechanical Systems. Other credits include survey and analysis of the Central Heating and Refrigeration Plant at LaGuardia Airport; design of the Southeast Plaza Building at the WTC; and expansion and modernization of the Port Authority Bus Terminal. In 1981, Ramos retired from the Port Authority to pursue private practice.

“Marcy Ramos’s legacy stretches far beyond his pioneering technical and engineering accomplishments,” says John Storyk. “He will be remembered as a great friend to all of us, and as a dedicated family man. He had a truly unique talent, in terms of visualizing complex HVAC issues. He was described by one of our partners, who knew him nearly as long as I did, as, ‘an excellent, irreplaceable man.’ He warmed our hearts and he kept us cool.” Recording engineer/producer Eddie Kramer remarks, “I am deeply saddened to hear of Marcy Ramos’ passing. He was a true gentleman and a brilliant master of all complex HVAC issues. Without Marcy’s ‘visualization,’ none of the studios that John Storyk designed and built would have been possible. He will be sorely missed.”

A Personal Remembrance JOHN STORYK, FOUNDING PARTNER, WSDG This week was a sad one in the WSDG universe. Marcy Ramos, a lifetime friend of mine and possibly the best studio HVAC engineer ever, passed away quite suddenly. Needless to say this has caught everyone by surprise. I had seen Marcy in our Mexico home just a few months ago with his wife, Nancy; others here in our New York office had been talking to him on a regular basis, continuing to be involved in several WSDG projects. When you really needed a complex HVAC issue to be solved, Marcy was the guy—simple as that. Fifty years ago, three young men in NYC met each other via some wild and crazy paths and set out to design a recording studio. None of us had actually ever been in a recording studio, but we somehow 15 months later made it work. Of course, I am describing myself, Marcy and another lost soldier, Bob Wolsch (extraordinary lighting and electric designer who passed away, again too early, a few years ago). The studio was Electric Lady Studios, still there, and to this day all of Marcy’s amazingly designed ductwork still functions. Add about 500 more rooms to this list and you have one part of Marcy’s legacy. With Bob gone for a few years and now Marcy not with me, I look for an emotion to grab onto. Scared comes to mind first. Without Marcy’s “visualization” many of the studios we designed and built during the past 50 years would not have been possible. Marcy received his Bachelor of Mechanical Engineering degree

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from Manhattan College in 1969. While in school he worked as an IBM Customer Engineer and specialized in the initial installation and field modifications of the 360 Series mainframe computer. After graduation he served at the Port Authority of New York and New Jersey in several of that organization’s design divisions, inland terminals, including aviation design and world trade, working there until 1981, supervising many of its signature projects in New York City. A chance meeting through a mutual friend added to a most serendipitous beginning, resulting in Marcy, Bob and I (with a lot of help from my lifetime friend, Eddie Kramer) bringing Electric lady Studios to reality. The list of studios from that moment on ranges from Talking House (San Francisco) and Jungle City (New York City) to Berklee College of Music (Boston). But this is only half of the story—half of Marcy’s legacy, and I am certain not the most important half. I cannot think of a kinder more compassionate person than Marcy. He was a great friend to all of us and a dedicated family man. Combined with a truly unusual engineering talent, particularly when it came to visualizing very complex HVAC issues, Marcy was (and I quote one of our partners): AN EXCELLENT MAN! Marcy, I will miss you very much. We will all miss you. Sweet music is still being made in rooms that you co-created. My friend, listen to the music being made in these rooms and most certainly rest in peace. n

Mastering engineer Scott Sedillo is pictured holding the clear vinyl pressing of U2’s No Line On The Horizon in the cutting room at Bernie Grundman Mastering.

SCOTT SEDILLO REMASTERS U2 VINYL AT BERNIE’S Entire Catalog Reissued, Including Colored Discs By Mr. Bonzai

astering engineer Scott Sedillo has been at Bernie Grundman Mastering since 2001 and has worked on new U2 releases, as well as the band’s catalog reissues, since 2004. “We’ve worked on almost everything U2 has released since that time,” says Sedillo. “It started off when U2’s long-time mastering team of

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Arnie Acosta and Cheryl Engels needed a new mastering studio to work in. Having previously worked at A&M Studios with some of our staff, we accommodated them here in one of our new mastering suites. I first joined the team as an assistant for Arnie because the amount of work and the pace at which U2 works can be quite a task. Over the years I started taking on more

of the actual mastering, eventually mastering everything for them.” U2 have been issuing new releases of older material on vinyl for a number of years. The Joshua Tree (1987), The Unforgettable Fire (1984), Boy (1980) and October (1981) were all kept in print after their release vinyl in the earlier remastering program. But many other titles

Photo by David Goggin

Music

Photo by David Goggin

Scott Sedillo is seen in his BGM mastering suite with a selection of remastered vinyl U2 albums.

went out of print over the years, and many have been difficult to find. As vinyl demand surged in recent years, a program was started to re-release U2’s catalog on vinyl. “It’s all part of a re-issue campaign that U2 started in 2017 for Mastered for iTunes (MFiT) release.” Sedillo continues. “Although we had started re-mastering the catalog back in 2004, at that time the Mastered for iTunes format did not exist. Essentially, we go back and revisit album titles from the original master tapes and create the idealized captures for each particular medium. The vinyl reissues stemmed from my MFiT remasters with all lacquers cut by myself or with fellow BGM engineer Chris Bellman.” One of the recent 2019 reissues is No Line On The Horizon (2009) on vinyl. “It’s the 10th anniversary of that album,” Sedillo explains, “so it was fitting for a nice new release, and a couple of bonus tracks were added. We were able to take advantage of the 10 years of advancement in technology, both in the digital and analog domains. Here at Bernie’s, we have a design staff (which I’m part of) with chief technician Beno May. We are constantly reevaluating and revisiting classic circuits, our analog tape machines, our line amps and the lay of the cutting system. If we discover a new way or an improvement that we can make to evolve our studio while pleasing both our engineers and clients, then we do it.”

Due to these advances in technology at Bernie’s, it is sometimes possible to capture more signal than was previously possible in the original record release. “Oftentimes,” Sedillo explains, “we can pull or extract information off of 50-year old tape that previously you couldn’t get because the noise floor was too high or the resolution was too low, even in the analog circuit. Although it may only be a 16-bit/44.1 kHz capture for CD, if the analog information that feeds the converter is more resolute, the overall project will be more resolute. Sometimes it’s a large amount; sometimes it’s small. But better is better, and it keeps our engines running trying to push the barriers of performance.” The 10th Anniversary vinyl remastering of No Line On The Horizon is available in traditional black vinyl, but also as clear vinyl. “Cosmetically, it’s really beautiful, and sonically, it sounds good,” says Sedillo. “Novelty LPs, like picture discs or other kinds of crazy swirl patterns in vinyl, often suffer from high surface noise and distortion because of the coloring compound’s effect. But it’s nice to see that this clear vinyl and these other colored LPs maintain a good level of sonic performance. And you get a treat for the eye, as well.” Sedillo explains why the vinyl reissue has two disks: “There is no fixed amount of time that you can cut onto a side. It’s determined by how loud you want to cut the level, the complexity of the

frequencies in the mix, tempos and panning. It all adds up to a wild and chaotic algorithm for what you might cut on a side. It’s not like a CD, where you can put 74 minutes or 80 minutes on it every time. We could cut this album as a two-sided, single disc LP, but we would have to sacrifice something. We would have to lower the level quite a bit, or we might have to lower the bass because it’s almost 58 minutes long. That means each side would be around 29 minutes in length. That’s a long side. “Rather than do that, we’ve broken the standard album into three sides, so that there are three or four songs on a side. That allows us to cut louder and it also allows us to cut more on the outside diameter of the disc where the velocity of the groove is faster. If the music is on the outside of an LP, you can think of it as having a higher sample rate than you have on the inside of the diameter, towards the label, where the speed is probably 40 percent slower. If you can keep the material on the outer two thirds or three quarters of the disc, that’s a much better sounding area than on the inner diameter. The trade-off is that people have to flip the discs a little bit more often, but they’re going to get better fidelity. On the fourth side, we put two bonus remixes from that album. So they got some extra music on there, as well.” How involved in the mastering are the members of the band? “They’re very involved,” says Sedillo. “Often they aren’t actually here physically, because they’re touring or they’re in a studio, and they’re all over the world all the time doing their work. But everything goes back to them and I’ll receive comments or approvals, and nothing goes out that they haven’t approved. Sometimes it has to happen very quickly. I’ve had to master a single for them within an hour. It happens at all hours of the day and night, and the band is there ready to listen if there’s that kind of a deadline. They’re definitely involved.” The discography of U2 consists of 14 studio albums, one live album, three compilation albums, 67 singles, and eight extended plays (EPs). Recent U2 titles remastered at Bernie Grundman Mastering include the No Line On The Horizon double LP on clear vinyl, Hold Me, Thrill Me, Kiss Me, Kill Me EP, The Joshua Tree – 30th Anniversary box set 4-CD and 7-LP gold vinyl, Zooropa double LP on blue vinyl, Achtung Baby double LP, and U2: The Europa EP, a new 3-track EP to celebrate this past Record Store Day on Saturday April 13, 2019. n

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Music // news & notes Mercer University to Re-Open Capricorn Sound Studios Mercer University plans to re-open the historic Capricorn Sound Studios in downtown Macon, GA by the end of 2019, the 50th anniversary of Capricorn’s founding, with a $2 million boost from the Peyton Anderson Foundation and the John S. and James L. Knight Foundation. The recording studio captured and defined the 1970s Southern Rock sound with a roster of talented artists who would become legends: the Allman Brothers Band, the Marshall Tucker Band, the Charlie Daniels Band, Wet Willie, Elvin Bishop and many others. Building on the studio’s legacy, Mercer Music at Capricorn will be a multi-purpose, 20,000-square-foot complex designed to leverage Macon’s music heritage to create Macon’s music future. It will contain the fully restored historic recording studio, plus an additional, larger studio suitable for orchestral recording and film scoring, as well as live performances. The facility will also feature an interpretive space that tells the story of Capricorn and Macon’s music history through artifacts and interactive exhibits. The heart of the project is a music incubator featuring 13 rehearsal rooms of various sizes to facilitate the development of music talent. The incubator will be available to musicians 24 hours a day, seven days a week. Plans also call for offices and meeting spaces for related arts and cultural

organizations. With $1 million each from Peyton Anderson Foundation and Knight Foundation, construction will proceed while the University continues its fundraising efforts to complete Mercer Music at Capricorn. Peyton Anderson Foundation made previous grants to purchase the building out of foreclosure and stabilize it after the Georgia Trust for Historic Preservation placed the building on its “Places in Peril” list in 2010, bringing the foundation’s total support to nearly $2 million. The building—actually four historic structures that were assembled into one complex—that would become Capricorn Sound Studios was purchased in 1967 by Redwal Music, a company owned by Mercer alumnus Phil Walden, his brother Alan Walden and Otis Redding, whose career was beginning to take off before his untimely death later that year. The studio opened in 1969, when Capricorn Records and the Allman Brothers Band were established in Macon. The University is planning a daylong series of events on December 3 to celebrate the studio’s re-opening, including live music and tours of the renovated facility.

One Union Recording Studios Relaunches One Union Recording Studios has completed a total rebuild of its facility in San Francisco. The finished site features five all-new, state-of-the-art studios designed for mixing, sound design, ADR, voice recording and other sound work. Each studio offers Avid/Euphonix digital mixing consoles, Avid MTRX interface systems, the latest Pro Tools software PT Ultimate and robust monitoring and signal processing gear. All studios have dedicated, large voice recording booths. One is certified for Dolby Atmos sound production. The facility’s infrastructure and central machine room are also all brand new. One Union began its reconstruction in September 2017 in the aftermath of a devastating fire that affected the entire facility. “Where needed, we took the building back to the studs,” says One Union president and owner John McGleenan. “We pulled out, removed and de-installed absolutely everything, and started fresh. We, then rebuilt the studios and rewired the whole facility. Each studio now has new consoles, speakers, furniture and wiring, and all are connected to new machine rooms. Every detail has been addressed and everything is in its proper place.” During the 18 months of reconstruction, One Union carried on operations on a limited basis, while maintaining its full staff. That included its team of engineers, Joaby Deal, Eben Carr, Andy Greenberg, Matt Wood and Isaac Olsen, who worked continuously and remain in place. Reconstruction was managed by LA-based Yanchar Design & Consulting Group, a specialist in design and engineering for sound facilities. All five studios feature Avid/Euphonix System 5 digital audio consoles, Pro Tools 2018 and Avid MTRX with Dante interface systems. Studio 4 adds Dolby Atmos capability with a full Atmos Production Suite as well as Atmos RMU.

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Studio 5, the facility’s largest recording space, has two MTRX systems, with a total of more than 240 analog, MADI and Dante outputs (256 inputs), integrated with a 9-foot Avid/Euphonix console. It also features a 110-inch, retractable projection screen in the control room and a 61-inch playback monitor in its dedicated voice booth. Among other things, the central machine room includes 300TB LTO archiving system. McGleenan adds that redundancy extends to broadband connectivity. To avoid outages, the facility is served by two 1 GB fiber optic connections provided by different suppliers. Wi-Fi is similarly available through duplicate services. “Service interruptions are not an option,” McGleenan says. “We can operate with every room functioning at maximum capacity without stressing our resources and horsepower.” One Union Recording was founded in 1994 and originally had just one sound studio. More studios were soon added as the company became a mainstay sound services provider to the region’s advertising industry. In recent years, the company has extended its scope to include corporate and branded media, television, film and games, and built a client base that extends across the country and around the world. n

Classic Tracks “HELLO IT’S ME,” TODD RUNDGREN Live in the Studio, With Arrangements on the Spot By Robyn Flans

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Photo by Michael Putland/Getty Images

odd Rundgren was pretty much flying by the seat of his pants when he recorded “Hello it’s Me” in 1972, and he says that kind of spontaneous situation in the studio was not uncommon in those days. “The first time I stepped into a studio to audition with The Nazz was probably in ’67, so it was barely five years on from when the expectations were that you could go into a studio and play everything live,” Rundgren recounts. “That’s how all our auditions went: ‘Get in there and play, you have half an hour; play as much of as many songs as you can in half an hour, you’re going direct to tape.’” “Hello It’s Me” was the first song Rundgren ever wrote. It was about a high school romance gone bad, originally recorded in 1968 by his band The Nazz. That version is roughly 10 beats per minute slower than the one recorded later. But the rather crazy thing about the 1972 version is that Rundgren really didn’t have a game plan for the arrangement when he went into New York’s Record Plant to record it as part of the final sessions for side four of the double album Something/Anything. When he started the album, his original intent was to play all the instruments himself, but as the project progressed into an album and a half, he decided to go for the full double album. `He didn’t know what to do with the fourth side, but he definitely knew he didn’t want to have to write any more songs. “I figured I had written and played enough of it all myself,” the artist explains. “What could I do that was different? I resolved that I would do everything live in the studio with no overdubs.” So one morning, he called his organist friend Mark “Moogy” Klingman to find some musicians and singers to record three songs—“You Left Me Sore,” “Dust in the Wind,” and “Hello It’s Me.” He had a vague vision in mind, and he requested

American singer-songwriter, musician and record producer, Todd Rundgren, June 1975.

the appropriate musicians, including horns and background singers. The players consisted of Klingman, John Siomos on drums, Stu Woods on bass, Robbie Kogale on guitar, Barry Rogers on Trombone, Randy Brecker on trumpet and Michael Brecker on tenor sax. Rundgren basically arranged the song anew, on the spot in the studio.

“I hadn’t written out the arrangements,” he recalls. “I had something stewing in my head and said, ‘Here are the changes to the song,’ then taught them the changes, found the feel I liked. If somebody played something I didn’t like, I’d say, ‘No, don’t play that, change it to something else.’ I wanted it to be less dirge-y than the original and have a little more energy to it. Music had

Photo by Gijsbert Hanekroot/Redferns

Todd Rundgren posed at a studio mixing desk in New York in 1974

evolved a little, so I wanted something that sounded a bit more contemporary, as opposed to the original stripped-down band.” Rundgren produced the session and basically did the engineering on the project. He placed all the mics, and the studio engineer pressed Record. On the hit single, the minute you hear the three notes on the bass leading into the song you know it’s “Hello It’s Me.” Rundgren says it was a part bassist Stu Woods came up with in the studio. Rundgren says on the album version there are about three or four false starts before the song begins. “When we were in the studio, a lot of people had a hard time hearing where they were supposed to come in,” Rundgren remembers. “The only person who was supposed to come in on four was the bass, and everyone else was supposed to come in on one, but everyone kept coming in on four. So if you listen to the album version, you can hear all these false starts.” Rundgren says the studio had a custom board, “part of the brag of the Record Plant, but also part of the problem,” he recalls. “The first session I ever did at the Record Plant was a band I was producing out of Philadelphia called American Dream. They had this brand new, custom-built console. The engineer in there didn’t know

the console because he had never worked on it before. After a day or two I got frustrated with him futzing around with it and essentially told him to leave and engineered it myself. It was the first time I ever did a hands-on engineering project.” For “Hello It’s Me,” it was a similar console and a little strange. Research reveals that in 1971 New York’s Record Plant had a Scully 12-track tape machine and Spectra Sonics Board, but Rundgren’s memory is hazy. While there was an isolation booth, Rundgren used it for the five background singers, mostly from the Broadway cast of Hair he says, so he had to place the drums in the studio, goboed off from everything else. On the drums, Rundgren says he liked to put a Shure SM57 just off the rim of the snare drum. “I usually never miked the bottom,” he explains. “I didn’t like the sound of the snares. I miked the drum on the top, but a little bit away from the drum so you could get a little bit of the snare noise.” He says he probably used 87s for overheads and dynamic mics all around on the toms. “My history until then as an engineer was mostly with rock players, so I wasn’t miking jazz players who were playing softly,” he says with a laugh. “Most rock drummers play at one level, and that’s loud. I was used to miking for that

style of playing, so everything was close-miked.” Rundgren sang and played the piano—which he says was fairly well isolated—simultaneously. “Which was unusual, because I had never performed the song before,” he says. “For all of the stuff on the live side, it was songs I hadn’t performed before.” He says he probably used a Shure 87 vocal mic, his standard choice back then. “That was the first mic an engineer put in front of me to sing into, so I figured, ‘Okay, this must be the right mic,’” Rundgren says. “I discovered more recently that my voice sounds a little better through a dynamic mic as opposed to a condenser mic. In those days I wasn’t making that kind of distinction.” Rundgren says the Brecker Brothers (Randy on trumpet, Michael on tenor sax) came up with their own arrangement. “A lot of it was just like blowing changes, and then I suggested, ‘Why don’t you just do a little riffing when we get to the bridge of the song,’ and then they came up with this funky riff at the end.” Rundgren says he’s fairly certain they didn’t do more than half a dozen takes of the song, adding, “We did three songs over a three-hour session.” Rundgren mixed the record at Woodstock’s Bearsville studio B, which he says originally had a board from the mobile truck he had used on The Band’s Stage Fright album he had recorded at the Woodstock Playhouse. While mixing “Hello It’s Me,” Rundgren says he did not do anything elaborate, just put a little reverb and ambient sound on the track. “I wanted everything to sound live and not too processed. Everything on that side is pretty dry, so not too much in the way of effects.” he says. “I Saw the Light” was the first single released off the album, and it reached No. 16. Next was “Couldn’t I Just Tell You,” which didn’t do well, and then the record company edited the album version of “Hello It’s Me” to release it as a third single in September 1973. When it made it to No. 5 on the Billboard Top 100, Rundgren was surprised. “I didn’t think it would be a hit,” Rundgren says of the song that has been used in many films and TV shows. “I didn’t think any of that live stuff was appropriate for a single. I always thought it was too raw or too rough, but apparently somebody heard it and thought it was a single.” n

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Photo: Todd Berkowitz

Live JUNGLE AND THE MANY FACES OF SOUL Large, Energetic Stage Show Calls for a Simplified Mix By Todd Berkowitz

he soul sound can often be a blend of time and genre. It might be 1960s-style R&B, it might be 1970s-style funk, but it always redefines the boundaries of how we listen to pop music. JUNGLE fits right in, mixing effortless dance grooves with anthemic group vocals for a spectacular live show that lives up to the hype. Mix caught up with the band in Seattle in March, while on tour for the their second

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studio album, 2018’s For Ever. “JUNGLE have released two albums so far and they are both quite different in terms of production and sonics,” says FOH engineer Antoine Richard. “I find their sound urban, energetic and complexly simple; each song often has its own sonic and is built around two or three main elements. My primary role as FOH engineer is to make their music sound engaging live and

manage to translate that energy and subtlety with a well-balanced mix. There are many details that need to be heard—or felt—without being too distracting. It is a really interesting challenge as there is a lot going on with seven musicians on stage playing: a full acoustic drum kit [using triggers on certain songs], a decent size percussion rig, three keyboards, and a fair few MIDI-controlled sounds, as well as the classic

Photo: Oli Crump/BCS Audio

Jungle FOH engineer Antoine Richard

guitars and bass and five singers.” “The entire band is on IEMs, which lends itself perfectly to creating clean, isolated mixes,” adds monitor engineer Barrie Pitt. “To supplement this, I use a 2x18 sub under the drum riser, which acts as a butt kicker for the drummer. It also adds weight to the center of the stage without having the need for side fills.” JUNGLE may be a neo soul dance band, but these are also love songs (requited or otherwise), so a broad, compelling approach is important. “I think my mix is extremely dynamic,” says Richard. “I don’t use snapshots; I want to keep things fresh and open on a creative level. The dynamic through the set is pretty wide, as it is composed of some dance tunes, slow jams and a few intimate, down-tempo, minimal numbers.” That also means Richard and Pitt keep their

gear needs to a minimum, easily able to replicate their setup in a small club or on the many worldwide festival dates the band is known for. “For the sake of consistency, I’ve been trying to keep things extremely simple in terms of outboard and plug-ins,” says Richard. “I am currently using the in-built premium rack of the Yamaha CL5, the Portico compressor and the Neve 5045—a game changer!—on all vocals, as well as a few channels of dynamic EQs that I primarily use on the bass channels and vocals. We both carry a UAD Apollo that we use to transfer some very specific effects used by the band on records to the road. They have a distinctive Leslie effect on the main vocals and a chorus effect on the bass. “In addition, I also use an Empirical Labs Fatso Jr. on a stereo drums bus group, as well as a few channels of SPL Transient Designer to get

a big and tight drum sound,” he continues. “I also always carry an Empirical Labs Distressor that I use on the main bass DI channel, and the physical version of the Neve 5045. Once you start using them, you don’t want to mix without them ever again! I’ve got all I need in a 3U sleeved rack that I can fly anywhere, which I find absolutely mind-blowing.” “I tour with a small rack with a Kemper Profiler, which has profiled Josh and Tom’s [LloydWatson and McFarland, the band’s founders] guitar amp and it gives great consistency for shows, especially fly shows where you’re at the mercy of backline hire companies,” adds Pitt. “I have API2500 comps on both the main vocals, which gives weight and awesome coherency and clarity—something which is hard to achieve on higher-range, falsetto vocals.” Those falsetto vocals are an integral part of the sound, as they contribute to the rich aesthetic they aim to bring off their records and to the live audience. It’s a sound that references everyone from Marvin Gaye to Bon Iver, but with seven musicians on stage, it’s a big show, one that is becoming more and more their hallmark. “Mix-wise, the band are all really good players and know exactly what they want to achieve with their sound,” says Pitt. “Josh and Tom have a very detailed FOH mix, and I use snapshots to make small adjustments between tracks. The rest of the band have similar mixes with the emphasis on their own instrument and vocal. As a band, they always strive for perfection and are immensely passionate about what they do.” n

news & notes San Luis Obispo Performing Arts Center Upgrades With Allen & Heath A new Allen & Heath dLive digital mixing system helps lead audio technician Robb Albrecht and his audio crew manage a busy schedule at Harold Miossi Hall, a 1,300-seat performing arts and multipurpose venue at the San Luis Obispo Performing Arts Center on the Central Coast of California. The venue hosts up to five different shows each week, including nationally-known pop artists, symphony and jazz concerts, traveling ballet companies, Broadway shows and local groups. Albrecht and his staff manage the audio with a dLive S7000 Surface and DM64 MixRack for FOH, an S5000 Surface and DM0 MixRack for monitors, a C3500 Surface and CDM32 MixRack in a control booth and a pair of DX168 expanders located where needed. The system is networked with Allen & Heath gigaACE, fiberACE and Dante cards, and was purchased from Bill Gaines Audio of San Luis Obispo.

“We had older digital mixers in each of these roles,” says Albrecht. “But, when funds became available, I knew that I wanted something more advanced. We have an Allen & Heath GLD-80 in our black-box room and it’s really cool. And, when I saw the dLive at NAMM, I realized it’s even another step beyond the GLD. Now, when we get road shows that don’t carry their own desk, it’s easy to train their engineers and they all love the dLive.” Albrecht uses the dLive Director software to create show files away from the system, which saves a lot of busy work and lets him concentrate on getting the show up and running. dLive layers and DCA spills help manage multiple sources and mixes and Albrecht adds dLive scenes for selected performances. He adds, “We have a storage room full of compressors, gates, reverb units and EQs that I rarely use anymore because the effects in the dLive

Robb Albrecht, lead audio technician at the San Luis Obispo Performing Arts Center, and his Allen & Heath dLive S7000 Surface and DM64 MixRack at FOH.

are amazing. “We host some diverse performances here at the PAC, and each has their own set of challenges, but the dLive’s flexibility has helped our shows run smoothly and, compared to our old system, the sound quality is like night and day. When I’m on stage, I can stand by a musician playing a violin and listen to the articulation of their fingers. Now, I can go back to the desk and hear that same detail, and that is pretty amazing.”

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Live // news & notes Aerosmith Launches High-Tech Las Vegas Residency Aerosmith launched their Las Vegas residency, “Aerosmith: Deuces Are Wild,” at Park Theater at the new Park MGM resort in early April, combining visceral rock with high technology to bring to life their incredible story of a struggling group from Boston who became one of America’s top-selling rock ‘n’ roll bands. The centerpiece of the show was the 90-minute live performance from the original Aerosmith band members—Steven Tyler, Joe Perry, Tom Hamilton, Brad Whitford and Joey Kramer. The band goes beyond the average concert by taking fans on a deep dive of their groundbreaking career with exclusive, unreleased audio and never-before-seen visuals from Aerosmith’s archives featured through a 12-screen media presentation (including a 140-foot x 40-foot high-definition screen) produced by Oscar and Emmy-winning global visual effects studio Pixomondo. Using cuttingedge technology, Pixomondo also brings to life Aerosmith’s infamous logo—the wings—which unfold to herald the band’s arrival on stage. Every vantage point in the intimate Park Theater, the first THX Certified live performance venue featuring L-Acoustics L-ISA Immersive Hyperreal Sound, will bring fans face-to-face with the band, including the world’s first THX On-Stage VIP experience and walkway that stretches from the stage to the balcony seats. THX provided independent analysis of the venue and sound system

performance within the venue. As a part of the THX certification process, the technical team evaluated the L-Acoustics system design and its implementation, and verified the alignment of the acoustics systems and the seamless integration the equipment and technologies. In the THX On-Stage VIP section, fans will have privileged access to studio-quality audio direct from the Aerosmith mixing board via MIXhalo’s audio technology through their own pair of THX Certified 1MORE Triple Driver in-ear headphones. Pixomondo packs motion graphics, animations, stream of consciousness imagery and flashback moments of the Band’s colorful past, all woven together in a tapestry of visions expressing the emotions of Aerosmith’s iconic 50-year road trip. Additionally, PIxomondo’s 20-minute pre-show takes the audience back in time, as they’re treated to the sights and sounds of the band’s historic journey, beginning with Woodstock and spiraling forward to the present. Sixty minutes, and two encores later, the graphic animated imagery culminates with an explosive visual display, as the band disappears into the massive wings for good.

Storstova Culture House Upgrades With EM Acoustics Storstova Culture House is a 400-seat venue in Bryne, just south of Stavanger on Norway’s ruggedly beautiful west coast. Having first opened its doors in 1964, Storstova has hosted thousand of cinema shows and has been home to hundreds of performances of all types. When the time came to renew the sound system, owners Time Kommune turned to pro audio specialists Norstage, who supplied and installed a complete EM Acoustics system based on the compact HALO-C line array system. “Our old PA had served us well, but it was a large, cumbersome system from the ’80s,” explains Storstova’s operations manager and head of sound, Bård Ystanes. “It was still going strong, but it was time to replace it with something smaller and more modern that gave us better sight lines and more precise coverage.” Ystanes and his team looked at systems from most of the major loudspeaker manufacturers. After extensive testing in-house, they concluded that HALO-C was the perfect fit for Storstova. “It just ticked all the boxes,” says Ystanes. “It was the right size, the right budget, and frankly, when we heard what it was capable of, we were blown away. The crystalline sound quality and smooth, homogenous coverage across every single seat were simply amazing. We ran all the usual stuff through it to test it in playback mode, but to test it for live performance we had EM’s technical director Ed Kinsella playing our grand piano (whilst eating Cheez Doodles), miked with a Royer Labs SF-24 stereo ribbon mic. What came out of the HALO-C sold us completely.”

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Nostage installed a total of 20 HALO-C line array elements in two hangs of ten cabinets L/R plus six compact EMS-51s for frontfill. The venue also has a Dolby Atmos surround system that can be piloted from the Digico SD5 at FoH for immersive sound applications. “I’m thrilled with the new system,” concludes Ystanes. “Now that the cinema has moved to a new building, here we concentrate exclusively on performing arts. We get everything from live music of all types to dance, theater, stand-up and more. It’s great to know that we can do them justice with a modern sound system that sounds every bit as good as those in venues where customers would be paying twice the price.” n

on the cover

The Low-End, Sensual Sound of Apocalypse Now: Final Cut 40 Years Later, Francis Ford Coppola and John Meyer Fulfill Their Dream of Delivering the True Impact of War By Tom Kenny

Photo: Steve Jennings

Francis Ford Coppola and John Meyer were gracious enough to sit with Mix’s star photographer Steve Jennings in early April, at Coppola’s Napa estate, in the week leading up to the director’s 80th birthday celebration. Though this outtake did not make the cover, we loved it for both the stature of the two men and the KEM in the foreground—a testament to their many decades in sound and cinema.

Photos: Steve Jennings

The relatively modest but acoustically accurate rerecording stage at Coppola’s Napa facility, with Meyer Sound VLFCs left and right of the screen. Inset. A close-up of the VLFC in action.

SENSUAL SOUND, DOWN TO 13 HZ “Sensual Sound is when you ‘feel’ the movement of air vibrating everything, including your bones, before you actually hear it,” says director Francis Ford Coppola from his Napa home, just days following his 80th birthday celebration in early April. “At the time of its shooting, there were no picture digital effects, so essentially what you see is what we did. Nothing in the picture was faked, simulated, digitally created or composited. As far as sound was concerned, we were at the forefront of what became Dolby 5.1 surround sound. “When you see the B-52 strikes in this

new version, you hear them and then you feel them,” he adds. “It’s the difference between just hearing something and being inside a room that’s shaking. You get scared when the room is shaking.” The premiere at The Beacon included a large, custom Meyer Sound playback system, featuring 12 VLFC subwoofers that extend down to 13 Hz, placed in an end-firing cardioid array, supplemented by six 1100-LFC subs. In August it Photo: Courtesy of Meyer Sound

Photo: Courtesy of Helen Meyer

his is a story about low end. Yes, it’s about Apocalypse Now, one of the seminal and best-sounding movies of the 20th century, all dressed up for its recent premiere on April 28 in a 40th anniversary, finalcut edition at the Tribeca Film Festival, in The Beacon Theatre. There will be plenty written about its 4k scan from the original 70mm print and the re-recording to Dolby Atmos. But it’s not about that. It is also not a story about the re-imagining of Walter Murch’s groundbreaking, awardwinning sound design and mix, which Larry Blake detailed in an excellent Mix feature back in 2001, with the 25-year re-release and the addition of new material, including the French plantation scene. It stands the test of time as one of the finest tracks on screen. That’s not debatable. But that’s not this story. Nor is it about the October-April Dolby Atmos remix-premix led by Peter Horner at Zoetrope, and later on at Dolby’s True Grit dub stage. There’s a good story there, no doubt. This is a story about two men who truly care about sound and cinema, who have spent 40 years thinking, not obsessively but occasionally, about how to improve true low-frequency impact on the screen. How to deliver the visceral punch and concussive shock wave of an explosion through sound, by diving into Infrasonics, down below 20 Hz. In this case, it’s a war movie. In the two men’s minds, it’s about how we experience the world around us, and how movies can more accurately portray that world.

Helen Meyer, co-founder of Meyer Sound, with Francis Ford Coppola 40 years after they first met in San Francisco.

Helen and John Meyer, at a 1979 convention showing off the new company’s first product, the ADT studio monitor.

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Photo: Steve Jennings

John Meyer, left, stepping back into the re-recording stage 40 years after he first was brought in on the original release to help with the “70mm road show.” Here, Meyer sits with re-recording mixer Peter Horner at the studio on Coppola’s Napa estate, where the Dolby Atmos premix took place, aided by two of the new Meyer Sound VLFC subwoofers.

will be available on Blu-ray going down to 16 Hz, for those who can even play that back. Both the event and disc will promote Sensual Sound, a collaboration between Zoetrope and Meyer Sound that marks what John Meyer calls “the first steps into a whole other dimension of sound, where we are just beginning to understand how it works on the brain and the body outside of the audible range. We’ve experimented with the VLFC at Metallica shows and at Roskilde Festival, but cinema seems to be the perfect venue for how we can even begin to understand this new tool creatively.” Explosions, thunderclaps, helicopters, rumbling trucks and elephant’s footstep nearby— these are the types of low-frequency events that trigger a primal response in the brain whereby adrenaline is released. And pretty much all these sounds are in Apocalypse Now. So, when work began on the re-release, the folks at Zoetrope called the folks at Meyer Sound, just as they did the first time around back in 1979, when they

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faced the same challenge: How can we make an audience “feel” what war is really like? BEGINNING THE LOW-END JOURNEY “The company was only a few months old in 1979, and we had just started selling our first product, the ADT studio monitors that John had designed in Switzerland,” Helen Meyer, co-founder of Meyer Sound recalls. “We got a call and then a visit from Tom Scott, who was working with Walter Murch at Zoetrope, and they said that they were trying to re-create this incredible lowfrequency sound. John had been working on these big 650 subwoofers to go with the ADT monitors, and he knew immediately what do.” “Subwoofers going around at the time could only go down to about 60 Hz,” John Meyer explains. “We were trying to bring it down to 27 cycles for rock and roll, and we got it to about 30. That’s what we were demonstrating in Berkeley when Tom Scott came and listened to us and told us about a shootout they were doing at

Northpoint Theatre in San Francisco. “So, we brought our only two subs over,” he continues. “There were a lot of companies there, but we were the only one with real low end. You could feel it in the theater, feel the sound hit you. The other ones didn’t have any real power in the lows, and maybe got down to 50. I can remember Francis said, ‘I want to feel those explosions in the bathroom, I want to feel them everywhere!’” Those early experiments with low end took place during the nearly two-year post-production work on the film. The playback system was intended to be installed around the country in theaters showing the film in 70mm. After the studio abandoned that concept and released the film mostly in 35mm, it turned into only about five theaters with the Meyer Sound subs, putting on hold the young company’s entrance into cinema. “But we kept making them, and that actually became one of our very first products, the 650,” says Helen Meyer, adding that John then took the sub across the bridge and hooked up with the

Photos: Courtesy of Meyer Sound

Grateful Dead. “Almost all of our key products over the years were designed for an artist or someone in the field who wanted something that didn’t exist and asked us to help them create something. We become inspired by that.” “Early on, John and Helen extended their small Meyer Sound company to our small movie company,” Coppola says. “Both grew in size and stature as a result of our dynamic collaboration. Meyer Sound is certainly a high-level company that I am proud of being associated with.” Of course, Coppola couldn’t have imagined back then that 40 years later he would be sitting down with the Meyer Sound team, again talking about low frequencies. BACK TO THE PRESENT It’s not that Coppola and Meyer weren’t satisfied with what they accomplished in 1979. They excelled with the technologies of the day, but it still didn’t create that feeling they both knew existed out in the world. “I’ve heard loud explosions,” Meyer says. “And even back then I knew we didn’t create the full power. It was better, and I knew there was another dimension to it, but we didn’t know how to achieve that then.” In the intervening years, Coppola continued to make and produce films, and Meyer Sound branched into touring, Broadway, recording studios, installations and even sound for restaurants and train stations. It’s a company built on research, testing, analysis and crosspollination of the full-frequency, linear playback systems the company is founded on. And they never really left cinema. So last October, when Zoetrope called again, it was originally meant to be a discussion about upgrading the re-recording stage from 7.1 to 7.1.4. It ended up bringing the conversation full-circle, back to the LFE channel, and the introduction of the VLFC (Very Low Frequency Control)—a relatively new product designed originally for touring—to audio postproduction and playback. This time Miles Rogers, Meyer Sound’s business development manager, Cinema & Content Creation Markets, took the call. Zoetrope had been one of Meyer Sound’s first customers when they developed Acheron for the screen channels. Rogers knew

John Meyer in the first days of Meyer Sound, 1979, testing loudspeakers at the company’s Berkeley, Calif., facility.

John Meyer in 1979, testing loudspeaker performance in the free-field.

the facility and the team well. “Apparently, Francis and John had been working together for years about low-frequency impact, and essentially these two guys invented the Low Frequency Effect channel in film.” Rogers says. “Meanwhile, John and I had been talking about the use of VLFC in cinema for a while, but there really wasn’t a project out there that could make use of the LF channel in the

“I think the low frequencies became very, very important for Francis in the making of the film, and this time around he wanted to push it even more.” —John Meyer

storytelling. An effect is one thing, but it has to be a part of the story. “So when I started talking to Colin [Guthrie, chief engineer] and Pete [Horner, re-recording engineer] at Zoetrope about the Atmos implementation, I said, ‘We have this sub that goes down to 12.5 Hz and it’s the perfect tool for you to realize what this film has always wanted to realize in the LF range. They said yes! John and Helen said, yes. So I brought two of them up to the second floor of the barn in Napa, put them in and aligned them so that we had summation and extension of the LF channel, and I said to just play with them and let me know what they (continued on page 49)

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The Sounds of Liberty Immersive, Theatrical, Fluid Sound Design for New Interactive Museum By Jennifer Walden Photo: Courtesy of ESI Design

Interactive and multimedia exhibits will use digital technology to provoke insight, stir emotions and inspire visitors of all ages, providing a fresh take on the story of this world-renowned icon and the important ideals it represents.

pening this month is Liberty Island’s new Statue of Liberty Museum, created by The Statue of Liberty-Ellis Island Foundation (SOLEIF) and the National Park Service. Inside the 26,000-square-foot space, visitors can walk through three immersive theaters that show close-up views of the Statue and offer an overview of liberty on a global scale. The theaters then open into an engagement gallery, where exhibits lead visitors through the Statue of Liberty’s construction, her unveiling, her symbolic role for immigrants, and the perpetuation of liberty. The exhibitions, by ESI Design in New York, create “an experience that combines artifacts and participation, layering the physical and the digital in an immersive way,” says ESI’s head of media architecture, Emily Webster. “We knew audio would be a key tool in offering a fully immersive experience. We wanted the soundscapes to transport the visitor to a moment in history, for example when the Statue’s form was being hammered out of copper sheets.” New York-based sound designer/mixer Jeremy Bloom created four soundscapes for the engagement gallery exhibits. For the first one, “Constructing Liberty,” Bloom extensively researched the Statue’s

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production process. In Paris, sculptor Frédéric-Auguste Bartholdi used a technique called repoussé, which involved creating full-scale sections of the Statue in plaster and then building large wooden molds around each one. Next, thin sheets of copper were hammered into the wooden molds, creating the contours of the Statue. These sheets were shipped to New York and hung from an iron armature affixed to the concrete pedestal on Liberty Island. Bloom wanted to re-create this construction process as accurately as possible, so he headed to Les Metalliers Champenois (LMC Corp) in Paterson, N.J., whose team of metalworkers emigrated from France to help restore the Statue in 1984. Since they still had the molds they used, Bloom—armed with a Sound Devices 702T and a Sennheiser MKH40— was “able to record copper of the proper thickness being hammered into the actual forms that were used for the Statue of Liberty,” he says. “Constructing Liberty” also features a bed of workers’ voices calling out to each other as they’re building the wooden forms and hammering metal sheets, and even gossiping on their break. For this, Bloom worked with loop group expert Dann Fink, co-owner of Loopers Unlimited in New York, who hired a group of French-speaking actors to improvise

Photo: Courtesy SH Acoustics

confident that the songs in the soundscape are ones that were performed during the actual event,” Bloom says. “Using a combination of historical sources, we were able to make a script to follow for the dedication ceremony,” he adds. “It’s like a forensic reconstruction of this event. Even though there weren’t sound recordings of it, the soundscape gives a clear picture of what it was like to be there on that day.” The third soundscape, “Welcoming Immigrants,” is a montage of interviews created from recordings captured as part of an oral history project at Ellis Island. With access to the entire audio archive, Bloom was able to select a diverse range of experiences and reactions to edit together. He then remastered the dialog tracks using iZotope’s RX 7 Advanced, Brusfri noise reducer by Klevgrand, and FabFilter Pro-Q 2. There is no music or background ambience in “Welcoming Immigrants.” Since the exhibits are close together and open to each other, music from “Opening Ceremony” and the last exhibit, “Becoming Liberty,” can be faintly heard in “Welcoming Immigrants.” But that’s not a bad thing. “All of the soundscapes are meant to be symbiotic and intertwine in a way,” says Bloom. “There are key moments when the speeches in ‘Opening Ceremony’ bleed over into ‘Welcoming Immigrants.’ For example, the cannon fire is timed so that it punctuates the interviews of ‘Welcoming Immigrants.’ And the abstract music of ‘Becoming Liberty’ is designed to be completely complementary to the marching band music in ‘Opening Ceremony.’” In fact, some of Bloom’s evocative music for “Becoming Liberty” was derived from the marching band music in “Opening Ceremony.” He heavily processed the marching band music using the SpecOps plug-in from Unfiltered

equipment, Bloom notes that journalism of that era was more descriptive than our modern-day news stories. “Accounts of the ceremony are full of chronological details, like specific interruptions from the crowd, tugboats in the harbor blowing their horns, guns firing from the sides of war ships, and the elocution of various speakers, like Senator William Evarts and President Grover Cleveland. The level of detail is spectacular!” says Bloom. For the voice of President Cleveland, Bloom—who sound designs several shows for WNYC—pulled a recording of Cleveland from the WNYC archives. Voice actor Bill Lobley used that to study Cleveland’s inflections and speech patterns, and then imitated those in his performance of Cleveland’s Statue dedication speech. “Opening Ceremony” even includes marching band music. Bloom and Belantara researched the marching bands that participated in the event and their musical repertoires. “I’m very

Photo: Courtesy of Jeremy Bloom

their dialog based on Bloom’s research of the workers’ names, the production process, and popular theories regarding Lady Liberty’s model. Was it Bartholdi’s mother? His wife? Bloom, who recorded loop group and dialog at NYC’s Gigantic Studios and Sound Lounge, says, “Any Francophones visiting the exhibit may pick up on that information. That’s a fun little Easter egg, a special little treat for them. I love hiding that kind of stuff in my work.” Bloom ran the sound effects and voices through a convolution reverb in Audio Ease’s Altiverb that mimicked the acoustics of the Paris workshop (based on its dimensions and building materials), effectively putting them into that space and adding another layer of realism to the soundscape. Historical research also drove Bloom’s next soundscape, called “Opening Ceremony,” which covers the Statue’s unveiling in October 1886. Bloom’s research assistant Amanda Belantara dug up old newspaper articles of the event. Because this was before the prevalence of recording

Photo: Courtesy Emily Webster

For “Becoming Liberty,” Steve Haas and SH Acoustics mainly employed traditional JBL Control 25AV speakers with subs below the screen; plus, a JBL CBT 100LA line array was positioned horizontally on each end. Inset: They also attached a few more custom transducers to the back of a drywall section where speaker grilles couldn’t be seen.

Emily Webster, ESI’s head of media architecture.

Sound designer/mixer Jeremy Bloom.

mixonline.com | M A Y 2 0 1 9 | M I X

Photo: Courtesy Jeremy Bloom

Sound designer/mixer Jeremy Bloom’s personal studio in New York City, where much of the initial design and editing took place. Inset: Bloom’s stacked soundscapes Pro Tools sessions.

Audio and Evolve from GRM Tools, to turn it into more of an abstract drone. The rest of the 16-minute composition was created using virtual instruments like Spectrasonics Omnisphere and several from Soniccouture for Native Instruments Kontakt. “The music overall is crafted in such a way that it doesn’t reference any musical era or specific instrumentation. It’s ambient music meant to express a timeless feeling,” explains Bloom. Bloom created all four soundscapes in a master Pro Tools session. He stacked the soundscapes on top of each other, as opposed to staggering them across the timeline,

because in the museum all four soundscapes always play together on a loop. “They’re more like parts of a whole,” explains Bloom. Each soundscape is multichannel (except “Welcoming Immigrants”), but not in a traditional format like 5.1 or 7.1. “Constructing Liberty” is four separate channels in a semi-circular layout, and “Opening Ceremony” has five separate channels spread linearly across a wall. “Becoming Liberty” is 10 channels, with a different stem coming from each speaker so that the sounds mix acoustically in the space instead of digitally in the speaker. Using Dolby Atmos object panning, Bloom could “lay out the soundscapes in this odd speaker configuration and get a sense of the imaging,” he says. Bloom mixed in Gigantic Studio’s Mix A and Mix C. But playback in a soundproof studio is much different than in an open museum space. Bloom worked closely with Steve Haas, CEO and principal consultant of SH Acoustics in Milford, Conn., who has over 30 years of experience in museum audio and acoustic design. Haas devised an optimal playback system for the exhibits and then worked with AV integrator Diversified to get it into place. Haas says: “In museum exhibit galleries, there is always a need to provide both quality of sound and the control of sound bleed between areas. Our work with media producers, like Jeremy [Bloom], is tightly intertwined because we have to understand what the content is going to be so we know what control we need and what quality we need in order to design a complementary system.” In this case, the goal was to mix the galleries so the soundscapes could flow into one another, but there couldn’t be so much bleed that it was distracting. “It had to feel alive and immersive, but still have clarity in the dialog,” says Haas. He also had to consider speaker placement when designing the playback system. For “Constructing Liberty” and “Opening Ceremony,” Haas couldn’t hide speakers in the ceiling or in the floor since the exhibits’

M I X | M A Y 2 0 1 9 | mixonline .c om

Photo: Courtesy Jeremy Bloom

ijJt

LIViNO 59

VOL

LIBERTY UNVEILED

FOG

CITY AFLOAT HID IN

America Accepts tho Gift of tlio French People 1 A

of hun momnnt On Bhorlilnn rncflvnl thnt PIt rly on tlm IIIIUo stood by the lruidrt during the rovlll lhim hood of thn fIrst tlvlslon conn nlnni tho ITrench gunslsworii prntinlodI to llio Prttllont and hnl hl ninlI tit iculp tor liii ni hold l Khonk thiniworo hunrtyehiMrfl IUnit HWopt In n wne nff Hound nvr lie tnutltudn Hint wrn tnku up nn tho riiitxklrtH nf DID email nud passed smug far licyonul Iho Ip ltit whom thu piDiln thy coulllol for ulint wore Hhniitlng was lookIng with and ni tiHiini solfpopooBPOil Hut n small cut on his rIght chock which ho Indinvlng himself before n strange glafli yes turday morning ho was apparently without a

And a Million or So of People Ashore raking Holiday in the Wet-

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President Tko NHYIII 1rneriilnn JnIIbIe Even From Hklp In HklpTke 1knnlom Fleet Unite Iltrlf Heard Tkoligk UrulloniVndcr the Statue by Kvnrli flpew nnd unit n Hpicck or Acerpluneci De From IrMldrnt ClevelndTa UrnniDIitUr Mat Akend of Brnnlor Kvurli ned Dropped lEer VII Deter kc Invited GreAt Crowd > In the Mire > Her Fireworks TkaT > r k Not Ycl Much like Paris al tourist buy Now York been moro U tho resemblance can never striking than It wee at 8 oclock yesterday tnornlne when the streets woro tilled with the military uniformed civilians and police the sounded everystrIn of the Marseillaise where and the tricolor of tho French republic floated from roof tope windows and balconies tocothor with our own glorious Stars and tttrlocs Twenty thousand men In uniforms were to march down Fifth avenue and Broad way to tbo Battery with flags and bands ot music and a million poole moro or loss came out to see the sight They moved from the sast and west through tho eldo streets and blookod tho walk along the line of march many of lay attire all of them In Iayl

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was an auspicious day for n cole tratlon The gayety of tho early morning Vrbloh withstood tho dismal aspect of tho clouds gave way In an hour What wns lit first

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but a molet atmosphere became a mint and presently a drizzle anti long before the proDS Blon bad reached tho Battery the colossal statue of Liberty out on Bedlows Island whloh all this noise and muslo and demonstration generally were to do honor to was mumod upInvisible in a regular London fog anti the tremendous tiring of cannon down tbo bay from unseen nnrsblbs was either totally Insomebody were udlbo ashore or sounded ilatnralne doors Every one cordially hoped on Wednesday Blcht that a patriotic weather bureau would MB to It that the storm should blow ovor anl leave the day unclouded If possible but at any rato dry But the rain continued nil nleht long and pretty much all day yesterday and on that account the decorations buildings alone tho line of march wore not general as might have been nor as elaborate Tbo City Hall was the only public building In town which was notable by reason of the display of bunting Flags and banners arranged with taste sot ofT Its beautiful front splendidly and long streamers of small flags festooned from The Post the dome heightened the effect Offloa building was also tastefully draped with American and French Hags Up about the point In Fifth avenue Snit south of startol Plrk there wore many small flags there were Indeed from windows and balconies all the way down to the Battery Trench floated over the Brunswick and faa Honso where the French guests the was gay with streamers of red Ae quartered blue The Hotel Bartboldi too was whit and with bunting and from the Albomarlo end Fifth Avenue Hotels fluttered colored streamers Across Park row between the World and tho Post Offloo building was evergreens

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the lackof banners on tbo outer Smetblnl ofbrownstono mansions of Fifth

wale avenue was made up by tho attractive displays at the front windows whero charmingly dressed women and children presented themselves to view the parade and In turn them viewed und admired Every door- ¬ iehros to step on avenue was crowded with a family party The sidewalks were full to tho Curb and policemen along tho avenues kept back tho people from the roadway and after oclock turned nil approaching wagons Into tho side streets The Fifth avenue stages wore allowed to run until shortly before tbo hour of the march and hundreds of pooplo sit on tho roof seats In the rain to ride over the Hue and lea tbn display Between Thirtieth sod Twentysixth streets Fifth avenue Is iminsBablo by reason ol the uuflnlphud patlng anil the procession went around Into MidNonl tuonuo to oscnpo the deep mUll From the corner of Madison avemio and Twentysixth street to thn corner 01 Fifth avenue and Twentythird diagonally aruns Madison Himarn thn street nt ii itt tuili wits unbroken U iiimhed end crowded nil the tlma toward Tilth avenue and as steadily the police pushed It back again The reviewing stand was on tho west side of Fifth avenue near tho Worth Monument and across the streot was another stand In which some lanu people wire packed Along Fifth below Mudiaon squat just ns great the crowds trucks and WHUins offering seats not polnlB of observation at so much sent Btood in all the cross Street and all these people collected at 8 oclork In the mornlnif to hil tho pnradu nt 11 They patiently In tho drenihlni mll cheerful toadexpectant nd soino with waterproofs or urn relies but mott of tlirm unprotected and when hours after the of theirowda llhorlllnioultf hut lost the procession canto tie Cono ot their AmutUnn Hero anti there along tim whoro n lampioss lamp post roared nltIUl top above tho crowd a boy was HIUH to be scaled In the cup mal Iho top of tho Kortrf stroot relr tolr hundreds of fnvurod ouiiii pooplo march there was no unoccupiedwindow no Overlooking roof comic rum which spectators did not look down Fonple people poopo I everywhere swarmedovcir tho face oh the earth I

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blemleb He was dressed In block wearing a frock coat and a loosofltllng sack overcoat and itis silk bat was without gloss An armchair had bon put In the stand for him but ho declined to sit down Thereupon some ono un- ¬ dertook to remove the chair and Mr Olovelnnd putting his hand on the back of the chair said No so llrrnly that tho orderly dropped the furniture ns If It had boon shot out of his hands The President removed his overcoat and laid It onr tho back of the chair near which ho stood to review tho marcblngcolumnTo every commanding oflleer In tho lino the Prnnldont raised his hat exposing the large bald epot on his head to tim falling rain When tbo colors of any regiment or body were dipped he snluted In tbe same way For tbe rest ho stood motionless No one offered him an umbrella nnd he stood without shelter throughout tho two hours anti more but before more than half the column hart passed be put on his overcoat with tho old ot Secretary Bayard ¬

riNELOOKINl PEAVA1UNO URN Oen Stone ou horseback stood to the right of the 1roeldent as the column moved past On the stand ion Dan Klcklos wearing no end of medals was at the Presidents right It was lust twenty minutes to 11 when the Old Ounrd which had escorted the President from Bocro Inry Whltneyt h use moved up preceded by

tho Thirteenth Regiment band wheeled around from Twentyslxtn street Into Fifth avenue and took Its placo opposite the reviewing stand There was a blare of brns nod tho policemen drums and n sound wheeled Into Filth avenue preceding John file

Col

of the First division and IIUllol marshal wearing tong darkblue overcoats with cno oianti honvlly trImmed with braid Thus United btatw Naval Itrlgndn under Cuupt Robert Lloyd which followed was ono of Ito most Interesting featnroH of the nholo parade Thny were linnlooking mfu as tho President himself romnrkot and their snllur dress WHS They looked plituiusiiue somehow nldwarrior even down to the lads from the training hip who just returnedrum nn elghtniunths1 cruise from Htniln couldnt kop their eyes off tho President anti Tbo couldnt keep stop and Webb him tooWallace Army BrIgade commanded by Major F Handolpb followed tho becond Regiment Nntlonnl luard ot Now Jersey and a detach mOlt of Massachusetts volunteer mllltla com l The second division of thn column consisted of the First Brlgndoof tho National Guard un- ¬ der command of llrloGen Fitzgerald os oortlng tUB French column As tbe Seventh Ilegitnent band came along playing the Mar the laJlea waved their handkerchiefs stop tbo popular antiale shouted Everpast the Provident rgimsnt tpok in was cheered and Mr Cleveland raised his hat repeatedly The Hiitynlntb with n popular welcome tbe Eighth Ninth Twelfth Seventy first and Eleventh lloslmouts came along In that order each with Its bund awl Its drum major That showy official In the Twolfth Itoeitnont band was a vision of dlanlty and grace Ollmoraa Twontyeoc ond Regiment band won Immonso favor by Playing Yankee Doodle as it pnssnd In review and tbo enthusiasm which this Inspired was vented In cheers us the regiment tile by with regular stop and military swing The First nod Second Battotles followed and then camo the French column made up of veterans llnchnmboau grenndlre nnd French societies Many prominent French citizens rodo In car- ¬ riages City offlclasln hacks came noxt THnEFJOKljOrTEN OLD 5IESITuaU 3 Grant marshal of tho third division a feature which was tho manly looking brigade of police from Philadelphia and a company of mounted police from Brook- ¬ lyn At this point the war of 1812 volornl of and tho Mexican war retiree ofileor4 of thin army nod navy wero duo on the printed programme hut the volunteer fireman who made up such great part of the parade couldno longer bo hold In chock and from title tune out they shed a flood of vermilion over the line It Is Impossible to understand how In the old days of thin volunteers fire ever got any ral headway with such of to lulttudi redohlrtod men just Ihlittlnc It turned out by the way that Ilht veteransof 1813 halt boon forgotten Thero nre only three of them left ian Abram Dally ngnd 90 Henry Morris aged 8H nnd Onritlnnr Lilll tiridc aged 87 lucy walled at Military Hall for their carriages but no cuirlneoHrnmo the fourth time snld old Ian Daily wo have hon sorrel this way ¬ Memorial Committee of tho trend Army got us three time Wo will never appear on a public ocrapluii ngalnToiwvrrBB unssicx MIAMI TiE OLDIKHS vi Iou bare of the three vntorWhen the an hail gone hv tlw ravtowlm ntnnd the Ital inn IIIIlo liuuds and unltormod Italian socle I t rod and blue with flumes nnd cock 1311 arpaarcil In thin lino after rt de tnohment of thou Iliuoklyn Fire Dmnrtinenr but tile rcmnliiing ilx divisions of the line nsorluIn illy laid down were tot to rdhl lu Iho overwhelming runh of oldtlmo llromen and volunteer companies from out uf town When fifty nf thi bye In roil shirts black turned upI above tiio mud and big lou h crl Itudglncraloiic hnullue an nnllqnntd call cnjlno thu crowl cheered wildly nud tho tiro haihil lee took up thn cry of III hi hinn they pufsod the Pipsident Tho leathers of tlu line wived their speaking trumpets antI tito whole scene bit time ono ofunniRtritluod jy on thn part of walfiremen and the crowd The ironoh visitors cuiilxmplatcd this domustiatlon with nronmnuthed- I vomlor Tho facts of the out boys nnie n stuuy Most ul Ilium WOIO their halt cropped I clopoarrlnll nf them look t robust worn other oIl tiihinu Aid hooK anil reIs andlucre uown lauder trucks drawn by loc nitty oily vs r llon moiig theold mivhcunH Piuon In built In lull wiu the while n mouldy wreck of a hand pump wnrkud with crnnkK nnd cnirlcil ou a fourwheeled truck was built lu 17GO and looked ovniv day A sonontblo color benrorof Ve- ¬ of Its agi teran Firomunx Ainiittion wax seized with un us ho looked tho Pneldunt fduiireenthusiasm Ily in the fuia nud W ivlit hIs big banner until It whlrlnd on Its stnif with n trroutt momentum ho almost carrtrd ilpi I oil bis foot with it ¬

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and elevated railroad trains The Broadway cars started after tutu parade but were blocked down town and a line ot crowded cars extend ed back a mile Irom the rear of tho column President Clnvnlaud Col Lament the mom horn Qf tho Cabinet anti Gens Sheridan nnd Scboflold woro driven to the foot of West Twentythird street nnd boarded the Dispatch to go Bodlowa Island 120 P ¬

to M HUIINO INTO VIEW OP

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Seaward thoro was nothing visible save n great gray wall and oven Governors Island wns dim and shadowy Now and then thoro was a lighter gleam to the water but the foe settled sullenly back again thicker thnn ever The steamer Thomas P Way and Magenta lay ut the Birfia Office to tako tho Invited puests of tbo Deception Committee to the Island The Thomas H Uronnan came slowly up nlongatdn the Magenta nnd tied to hor and soon thorn camo a stream of bluo undiod uniforms pouring around tbo corner of tho Bargo Ufllco and tim Sixty ninth Regiment morn or toss bedraggledfiled across the dock of the Magenta to thn Brinnnn anti was soon olT far down thj lucy leaving tho othor boats waiting In tho When thoy got off nt last they might drizzle have been heading lor Bay Itldgo or the Nur rows for till anybody on their docks could sco lint soon out of tho mist thoro loomed high In tim nil a Iron sombro shadowy form which grow vaguely distinct no tho boat approached anti soon tho wellknown tlgurn ol tho torch bearing goddess stood revealed In hazy out lines What appparnd to ho a wldo white taco swept splash con down her coaling the features It was the white In the French tricolor cootro stripe with which the face was veiled the drenched dun atmosphere rendering tho rod and the dluo Indistinguishable from the bronze which thoy covered Gtoat trailing scarfs of mist dnnglcd from the uplifted torch and wrapped themselves around It and over the goddesss mighty shoulders at times until they wero all but Invisible There woe a rather bilsk breeze blowing up aloft too fur the majestic of tIm goddess could to scon now ana then nose elevating thin bunting like a small olr ells tent n8 the wind fluttered tbo flag ngalnat Only the nearest of tbo menofwar could It bo seen floating like phantoms on what might either have ben fog or water so far as the eye could see and all around hovering apparently In tile air woro the vogue outlines of tim scores As a mutter of of great excursion steamers fact there wits anchored there a vaster heating city than swept alter the yachts during the rnces and tho murmurs of Its people and the sound of Ita music nod ravelry oamo In muffled tones to the oar but nothing oould bo soon of It There was space In front of the speakers stand at the base of thn pedestal on the oast Dido for about 2500 peopleI and oamp hairs wore placed clnely together In a semicircleover tho area Tho tlrst arrivals flllod the back rows of seats and as succeeding boats came the places wore lilted from tbo roar to Ito front the most distinguished guests Including tbn French delegation arriving last and occupy- ¬ ing the front row of chairs AltRlVAI

OF THE OUF8T8

There wile a dreary wait for nearly an hour aftor thu llrst boat came with nothing to re- ¬

lieve tho tedium save hunting tot porno place to got out of ho ruin At n quarter to J Pat Gllmoro who with his musicians was stowed away somowhoro on thin Island struck UP tho Marseillaise which ha dovtalled Into tho and other patri- ¬ Star Spangled Banner otic airs in the midst of which thoro

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music wns smothered In checrn Tho Count do Lessons vigorous and sprightly in spite years hitS of anti with the ends of lila moustaihn cocked jauntily up walked nt tho hnad of the lltllo procession arm in nrm with the swarthy and earnest faced BartholdlThoy were followed by Gao Polisalur anti AJ mimI Jauri8 Ccl do Pusy Col LnussII lat and Lieut VlllegRntA nil the officers ablnzo with decorations nud tho brilliant red blue nnd gold of than French army uniforms But few ladies wore with tho company and not ovor a doen In all camo to tho Island overt those who did looking na though thoy wished they baIt remained at homo Tim MIEMDCNT WlnoitltOUSLY rECKOFr It was 112 nnd Pat Oilman was still at It when hN melody was suddenly motliorxd In such IIn uproar of steam whlitloi nnd artillery as tha harbor hns rarely heard before Tho hail come at lout nnd for tim 1resldonlA Mist time there wni real cnthueliiBiu The crowd ohooiedas gun after gun ripped out of thoetdnsof the bill war bhlps and wilh every moment thero secmnd to come retntorcements to the number nnd fury ol tha steam whlstlonThon It Wits that the magnitude of the floating city which role un tlm water tint lltllo ovor a stunou threw iiway made itself evident Tho wns reached Uiui the Piesl climat dent with his hold bnroil In the raIn anti Fmlllni and bowing in ltta portly way loomed uu out of thin loa atnl mounted thu tuit s of tim stOikoiH stand with his arty

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fresh linrly nnd smiling Tho noIse hail I t liuitly wnllI out nuwnnd du Loasops ulih I lil bare flhlifuL hit In his hnnd and hit itaI I I I io llio till it lignn his nddre Inimduclng i hunev with iiho ruins I k IUnit Htniii n hlch linn donn so much good IIn llm worldM jJiiatt nnw IUIu noUo ldoing IM n BiUlllclIl of IInjury

oclock when the last carriage

In tho line passed tho stand The procession had been two hours stud twonty minutes long Gen Schollttld remarked to Gen Stone This Is the best parade I have over soon In New York Tho President bowed and waved his hand In endorsement of tho sontlmorit and then en- ¬ tered his carriage Tho crowd which had boon kept back In chock so long broke loose anti spread over the town For an hour afterward there was a rush for tho Battory by burse cars

18815

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eu t ire In all airf the rlili remrnts ot tnin sal1 hli aiplrn i iloii4 hitiv I reu rr re enieil IIn ayintini 1I0colal ills iptoi < nnl i 0 tent trill hue of Ihtlr nr rail hut h > tliuir iiinnninn < rn kmm ilieir ld inry lint I III > ilrll besidtiny noen illitrf In slIun anil Iituiitilui IIh i iiilnliir ktiuciur n II its Iminrliu tlouxiitItnifntn lliMxItn the nlnltion nf prlMlmra few sill tile enrrntiiliiiemeiii nf tlm Indlvlilnnl the I Cult feillliitllv if tilll IIKII be tire the tow anil utiUtrsal frnifo the tmllot lecuru from frniul saul tIn toiler froi i Iron ami tduriitlon furnliliel hy liiiiiulilnllnii rIm titap for oil litirrtv nf Hornhlp nnilffre 01 iiinli tile rhrhl tn rue SOil riinl niDorlutilty for lionnr Mid for I of Inhur sOul mrltAl of social rcitenlout the proMcms eriilon ami niornlI Kmnth nf property lOud poverty will a ork themielvei out tuttle the heiilun liiHuenots oI I Illierly wilt suit iKwalilillnK clillnhteiiralaw maklnir out the alit ot kIng nail smile or of AuarchlsuI auii bombI devoutly liellcvo that from lilt nnifcn and the tin I known tao itrrat have como In participate thus celebration The faith In which they Sued fuiniled the cause lirvrhlch they haltliwl triumphant the people thvy loteil In tile enjoyment nr the right for wine tlier laboreil and fnuiht stud lullereil the fpirlt I of WiMlu lon and Lafayette join In the giLt uf

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I Tha lion Chauncny M iJepair Honloi Lvartn > r Storrs nnd IJUhup Homy O Toiler wero already on tIm viand with the IIrKiich guests tvdM renewed Ihu nfernul coil dirt of tlio witistlis and thacnnncunliiih never let up for r iivTUB AStCiiniT ON TUG HAND hTAKD WIitvTtJ piiitiKs DtiowKBR tioniiVs iRvpn llIo stand was olabor Uoly decorated with Tho revlnwl ng ttand held about lOCO persons Among theta whim they bail all assembled 1ronch nnd Airmricau lIege i hoso folds foil In looppd tip dniiery nround the front wero tile President of the United States bcco Tho President sat In the middle of the covered plat tarloH Bayard Lnniar WhttOAy anti Vllaa of form with Mr llarthoUll on his rlcht nnd his Cabinet Dnn MI Hartholdl tho sculptor Count do Ioscps on his loft Unit Scholleld lu of thn big Liberty M do Lessors und the i occupied Illio uoutl cornor and full uniform French delegation rdprusentnllyos ot tho diplomatic corps nt Washington aud n demoion MoJliili n the noitb In the rear wore croupil tle ni iitlora of the Cabinet and cratic assortment or American citizen bard I IHlriY llnWAKD tVIVTut AND IS 81TUTKP tocUsslty UHII oil or Kimx Col Kilbouin homR O Ulrloh anti Majoi Cliarw F ullhus There was not a hint of 1 let uu In Ibo upAijlstniitchtinr up tle avenue grew louder ns Qsn Stone tho Ornml Marshal nlicstho rourof llio nhlsto Ibo artillery bad sub wa nlcruc with tioceislon rololllInto day had chargo of the reviewing stand r shout iti Howard the slued and only broke out now and thou In on the Insldn Hcluiluld nivcd hid hilt und Cupt Williams and Idol lit ibn Vuxrin Volunteer Firnmun ap l3oicd spot Get aignallnd ft Inrga aid handaoiuo police oontingftiit anti waved their Icired ilr ssod In ilnvncolTcd uniform ami fiantlinlly soldtrri brotected tho ot lhldi Away up en tho carrying hisgodplnted H st In hand and api from theug batlemenls llo 10 topmost stop nf th stout wna n signal officer lico riirhui nround look nn aim rihnd lilH hire hut tuklnI ii 0 trumi fur scmolody ar PrenlJtmtI 6t ion Rtnos btntr who nttractoit nttaflton- The crippled oM iiiiu waleul rravoiy nlcug- rest lint It was cil Iu uc n If the algitala T Iwaving n wlgvtgn large u bite sIgnal ahiiil ufI hh coi pnnv with n beaming look of wro lon Ihruugli the fiwr they woro clearly flag wlthanaiiarm idoeulraln moil clgns Im us for eDcourngoment tnkon to inknowlcilcmcntocccutrlc oatlsfaoilun curves On o apartment IIOIIRIJ ot llm eluari wlh 1wOoln wits followed iliiMi keep It uptnnStorrsvna bovo tIte tot lhrullpnvlk Iu the prooesslon tecfUod Soion hhoflold LIUO un In dospalr at last HllLllti Illllll the avcnui No sine with 1 wlgvrni and roaici oulln tho ramlrnionlum that Dr woro Ktiitlonod nn moro nttenlion Thiio wnrna lot of Itiooilyn uthori icily points nb I below Mtlxrann lu tho lien ton with their mmblro would open tho uxulos with prayer thsu two from gaudy Cntrai lanh to ttu aul but useli and a famous hand iiiion Thfin IIs mile whatever that Or StcrrsdldIhl shgnnliii the start of hut lnal hlarr rrny a dI LJOIIO took olT their lists awl wllh wnjiod rovsrjntly nlonircoliml tt lili anti Iron Ilulok3ii the word nl isu bowidlonilH barn III the ruin liotonod itvurontly M VYS itt IT MIVAI VYH I to I110 Imriisiif I iIto t tugs Altlhrough fin pray Frooeh WR anuut Piigm lonxllyThe oil ovur III t II wor rumbling nctuuu pan I itenit was kept up r tliU duuiunlni nnso jy drawn hlnl fit by WIr vstsrctri nuu- fnow aii1I tItan dying tlovn aid breatilnuort Liuut sinldnnlyalliiK1rJ 1lrWII IIt Icl <hol jiinils BOiinded wrn playt nu in ftMttirid and snriallo tatrUQOA untilI ilrvn tit ttrot tin If it mnnt bnio Jauiles of the WII OIB PotI IIJ 11 MImoillr t rnild begin tn nbc nndliion aonie pccubiisiuem nml an olOltl policeman iliiihoiMme 1ln llarh ucoirthly whoop would come until eat Itll tntlb 11101 111 11111 nlong In front of the craid utanl waving hU- thom nil iff again II was n certdtii HhrllN L8on Meior Horlal ruth many nrr In frnntliuiirt 11 IAnr thu track lie voiced tug which viif thu moltl iiladilovouB fore thu old urn ulltra In line rmnirolmndoil this fluemlrs of their wily It ditovtirtud early Iu the upol Hnl 11IUroll wliu was oomln not n roat lliionuino ilruvn roar Chief Clunk ol thi WnV Itaro lhit It hud a thiiknackcrow ot of Im by n pllrof uronl gray ltorsC4 thuiilirtiil along ncton personally conducted tliii itating lo pHifnuiio3 ni itt and dashed ataiul IHlmtrs left luvlnini I eat toaster nnd nun tint time on at nila hodliiloruatlo con ihlrlyor i in tor tug nnukn rindii Ilndmi PInwull us vntmun her tho sleuth Jlr Aduo Whlstum Kt irp llrumeii critical tiniH suin for iiiBence ns when Dr tl Inltscout iliivrnsnomakalMliovoiul Iinte wtijIS liii amateur cciaeoilI Huaklu II U Impish serrncli lnnuiintralioii aid tlo rurdy uld lliomvii HtotrB I camera tlMHHUr fill would rlngnul with a long lrawr f alplltllnl 01 Jva Ihurowiih Hcomodront with cuIllitlngoiuotlunH their nt arrivol wouiim hunt pnneoia which never fiilod lo bring lam MItoyhearts iii iilulnly th re bofro the note th i dose Iill and hIs Iat did not 1ot titer plmu of duty ippliiu frm oven thor whistle until thio last ihmf Mocixtrato whose o es wore out roots cishut did not rood tbe I couitrr8 nluuto I I nion thorn Their hearts wero plainly with within eat rreiiiint M llu II or i OINT itill fESiErs Hi lire Thu hire was just a block aboTO Ihe ARRIVAL reviewing stand nod 01 TnR When Tr turm hrd made his irayor amlil lulu ly oxtln Tho up lntIIEN1 to thl arait stanul I tul hell while one III threewiia out cnglnon would tho Kbiilli triiTOi hclioll ld minoguil to whit Presldelt drl1 Cipt Williams helped have been getting nadyln start for it Another Introduo tointdn ion Lfbatfns who canto brUily the President to aIhgh t aiiI applaort touch cl teal life in lbs t11ldlt Of all Ibis 1I0tllP lorwud to the rnljlflg shared ul the platform looking 1

canyltiK snnro Irums Thoy stopped out of lino and nacondcd thus steps lo where the PrrslI dent wntf Btandltg Each little girl handed President Cleveland n basket of flowers for which the hitter saul Tbnnk you and thon they haiidnd it small coldfrlnyed silk American flag to M do Lessnps for 51 Bartholdl who stood back on the rrowiioui stand Two of tho girls woro Llz7lo llofnor and Annlo Gerber Tbevntornn llrsmon now having about run out and tho Grand Army posts having paused along canto a troop of freshfaced school boys curryIng walking sticks As they paused tbo President tho loader raised his canto as a sig ¬ nal nod In chorus tho others Bhouted In well Columbia I known accents Students from tho College of tho City of Now York wearing students cups and gowns fol- ¬ lowed with their college cry and after thorn were tho boys from Slovene Institute IIobok The old coach which Gen Washington onco owned wns the closing fenturo ot tito long line and attended by It wns drawn by eight horses tho Continental Guard of Washington and after It camo certain Sons oflthe Revolution In carriages Bald Benjamin Hlohardoon who has achieved distinction by becoming the owner of tbo historical old coach rodo In a carriage following It and stood up to show tho full length of his fourfoot beard and to smllo genially upon the admiring multitude¬

nI Ilk Ulnnt fllnlna Shrouded In Miats Iopiu MrlnB JirrUilntomAShore Finn Orrnt

MixmlMln And No llenrlnv she

Inrnd

NEW YORK

mid clrcuiiRtnncn of rnnen wits thin hurried iHF iiilii ufI nn are butiui n Co rust ito grand stand While IhlllMHriidu wits In prngru rnolUHlI4 oi iim CIRANU AUMY TINK I escort Tutu Grand Army llrlundo was undor JJlrlgGuii J1 nuns i i McLourntut n ditiirliinvnt I t Oiinnl01 Itho IHoC iii iiI llilgiuluof f liii NIImlill In tin llio ii ltd ilium corps nttauhid to tho I ft rut y IoMh aura liii ItT i it I errs I iou lit Irani tutu lnlloMs nuns or urnndHonR or VKtnruna of the Into war A model of hut original Monitor b rout on truck lollownd From thu gun ports mutt ttin utoko ot burniKl powilir whllo nt thus hcul was a little nlnoycarold tar In lull unvnl uniform in otto of the Inrgist fife and drum corps no coinpnnvliigitdrniidAruiy post worn thru very pretty little girls dressed M vlvnndldros anti

J TOR

The enthusiasm with which the venerable Count was greeted when on was Introduced to the audience broke out with rononod ardor ns ho closed and he was obliged to bow his thanks before the applause closed

KTAItTSl

COLOSSAL STATUE

two countnisi Onlrons rivalry that of progress We accspt j our Inventions as yon accent ours without jsaluMSV Yea lUa the men who dare end who p reWo underpin M1o ahead vere f lay with laogimite I feel ai though eatS otlu r when I speak that I were In my family when 1 am among jou soon gentlemen we wilt ant ourselves reunited aa4n to celebrate a new PaoHlo counurst Farewell until we meet at Panama white tile thirty stht stars nf North America will eon to float by the stile of the banners nf tIle Independent Suites of South America ami will form tn the new world for the good of humanity the peaceful and fruitful alliance of the Anglo Smon and the FrancoLatin races

SENATOR

0 a

LT i

ORATION

Ion Schoflold thon Introduced Senator Ev arts It had boon arranged that nt the chose of Mr Evnrtss oration hl being tho formal presentation ipoeeb the French line which veiled the nlntuo should bo stripped oil and tho gift of the sister republic bo thus completed To nffcot this a cord was run down ID tbellnterlorof the platform to tho level of the root of the speakers stand There was open way from the Interior of tilts pedestal at this paco out upon the platform roof Mr D H King who ornttd tbo statue was to stnnd on the roof of tha stand whore he was to get a signal the moment Mr Evnrtss address closed was to stand at tin cord and to liarthoIJi pull olT the flak as soon as ho got tho olgnal from Mr ICing which Mr Kina wits to get from as

follows Mr Events began In colThe teen upon writeS this vest axrmlli lected dispis a trituiacllim IIn human chairs which nulls no record nr precedent In the past nor In the ionz runitc we may feel nssured rflll It ever confront lu counterpart or parallel Whntnrnimentsof speech what eloquence of human voice whet costly gift of Kold franklnoeiitr and myrrh of our iierta trIbute can we bring to the Cite brntlon of this consummate triumph of genius of skill sail nf labor which speaks today and wit speak forever the thoughts the feelings the friendship of thee two populous powerful Stud free republicans nteudou cheers knit together In their pride soil Joy at their own established freedom arid In their hopo stud purpose that tno glad light of Liberty enlighten the world I To this troaprht the reii t11JII 01 aDoularo soul llontl Martin terror and tno Lafayette ami their Illustrious companions to spread abroad on all Intelligent soul upright mlmatlezcHlnf their own high pitrpntss 1 hey drew from tlie well furnlHhott numbers of thalr accomplished crud din tlnituUhcd artists the genius the coursE the tint otic n ni spirit tbe IndomllHblo will of the greet sculptor below

pcef4cass

Prance and the United States to Liberty Enllfhtenln the World LininTYa ToneR NOT LIGHTED MusIc and the benediction closed the oxer dee and tho crowd made n batty rush for tho dock where owing to somo confusion they were obliged to wait for throeauartors of an hour In the rain before thoy oould embark The President nnd the members of the Cabinet went to the Government steamer Dispatch which had brought thorn down and were soon

steaming up tno harbor

The weather had

now become so hopelessly vllo that nil thought of lighting Libertys torch Illuminating tItus

statue and giving the pyrotechnic display that night wore nbandonod A member of tho committee said that tbo exhibition would take place probably on the first fair evening

THE PHMIDKNT

RESCUED FROM TRIO TUOBOATS

After tho President luau returned on board tho Dispatch about twenty shrieking tugboats crowded around It so thickly that they hooked like nut ileland bigger than that on which Ito The stout form off tho Proslden In his rumpled silk hat oould bo soon on the Dispatch He was busy slinking hands and ro The police boat Pntro celvinu compliments was several hundred feet away when a uittio steam tender darted out of the masi of tug boats around tbo Dlspitch anti bobbed way toward tho Patrol llaudomo Capt Smith saw horcorulncr and wits waiting for tho mrs sage she brought A natty little officer In blue arid gold shtoutcud A lot of tugboats have niado fast to tho Dls patch nnd are dlaposnd to bo ugly Will you kindly disperse them 1 Tho little tender sputtered away anti Capt Smith fooling tho honor of being called upon to protect the navy gave the necessary order Tho Patrol with a consequential biaut of her whistle vent half n mile In three different dl recttons boforosho on mo around and bore war

statue stood

c o

Bartholdl MISS LIDEnTT OCTfl AHEAD OP TIlE SENATOR

At tho close of title sonorous period nn Im- ¬ pression somehow arose that Mr Evarts had got through The signal was given nnd In a trice tho great flag was whipped from tho noble bronze face and theigoddess lieu hor steady calm gaze seaward The Instant this lint olme off there was a slnglo gun tired from ono of tho menofwar Rod that was the signal for another outbreak of the hideous pamlomo nlum through which Dr Storrs had unfortu- ¬ nately boll compelled to pray If It Is possible to conceive a worse noise than that which CMOtod the arrival of the President It was the noise which greeted Mr Evarts whon he reached his journeys ond of that last sentence He abandoned speaking for some time nnd people ouppotud that it was all right arid that ho had really llniahed and they had begun to move about and chat when somebody observed that Mr Kvirtfl was still talking Ho haul turned his back to the audience and woe talk- ¬ ing dlrortly to the President and thrre about him In this way ho conaluded his address PllERINTINO Trig STATUE In the nanlot the citizens of the United State who l hays completed thu pedestal ami raised thcrenn the I statue and nf this voluntary cfiniiutlfle who have eke cuud ihe nlll of their reflowrttizcuie 1 ilnclye In your presence suit lu the prrfencx of miss ill thmufliu I void of this agust as mbluifeof ifuc ts fron 1 stud honored toga or our liso1 arid of alt the honorable I pedsslM nnd ik miiltliiKle thit his this couiuli muted work of the two republic la cumplstcd slid cur dra l to the i < r < ninl Peeping uf tin uoterumculaiid hit juoplo uf the InIlM Stales Tin rmsioEST Acotrrra THE OIFT Ocn Kchollold then simply eald Tho Prcsll Mr Clooland dent of the United1 Ktattv looked hAalthy Bud henrtyna ho stepped for- ¬ ward and with his left hand loaning on tho

Inc

railing tuforo tim anti the right thrust Into the bruat of hid frock COl111I01it at onco Into as follows his speech of Tlie psojile ol the United stalls accept with grutltu

from their I rllhren of the Fieuoh republic the tinatid nod coniplttcd work of art we hero Inaugurate This token of the atttclUnaibt lonillerallon of the ptiipla of France demonstrates kinship of republics slid conveys to us thus assurance ttmtln our efforts to commend tu niaiuind Hie excellerod ot agovrnmsntresilnif up in popular will ue still have Ijejond the American continent a Ileadfnd ally ve ute nut tierS 1tolsl to bow the rcprsetuts lIon of a litres suit warlike Kd illleil with ituitveugeittice but we Jojouly contemplate Initend our own deity keepluit match anl wcrd before the oieii

ruth

TOWN

DIIOADWAT

OEMS

IN A BLAZING

CAR

IlllHllKN IKIIIllt JIUHNItn TO tlEATOiff a ittiiunil i LCibloY1

An OpiMi h rrk Lenses in ft Fr up til I Trsged on eke MllniillltFo nnil Hi InrlOety lhre0 rnrinui r cutB Ft oat the Conch PoiiTAor Wit Oct 2iKoon after midnIght last night tho wostbouud limited train was dltohod nt East llio siding n small station about thlrtoan miles east ot this city on tha main lute of the Chicago Milwaukee and St There nro too side tracks at the Paul rond place anti at the time lie train was duo there last night both woro occupied by freight train ono by n wild train nnd tile oilier by train No 11 Conductor H P Honkey of this city which arty Iutluunul Capt Ferdinand P Carlos battery of the Xahind just pulled west to allow tha tlnnal Guard and Major Wallace F Randolph limited to past InNofrom thovery long end tha li was Filth United Stabs Artillery formed In Hither Park anti trained their guns on Bedlow conductor was at the bond of the train Island At Ht oclock Capt Lnrlns baRony relying upon tbo brakeman to attend opnnod the foudojole anluto and Major Han says the Ono report dolphs battery replied Ton thousand rounds to the switch of ammunition wore expended by Capt lanes roar brakeman whoso business It was to close billings Policeman Thomas Elliott of titut tho switch altor the train for some reason Charles street station and one of the mllltl gunners were prostrated during tho firing of neglected to do so The other and moro prob ¬ want able story Is that ho started back to close tha the salute Both of thorn ware weak fromway of food and their nervous systems gave switch but before ho could roach It the limited which does not stop at any except large places A via FLKtsr nuvNu vi IN FOG came tearing down the grade at fifty miles na hour and loft the rails nt the opon switch The Tlse Navel BfatnceiiTrea were Not Speclnsiding Is In a cut where the road curves io that cnl but they were Noisy The morning Hftlit came straggling over the switch light cannot bo seen from the CM Is a until train few within so rods a the end the bay and the naval fleet at anchor off noer of the limited could not eoo the foLlows Island In a halfhearted way as light turned wrong until too late to stop switch The engine lot the track ran a short dlev though unable to determine that It was best tto ante and brought up against a sandbank have any day at all unless it could bo a botto toppling over Tho baggage oar two reg- ¬ day There was a foggy mist over thowato ular coacbon followed while four and sleepers kept tflo rails The engine anti tbo cars that went that drove atone before a raw northeast wind off were badly smashed and took Ore from the and chilled the tow sailor men who Kept the Stoves Engineer Llttlo anti Fireman Egan anchor watch and kept them pacing up and craaieii out from under the locomotive badly bruised and scalded Tho baggageman had down the wet docks The lanterns In the rigleg broken All the passengers In the sleepersa ging grew dim as tho daylight suffused the got out uninjured except for slight bruises mist and the shores of Jersey and Long Island but In one day coach thirteen wore pinned la Many others were In ¬ and burned to death and oven the hula of Staten Island became jured The whole train except one sleeper faintly visible The officers in charge of the which they were able to uncouple and draw ships docks began to give orders and the away was bnrnodbiggage day mall Tho and conches were shrill pipe of the boatswains whistle pierced plied on top ot One man awl the locomotive the air followed by the sturdy bawl of the two children wore tbo only ones saved Tha boatswains mates who passed the order others wore burned In the car Tho man who As the activity Increased ou board ship a escaped had nu arm broken and was otherwise bruised lIe IB now at Columbus and In dolna bluocoatod soldier marched down under ho well A woman whose homo Is In Wlnon walls of Castle William on Governors Island handed her two children out of the window to the signal gun and after looking at his and burned to death In tIle car Louis DrInker aud Emil Woltorsdorff of Columbus WIs are watch loaded the gun Then watch In hand among time dead Coioner Alien Is holding an ho looked at the ships at the big statue and Inquest on the charred trunks of bodies alt Hint Is left of thin illfatnit travellers Tba down to the Bobbins Itcof light that flashed burning of the baggage obliterates the only away lu Its nightly round Hnug little cylln clue tn tho Identity of the occupants of the tiers of bunting wero run up to the mast heads burned car anti It may never bo known to ft how runny persons perlihcd and gall ends on the ships nnd then as the certainty Engineer Little hays that when the crash time arrived when if thoro had boon no fog came ho was tbrovtn down under two largo the suns rays would have begun to tinge the packing cases vtlilch rested across his body lungj woro filled with smoke and hn at clouds ho stepped behind the gun and pullet Ills Hist thought he was Injured Internally and that the laniard A ijuick Hash n cloud of smoke ito wait bli diig nt this lungs He wits taken and a treat roar followed The Bobbins Iteo from the iVhrix however without serious In ¬ jury timId wits able lo render assistance to tha light limbed once tutu disappeared for good unfortunates The little cylinders of bunting nt mast load other II LoHenbach a job printer of Milwaukee itnd tall OttO blooiuod Into broad American thj Stalin Ilo says tho scones onslguu while treat linos ot bilghtcoiorei WhO onthe wrecked accident ware harrowing The signals rose up mlnlow fashion over thus niter passenger which contained bo two BO man heads and down to boom onus and into tilteeti arid couch twenty pursons was telescoped at the water Thu day had begun olllclally thu Urn and smoke that en both ondR Vhon tho war snips drowsed themselves In veloped the ant wreck prevented thin Imprisoned bunting tie tuga until the IcrryboaiH anil the and InjuindpivisoncorB from escaping Passon merchant Khlps that lined the ator front to gene from sleepers gathered around tha lowed their oxamulii Ui In thu Ni ith lIfter blozlnc carethu but teem inrlHSB to opposite Twentythird utroet tho little mourner Mun anti women could bo render Been teHr Dispatch lay nt anchor ready to bo lined in siHtnnce their Inc hair In th ngony of the moment and carrying tile President to the Island liar frightful screams issued from tie drnth trap crew not only ran tbo ralnbowhuntltig fore end Ono liirxo woman toro up one of tile aft over her mastheads but erected un nrcl with almost HUporhiimnn strength antiseat en over tho stir U arms on the foremast At the dervornd tu her way out of the llnmlna pier at be foot of West TwontyHeventh Street ear but her break strength nnd fell failed site to the the Government steamer Godney Cant Crosby Only floor and mot a horrible death awaited the arrival of lien gunets botoro takliiu persona eacuped from Iho pafaencer car tbrpa Mr lion place oft Fortyseventh street from which LooWRiibnch saws moan force his way through sItu was to lend the marine procession down tho ventilator on top of the car with nil Urn the river lllte the naval ships off IJudlowd clothing na his body frum the waist downward Island she wits docked In buntltxr tier mast burned off and his flesh roasted anti bleeding newly scraped her docks scrubbed and her from cuts infJktod by broken glacs All of the brass work polished bodies of the victIms were burned In the wreck The fog which at first hail permitted tho A wrecking rain from Milwaukee with sur- ¬ spectators on the pier heads to see fairly well geons scout the scene of the wreck and did objcfio two tulles away shut down uutil the nil that was to possible to allavlata aufterlng and two or throe steamers that followed tlio Grit to save life Conductor Htinkey of the freight nay to tIer nnchorogo had an uncertain out wilt PO demoralized by the accident tho re- ¬ line Kldowhookra arid tune well loaded In sponsibility of which r8ts on his crow and spite ot tbo gloom and wet came straggling thus also on him that he took to the woods la along until moro than n score had gathered at despair leaving his train Ho line always beta the piers astir the starting plnco anti In the a most careful and efficient wart much trusted stream Thou the Oeilnoy got up her anchor by tie cuinuniiy and at 1245 llred the first gun and heiulei MILWAUKEE Oct 29IIto train was com down the river with the tide The tug Cheney poed ol one CHftfiiKa care one mail car onawhich was to head tho rocord division of the ro ungr conch anti three sleepers Tile malt fl ot came along but found nubOuud division cur was in charge of John Hench of Plnlnfleld When the second gun was find nt least three who with his live mon oscaiiml though badly or four of tho vessels formed behind tim led Thoy not till tho valuable mall out nay Perhnps thoro woro others but If to no bruleoJ bolero Ito cur burnout hixty bags ot papers one on lie Uodnoy could sue thnni were destroyed Of the ruBsenjTfl in tile day The Uodnxy drifted slowly along meeting coach ull perished except Smith of Chi- ¬ Quito a number of summer iu cay crus bound cago and uo emtil chllilrnn Dr of C It Schnrerof up nod ao ns those lund lionrd tile Viuiotia Mien Mr C 11 Kchoror and bet llrst gun a third waa llrail Ncaily half thn moth rlnlnw Mrs Itoslnn John wero In the piers along one aoun Ittrur naG vessels ot nnd perished but ivure tibia to put the chil ¬ some kind tied alongside with pnaorgura ou IMI dren out through u window to the outsiders board and thcso cast off us thu Ooduey came Tim wore eont homo The co ich ccndonn It is supposed that they foIl in Hue and talrodchildren less than twinty people Tho mo- ¬ followed down to tin naval ships nt anchor oil mentum of tile Hlertpein bohlnd ft railed the the Island but there tile limit If th rouas a centre of It up hIke a letter Awhen thin botiuntg Neatly a ainn together line beciiuo wholly demoralised ovitithlng to iuiices smaRhln vcuscln vaniou of hundred kinda were nlicady uml pinning I t tile hOi In dovn wlih the floitthere having Blightid the procH luu in order Ciuneral Mnno oi Miller nsio went out to tha to get on nnilioiago near the Island anti the scout of thu railway aocilont at 4 oclock ibis VCB30U In line rustle UMHM to ret through beDioiuliix mturnod this nllornoot He bulovestween the men of vuir In order to capture such iliut poibuna lost tli Ir llvi3 In tha twilvx witer as wan left It Is lmuoJiblo to say how wreck Abate sore tvu wcion wearing the many vessels gnthorod about withiu gungarb of nuiifl both of whom hid masQue Onashot of tho Inndlug pier Thirty by acwu a Aloliar uui orion of souin loinnnt IQInnl count bioiitlit to side and side fonnntlhurt niucci veil here Itnda to titus bo H a1 lo form n lithe fur th lra ildciitu launch list thit ultuu wits thin Mothir SuperIor topuHi through whim ho hhould land 1iob of n cuuvcnt nt Now Castle In Fond aMy 250 moro ol nIl kinds fioin Ito bugo oiTho order Is known as du lic county I Itiher of IlnncNcnn Skiers cursion stcuintr whit 2000 ueoulo huton board to tIne Titluul A mor it massed chant at vbnsi store tho Sister huuvhtgnudtho naptha launch wImP Proc men tliorusolvos lilt near hy us possible most nf aynthein wore tlircn of item nnl Uut thor thorn uncliorod but some doimadlngdu their hail their iiackaL s taken to tile uhupot to nanhiels loovorcomu iiio ebbing lido Mam if on tho might train tortt 1nul Tho oiliercovie tile puoplo there had soon Ito i rnat Irooti that thins whosrt 11111103 hio Leon usivmiilnod are watched the yacht Mayflower when silo ivinppid Louis I iJunkorof AitMiird uiil Jimil UoliJrs the Oalate hUt lute watt it tliiong beside dart Thus only a merchant of Coluinbu i W whlnh the suiiimor pleasure flee tanii into la utah whucu custuohued front the tuinliiu car was Dr alguilioancuo 011-utticaco Frtir cluuda nail rifts drifted across the Mniin It tile merchant Is IoiieU about tSnrrt holnjftallied tIdY oubauring tho lurch nnd lieid of tbnio Insiond of twit lr ncscnn Sinters on time tho ritntuo tow the alat nnd thuu the mode tin ill theme ulioiM bi ono nid d to Mr Millrrijust as the mnniri fog drifts across tile llstof the vlotlmfl milking U nil thlitmn This mountains en time Hndron At nearly Is probably ttha full ii ii itt br oviock boon who wolti near onoujli to the Sonu t f tile charred ruin ifra can La Idntl huicitl Yuntlo the viirnhlii at the of thn iiio biwBoil Ai fir ai burned inm to trLlslt thosa BU unusual stir nnotit lieu iknlc Hiuloimuiwho porWind ninifitliorud about tho tout of thu uhrouda and It MM Mrs Wltonr Minn llnuily at tbs wurd nl eommuul run ninthly up- Rut uta 0Johns Hliwrirof ut Vi i hlij tIC hoi hitot herI n law i tha rlgulna and walliud out on Iho ariU I iou lit JlrliiLur rollMoiri i iiuknnui a jounc whore they stood tract Tho Hhpitch with wom the PnHldoiit on Pearl was cuniuig hftndlug hand to hand on tlnlr lull y inrcli Ilie hdllon faced the blest The wntor drluiud on tlixm Iron ito touoi nbovu and thu t ind llsht as it vnul onemud lo blow Iho Ru clniir thtoughthiini It made the Dioctutora shiver in situ paihy to look at them As the IJMpatah pnsaod each ship the mon CAinodonu until alter stoaminic tile lonutli ufIho lluo the Dispatch returned limuseil under ito bow ol Ito lligihlp and cattle to anchor llir miiloiH thoii nriniiud lIar turtle under thin canopy of bunting while a whlto clipport ilit launch ran nlong ido bur etarbourd gangway Ilor officers aol two flies of mntly dressed nailer bats catherad at thin rail raised their luiig and then the President and tile party woro nesletod down time side to the launch Tho over watchful tug Cutpitulns saw what WBtgnlngnn ami sulintf the uhHtloropos anticipated tho Iresldantlat sitliit front the can non on the ships Ono blait on n hoarse whUlla by gave thn signal and every skipper In noirflout followed But titus elghtlncn smooth ho 1019 U a mighty ituti for noise nnd when ones firing began there was co troublo about im lteining the rpotte even above the tonndo of routing steam iius smoke flliulod with tile vupor and dilflod Idly acrosj ito lulnnil A bluto yell seemed to ehioud and titan to blot out ot sight the towering utnluo VUIIn tile noise rauad the lulls white launch threaded Its way to the landing and the President disappeared on shore

¬ ¬

PENNED

clmmponnoH7INO OUT INTO THE FOG All tha poopln who wnrtt left wndged thorn In crowds up nualnst tine Iron chains of solve tIle Unitary Park nnd wre kopt In order GOO Bpollcomon Uuprliitemlent Murray and Inspector Kteers were In oominnml Thin poIlinmon kept the crowd In sharply dettneul and compact masses through thn alloys In which moved the paradera on their way to Lib

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for the Dispatch The tugboat apprahendlng trouble began molting away as tbe Iatrol an proachca and so thoro wasnt oven a harsh word spoken Innpoclor Byruee stood away up in the bow with his lowcrowned blgbrimmoi hat pulled down ovor his oyes The President saw him nnd walked to the rail of the Dispatch with Dan Lamont The In speclor ycllnd nt Dan The Provident shook bin chubby torallneor At the Inspector In a chiding way and smiled The President was trnnsfoirorl to the propullor Ordnance anti taken to tho Pennsylvania Kallroad pier and tho Patrol ftpurtod awayaftor him Tho Iulra Is not noted for hp ed tied didnt got there In time to par any further courtasla to the Chief Magistrate Aspocljil train composed of car 4 jJ and Piesldent Robertas new private car 120 attached to locomotive 95l was waiting In Conductor J O Clothier anti En tho dopot Clnoer Hunirhroy MoMlehaol were Intruetei with tim duty of landing thn dUtlnculnbedTho Presitravellers safety In Washington dent settled nimealf comfortably In one of the cars luxuiioufs chairs ant ohnttod with Seers tary llaynrd Ion Htono adlou to the York just before laity and returned to Nownil the train loft at 535 oclock RAIUlTft

tsillied with

The parade voimd through tavouAv place to llrondnay At Wabhlngtou nquaro tite naval brigade under apt Kohurt Itoid struck out for tho North Ither to embark on Its hosts Every big mercantile housa from Eighth street to City Hal was u nlJuro iuiywindowwna tilled With ISOIiIC anti all Hint could hnhtg on thu oofs hung thoic Un onu building near Canal street a big cannon had boon mounted on the root and It was tIred ns onch of the divisions parsed urdur Ir Clerks parched In tho upper windows ciarlisil tho Bldus of tIle buildings with slots nr vfond as tho crick rugimoiit passed along Thu UUtrnlnlh Jticlment was liaiiJ tliunderbolis of terror aud of death she holds aloft vigorously bulutcd by all tUo lush luislua In ItIle lUhl which llhinilnte the way to liiine enfranchIse tha top stories nient irAton OIIACE iKrr OUT Wo will not fiirzet that liberty Ito here rivlo her had Leon nflnthorincof 3Ii yor9 early There Nome nor tnll lot ohostn altar be ncglectea WilllutfIn the dny nt tine City hail Amoni thorn were Mnyor Ilulkloy of Hartford AlHyorThotclierof vutnrlci v Il coiiittntlr keep ally lt fro ami thcioAlbany Mayor Whitney of Jlrooklyn Meyer thnll itSuli upon thy shores of our sItter republic In the llaymond ol Nalnni Mayor Koiutezaid ot Monla ft Jtcnoctcd thenci and joined with answering roy treal Mayor Itockfollow of Ililnlold mid > slrenin of lIaM shall I Urn the ilarktiesa of ilk Mayor llnlnes of Newark They nero nil us rust once ant nixiis oiirtMion until llbiity ciilUlitni coiled to plncca lu line by Hbcrl1lrnnt who the worU voroa iimunllUent trlcolur saeli The N v lsltlrg tho Amid the cheerIng and the cries of Vive lo York Aidormon came Into nnd delegations wore weloomid by Mayor Cliacn In ProHllont did Ktuta Vnl to CAme calls for liar the Mayors office before heaving BlnyorUrnca bund struck up Tartan tboldllIn 13OliinoruK and Comptroller Ioew were riot ofucmlly In> rlo and when the muslo awl the vited to participate In titus corenionlpf They chcorlni bud all illed away Inn Bchollold in nt their respective otn oj remained therefore troduced tho French Minister Mr A Lufnluro wLo iiiiienrcd as rotllcaot tntl of the lr lIch anti signed warrants for the novemljoi nay rolls to the music of the paaslMJi Mr rapid io un the occasion LofnluroThe original ot march bands line GpLech which was In lugllsb was eloquent overlooked tile City Hall and proposed anti was loudly applauded to take the parade through Mull htrest The commemorative oration was then do At tile last mnuiont tbn lintt was altnrad to tho livened br the lion Ohaunoey 31 JJpgw who plaza In front of thn City Hull TItle spoiled spoke as follows tIP view of the runny who haul obtained good un- PTIgVS QnATION In the Malt struct end of the Federal seats We dc Jlcxte llis salue t the frlendslilp of nations building but It guve good plutea to many more i awl tin iiiruce of the urM The dint of liberty em who thronged thin Slope the lovprnoru room braces all piece in common brutherliood it olcnH Hi all and nil the front windows ot the City Jlall end lai ya < > Hie mine needs eelI as lrallanr llio full both sides of tiuo plaza I owe uf its exDiustt tui rroyrtulve IntiueiCd cnnnotiHe Mlolo Ike Ilnnda io Gamble In Uncle Mayor Uruou and Comrtrollor Ioow said that tit rescued until ware coal arnilsi are disbands alit lnteinntlnral ill tutva are sttd r1linful tribunals they did not care especially alwut being overCIIICAUO Oct 2alraJorlok M Her the Suit tine principle of IJustice Tutu purpleI of every no they hud work onouLli to do but leIltI convict Iuk the SiAn I la Juilve Cniuhaitu count llnluu f eure fnini invasion stud free fi om tile Imnlen- looked they thought tlat as iorronentutiv of the city tonluy an I menace cut Cleat armanientii tarn calmly ant ulijiasiu the case nt the Ni iUvf iy Vitiley bent against It was somewhat remarkable filonatily promute their own hnpnlnessand iroioeriiy rcitoii Kiss A Co lIt testified boldly tint he took the Ije rajs I rum this torch lilumlnsls areuturv t f un loon CORNCIIH CIIOKEbroken frleuuulhuIu b4tnotnKr teait l the United Slates ion J whlcMwere In the safe beetling of his employers PTho processIon moved down Iark tow anti The > r nvli alliance which enabled us toHlnnur Indeoijsct was trlllatlun and ho usel HIM buul aspendence IIs Uw rumnnceuf liiitorv it oretcane imollftttralu fur inarvllif In dealing lu tftaln on tl e Hoard into Kronilvray iiialn Part ot tile Frit llt uruijabllltlea Impissiblo In Hctlon sod Its results cur lifgadd Illed down Cirtlnndt street and of Trade He ei 9tPl lu mitko tfiod lbs defalcation paM the Uriains of Imai nation There wtire upward of tWCtit rice tunes with xhoiu lieThe Second decit Part danti Maiden lane Tue most defpndo of Ktiur surrounded by the I lie nisnlioiiel field LluUltr 1 fo llnlgkl tmot toglment rf New Jersey tbo PhlloileU Uililllh sending thesteI suit ur exclusive of feudal aristocracies tut teeth not Ull tio Zest phihit police and thn Hecond Brigade of mice omcereil by the sclors uf Hie roudenl of nob lilies to tight for subjects in uoll end this liberties llio irnoklrn moved down Wall and hector ulreetsi Vihaos Vin tb Suit f o ninon people Is a I flrtut beyond the power cf rulers arid Wore dismissed as soon as Uroiidnay was human enterer tu lily wrjukht or solved As the fOil cleared The crowd clicked the streets suit ot Bray agt Wilson which has bsfln roll l > mi In the lulntssof trio liile taro ol lilt sppclally was there a strangulation for a time enThe rlimoritiaiethebiaecn linHscf tbe world tIn ecu triti mu Ehiisbeth N J use dechied yesiredey in fa Cortlandt street anti Maiden iralnlchealniiioearlha IHiittison ot rresdouiHtli be ttanoBrnndwity von of iii nlfetutMat Stay charied Vlisuia cliii n People were seeking to go lu all four bezzlmuut nlled bv the lUtirseof WejtbiMton soSI iris 5 wluhlu hue tnuullusiud granuul lireeov or story of hue Jaunt french nobfs life is ifaveit go the history of any none Men anti directions could In enhuuoui 1eceuiuattv I ireuin bud ulirectout tuiuti the lime which nude p > s lble IliU statue and lute suint and wumeu wore lifted off their feet children to Sry tf liray lus4 llasdu biul sod WiLsuu Laid lih ll this very soul uf this releuriuicn were lust and friends parted could not reach bnnt 1150 When tbe flxh for libeilylu Amerlo wsi wor Ihe hundred yrafswarfor aoh other again for half an hour to bjfln lIootlln Fraveewae Alderman Uleeaa Sued America was lie 11111 apcstie and EUlUItElNG AT TJIU llATTKnT he Ilurninf French slut Ha enileasrus Tudar In Charles Korrllz baa sued Aldnrmnn This linn moved down the west side o the bv tOe Go and the ace unce by tine other of J ille > evnof Lony Island CIty for MTU forPalrlck tmluua tola et statue the seple of tbs two oounlrlsi lowllnu Green anti the commands wheel tilsl f il rlutinz for the Alderman who Ii a eatudldatefu Esyor < l ttUlf laity repttJltU laiUUUCBJ U liv Iii out to right aJ Jell and wci diuLsioU ml situ will bt tnrt vs FjUaj eg sail wiO

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Ii-

The cover of The Sun on October 29. 1186 announcing the unveiling of the Statue of Liberty. Gigantic Post Mix C, where sound designer/mixer Jeremy Bloom performed the final mix.

M I X | M A Y 2 0 1 9 | mi x o n l i n e.co m

"It’s like a forensic reconstruction of this event. Even though there weren’t sound recordings of it, the soundscape gives a clear picture of what it was like to be there on that day.” —Jeremy Bloom

across the length of the exhibit. This music-only soundscape needed to mix in the space but not project too far beyond it. Under the exhibit’s screen, Haas mainly employed traditional JBL Control 25AV speakers and attached a few more custom transducers to the back of a drywall section where speaker grilles couldn’t be seen; plus he added a JBL CBT 100LA line array on each end, positioned horizontally (instead of vertically, which would have created a broader soundfield). Photo: Courtesy of ESI Design

thematic elements spread across the whole area; nor would a traditional speaker provide the immersion he sought. His solution was to attach custom-built transducers to the back of the exhibit walls. Each wall is set up to play a separate channel of audio, in accordance with Bloom’s multichannel soundscape designs. “This creates a very broad dispersion of sound that feels full and enveloping, and you don’t know where the audio is coming from,” Haas says. “The whole wall is generating the sound. It just feels so present and real, not like it’s coming from one point behind a speaker grille.” Using QSC’s Q-SYS DSP platform, Haas was able to tweak the EQ, delay and volume of each transducer to achieve the perfect sound. He says, “When you attach transducers to very unknown, unscientific material you have to do a lot of creative equalization to get it to sound right. But once you do, it’s magic.” For “Welcoming Immigrants,” Haas needed to go in the opposite direction. He needed a highly focused sound, so he chose Dakota Audio’s FA-501 36-inch directional speaker. Under the speaker fabric, there are more than 100 tiny speaker cones projecting the sound. “These can be time-delayed so that it focuses sound in a coherent manner at a particular location. You can also adjust the tightness of the focus,” says Haas. “Becoming Liberty” required yet another approach. There are 10 channels of audio spread

The new building, designed by FXCollaborative, with experience and exhibit design by ESI Design, will allow for expanded access to artifacts, content and exhibits on the history of the Statue of Liberty, including its original concept, design, construction and 1986 centennial restoration.

Photo: Courtesy of ESI Design

Interactive and multimedia exhibits will use digital technology to provoke insight, stir emotions, and inspire visitors of all ages, providing a fresh take on the story of this world-renowned icon and the important ideals it represents.

“During calibration, we created a balance where the sound would drop off so that it didn’t send too much sound into the exhibits around it,” notes Haas. He added a few compact subwoofers from Innovox Audio to fill out the

low-end. “We really tightly control the level of the bass to give the sensation of low frequency without the volume. We don’t want to be blasting bass frequencies everywhere in this open exhibit environment.”

Q-SYS handled signal routing and processing, and was used to mix the exhibits “so that each one tonally sounds great and is playing back at the right level within itself and relative to all the surrounding exhibits,” says Haas. Once a good balance was established, Haas then created three different global volume settings—low, medium and high—that can be selected depending on crowd size. “We’ll do our calibrations with different-sized crowds, so when there’s a light day (with a sparse crowd), everything isn’t just blaring. The museum staff can raise and lower the sound in the gallery as a whole while keeping the critical relative balance intact.” A well-mixed museum environment set to the proper playback volume allows visitors to enjoy the content of the exhibits instead of being bombarded by it. “The design of the museum speaks to visitors on multiple levels, from informative to personal and interactive,” Webster concludes. “The audio has been strategically incorporated to build emotion and drama that brings Liberty’s story to life.” n

Noah Scot Snyder “The m108 mic preamplifier is so universally useful and sonically impeccable that I can hardly imagine an engineer or studio who would not benefit from owning one.” noahscotsnyder.com

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Hilltop Studios, Nashville 56 Years of Roots in Gospel, Bluegrass and Good Ol’ Country Music By Tom Kenny

M I X | M A Y 2 0 1 9 | mi x o n l i n e.co m

Photos: Courtesy of Hilltop Studios

or more than a decade now, cranes have dominated the skyline and condos have been popping up downtown and all over the outlying city districts, from Vanderbilt to Berry Hill. People have grown tired of complaining about traffic, whether on I-65, merging onto 24, or simply driving surface streets to pick up the kids before heading back to an early evening session. Fancy restaurants have moved in, with a cosmopolitan feel that can sometimes border on the awkward. Nashville has become a Big City. All that is true. But not really… At its heart, Nashville is still a Small Town, with a Small Town Vibe, a place where people know each other. That’s especially true in the recording industry, where the relationships among artists, labels, players, producers and engineers can extend decades into the past. Even longer. John Nicholson at the SSL 9000 K Series Back in 1963, Jack Linnemann, a budding in Hilltop Studios control room A. engineer with a good ear and a taste for independence, stepped off of Music Row and built Hilltop Studios, about three-and-a- and he established himself as a man of half miles away, on the near-northeast side of honesty, integrity and quality sound. He town. He had three acres of land, a book full was heavily involved early, a little less of contacts, and he wanted a studio of his own, so later, and then in 1980 hired a young designed from the ground up to work the way he engineer named John Nicholson, based liked to work. The technology was changing, and on a single meeting. Nicholson has been there ever since. The times and trends he was way ahead of his time. The Avid C24-based control room for Studio B, There weren’t a lot of producer/engineer- have come and gone, but the mission the overdub room, with two iso booths. owned studios back then. Very few. Yes, there has never changed. “My first job in a studio was at Hilltop, was what I was going to do. were big changes taking place with the advent of "So I go to this little fly-by-night audio school multitrack tape and early, manufacturer-made and except for a short time of disc cutting at consoles, but the majority of the work still took Woodland in the mid-1980s, I’ve been here my that came through Nashville in the ‘70s and ‘80s, place in established (often label-owned), relatively whole adult life,” Nicholson says with a warm, figuring that I needed to learn what they were straight-laced, radio-style facilities with DIY comforting, rolling tone. “And it’s funny how going to teach me,” he continues. “Six weeks to consoles and custom monitors assembled from it happened. I come from this small town, be an engineer, about eight of us in the first class. components. Lab coats were real. Commercial Hohenwald, about 100 miles south of Nashville. I head out with my diploma, or certificate, and studios were emerging. Independent studios I had been a drummer, playing in bar bands and my awesome education. I ‘m a small town kid, all that, but I found that I was more interested don’t know nothing, so I get the phone book out were rare. Linnemann helped design the space, then built in how things sounded than I was in drumming. and start calling a few recording studios and ask his own console with rotary knobs, then picked So I decided to head up to the city. I was naïve, if they need an engineer. I’m real polite and I give up a very, very early of a Bill Putnam UA board, didn’t know anybody, but I just thought that this them an easy out.

Photos: Courtesy of Hilltop Studios

The entrance to Hilltop Studios.

The view from the deck.

and go. They’ve owned APIs, a Neve 8232 and a V1. “Well, I do this six or seven times, and then I Now the A room boasts a 56-channel SSL 9k, call Hilltop Studios, because that’s where my finger purchased from Chung King in New York, while landed, and Jack Linnemann answers the phone. I the overdub B room is based around an Avid C24 do my thing and say, ‘Hey, do you need an engineer? controller. Hilltop has every type of outboard gear I just got this degree…’ And he says, ‘You know and microphone you might imagine in a studio of 56 what, I think we could use some extra help.’ I go years, and they’ve kept them all. out and meet with Jack and we hit it off and talk “We’re not on Music Row; we’re in Madison, the about electronics, drumming and whatever. And he High Plains Jamboree set up in north suburbs,” Nicholson says. “Four acres, sort hires me that day. What’s funny is that I thought he the live room of Studio A at Hilltop. of countryside. We don’t try to be more than what hired me because I went to this awesome six-week recording school. And he said, ‘You know, I’m going to hire you, and I’m we are. We never really played the game. We’ve done our fair share of big not going to hold your resume against you.’ (laughs) And I’ve been here records, but the independent artist has always been our bread and butter. I wish I had the money to buy a bunch of U47s, but we have everything it ever since.” While Nicholson has been there ever since, it has been in a few different takes to make a good record. And new artists usually find that out when capacities. After the first five years as an assistant engineer, a disc cutter we have a song pretty much dialed in in the first 30 minutes. Sounding like on the studio’s lathe and then engineering sessions, he left for a year to cut a good ol’ country record.” Good ol’ country records. “We wouldn’t be Nashville without the lacquers at Woodland Studios under the tutelage of the late, great Denny Purcell, just before the latter left to open Georgetown Masters. Within players,” he says. “It’s a unique situation in the way we approach recording a year he was called back by a new studio manager at Hilltop to be chief music with these musicians. How we read music. Your typical Nashville tracking session with all these pickers, it’s all free form. Nashville is so rich engineer. Then in the mid-1990s he bought the property from Linnemann and in talented musicians. If I want to hire a guitar player or a drummer, they’re implemented some upgrades to keep up with the technological changes the ones playing on the biggest records. If a new artist calls me, I can say, sweeping through the industry. He became a full-fledged producer, “Hey, I’m gonna have Brent Mason play on your record,’ and they freak out. working on big records at times, but concentrating on the independent ‘You mean, the Brent Mason…’ “Honestly, I love the traditional country record, what we called artists. It’s the studio’s bread and butter, and it always has been. In 2012 he sold the business to Virginia Dreams LLC, though he has stayed on as chief ‘country’ back in the day,” he adds. “Maybe Pig Robbins in the room, engineer. It’s his home. He loves making music. He says that he still “can’t Sonny Garrett on steel. Sometimes we get to do a real country record. And I go ahhhhh.” wait for tomorrow’s session.” The industry has certainly changed, and Hilltop has, too. The bookings “The nature of recording in Nashville has never really changed,” Nicholson says. “It’s always been a bunch of guys out in a studio playing aren’t the same as the heyday, but the goal remains the same. An honest as a band, off of each other, with real instruments, through a console, record, an affordable price, guaranteed quality. Today, Matt Huitt helps with a real engineer. The method is identical today to how they did it to run things, much as Nicholson once did, and is seemingly more than in the past. The business has changed, and the bookings have changed, an assistant engineer; he’s now part of the family. Clients are comfortable but what we do is still the same. At Hilltop, we just try to make a very when he takes over a session, and he’s engineering on his own. There’s also a side business called Tape2Wav, where those long-out-ofcomfortable situation for an artist, whether they’re new to the studio or not. A comfortable situation in the studio makes for a better record.” date analog machines have proven handy as a transfer medium. Also, for Hilltop Studios was founded on the basis of making records, of delivering the past three years, Nicholson has found himself on the road, mixing live a radio-ready sound no matter the budget. In the beginning, Linnemann, an sound for legendary singer-songwriter Whisperin’ Bill Anderson. Nothing electronics wizard, according to Nicholson, built his own consoles. He was has slowed down. “Artists still need to make records, and they need to come to town to also an early Universal Audio dealer and had one of the very early Bill Putnam designs, rotary knobs and all. The studio has seen every analog format come make a great one,” Nicholson concludes. n

mixonline.com | M A Y 2 0 1 9 | M I X

Tech STUDIO MONITORS 2019 ADAM Audio S Series

Augspurger Treo 1015V

ADAM Audio is celebrating its 30th anniversary this year with the release of the A7X 20-Year Anniversary Limited Edition and the announcement of a collaboration with Sonarworks, the software-based monitor reference system. In addition to these, ADAM also has the S Series reference monitoring range, which has five models of increasing size: S2V, S3H and S3V and the S5H and S5V (H denotes a speaker designed optimally for horizontal use, V the vertical version). On each model in the series, the bass driver has a low-mass but highly rigid honeycomb driver cone, a self-cooling linear magnet assembly, a low-loss speaker surround, linear suspension and damping systems and a vented symmetrical voice coil. For the mid-range, the 100 mm (4-inch) driver is a dome/cone hybrid design that has excellent dispersion characteristics, low distortion, high power handling and a flat response.

Fans of Augspurger’s Treo 812 system will be glad to hear that the Treo 1015-V is a vertically oriented 3-way full-range active monitor that features the same quality as the 812, but with a larger driver complement and 3700 W/Chl. Class D amps. Augspurger Power SXE3D networkable amps deliver powerful DSP for system control and acoustical integration into the environment. The Treo 1015-V monitor systems are designed for intimate and mid-sized working and listening spaces where accuracy and dynamics are required, and larger environments as distributed audio or surround theatrical applications. Using Augspurger’s CIC (cab-in-cab) technology, the speaker integrates the 15-inch sub-bass cabinet into the main system, which perfectly time- aligns all frequencies and delivers a high-impact listening experience with subtle mix details revealed.

ATC SCM12i Compact Monitor Installation Version Aimed at Recording, Post-Production Looking at the boom in new, mid-sized immersive sound facilities, Trans Audio Group, the U.S. distributor for ATC, has introduced ATC SCM12i compact monitor for permanent installations. A follow-up to the passive SCM12 Pro, launched two years ago, the new monitor uses the same two-way topology and driver technology within a cabinet purpose-built for permanent installation in recording and post studios. The 16 x 9 x 9-inch ATC SCM12i uses the same hand-built drivers found in other ATC models, and sports a 1-inch, dual-suspension, soft-dome tweeter. An ATC six-inch Constrained Layer Damping woofer handles mid- and low-frequency content. The monitor offers a frequency response from 80 Hz to 16 kHz, ± 2dB, ±80° coherent horizontal and ±10° coherent vertical dispersion, and 108 dB continuous SPL per pair at 1m. The new monitor’s mounting points are compatible popular mounting strategies and standardizations, including those offered by Adaptive Technologies Group and König & Meyer (K&M).

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Barefoot Microstack45 If you think your monitoring needs may need to expand in the future, Barefoot Sound’s MicroStack45 is a good place to start. It is a stereo package of two MicroMain45 3-way active reference monitors and two MicroSub45 subwoofers all designed to work seamlessly together or as a single unit. Each stereo system incorporates a pair of 1-inch tweeters, four 2.5-inch midrange drivers and six high-excursion 8-inch woofers. MicroSub45 subwoofers feature Barefoot’s Dual-Force technology, housing a pair of opposing 8-inch aluminum cone drivers plus a balanced analog high-pass filter that crosses the system over at 80 Hz. According to Barefoot, Dual-Force technology eliminates vibration within the MicroSub45 speaker cabinet, delivering clean low frequency extension down to 25 Hz when combined with the MicroMain45. The MicroStack45 system works optimally when the MicroMain45 monitors are positioned either directly on top of or underneath the MicroSub45 subwoofers, depending on your preference. A tilt feature enables the MicroMain45 monitors to be directed at the listening sweet spot and is designed so that the stack is very sturdy and will not slip.

possible to check the sound quality of the mix by using Focus mode, a Focal innovation. Because of the Class G amplification used on the midrange and subwoofer, Trio11 Be delivers a high SPL of 118 dB at 1 meter; bandwidth is measured at 30 Hz-40 kHz. The aluminum baffle incorporating the tweeter and woofer is adjustable through 360°, in 90° increments, so Trio11 Be can be used either vertically or horizontally. The Trio11 Be was set for March availability. Focal is distributed in the US and Canada by Focal Naim America (formerly known as Audio Plus Services).

Genelec S360 Smart Active Monitor Dynaudio Core 59 Dynaudio’s Core 59 speaker, which is the flagship of its high-end professional reference monitor series, is a three-way model with Class-D amplification, cutting-edge digital signal processing, a super-inert 32mm-thick baffle and a flat bass response down to 42 Hz with –6 dB at 36 Hz. DYnaudio promises that its Esotar Pro tweeter has been created to keep fatigue at bay with its Hexis device, which is an inner dome that sits just behind the diaphragm and optimizes airflow, smooths the frequency response and eliminates unwanted internal resonances. The mid-range driver, with crossover points at 312 Hz and 5.1 kHz, uses Dynaudio’s proprietary MSP (Magnesium Silicate Polymer) material in its cone for the best combination of lightness, stiffness and damping and, coupled with an aluminium voice-coil, has a fast response from its neodymium magnet system., Core 59 delivers so much more of the critical vocal range in one driver than typical designs, ensuring your mix decisions on vocal balances and dialogue subtleties are made with total confidence. The bass driver dives all the way down to 16 Hz and features a new copper voice-coil and glass-fiber former, pushed by ceramic magnets and a 500W Class-D Pascal amplifier. It gives the 9-inchlong excursion woofer even more grip on the bottom without sacrificing a deep frequency response.

Fluid Audio 2nd-Generation FX80, FX50 Studio Monitor Fluid Audio has released the second generation of its FX80 and FX50 monitors. The updates include Class D amplifiers with high- and midfrequency adjustment knobs, acoustic space, low frequency rolloff and optimized composite cone woofers, along with a new industrial design. DSP-controlled crossover provides blending of the woofer to the soft dome tweeter, and ensures that there is effectively zero variance amplifier to amplifier. Other features include 5-inch/8-inch composite cone, low-frequency drivers; 1-inch/1.2-inch silk dome tweeter mounted in waveguide; biamplified 100W/140W Class D amplification; and Acoustic Space Control that lets you calibrate the low frequency to your mixing environment (0, -2 and -4 dB).

Focal Trio11 Be Studio Monitor At NAMM in January, Focal debuted its new flagship monitor, the Trio11 Be, featuring a 5-inch midrange, 10-inch subwoofer, and the company’s signature pure Beryllium inverted dome tweeter. Like Trio6 Be, Trio11 Be comprises a 3-way monitor and a 2-way monitor, which makes it

The Genelec S360 Smart Active Monitor (SAM) packs a lot into its compact frame. Housed in a low diffraction enclosure with Finnish woodwork, the S360 features an enhanced 10-inch high efficiency woofer and 1-inch titanium diaphragm compression tweeter housed in an extended directivity control waveguide — delivering neutral reproduction with a short-term SPL capability of 118 dB, with peaks even higher. It is versatile in its placement, including free-standing, in-wall or on-wall positions. Mounting is further supported by down-firing reflex ports. The S360 includes an Iso-Plate, which effectively decouples the monitor from its base when standing. As part of the growing SAM family of Genelec monitors and subwoofers, the S360 tightly integrates with GLM software, via which it can be configured, calibrated and controlled. Using GLM, any Genelec SAM product can be incorporated into a system configurable from simple stereo to large, immersive formats of 40 channels and more. GLM also doubles as a Mac or PC-based monitor controller.

JBL One Series 104 Monitors JBL has been on a run since the introduction years ago of the M2 Reference Monitor System, and now the JBL One Series 104 monitors include newly engineered JBL 4.5-inch coaxial drivers specially contoured using the same research that led to the revolutionary waveguide found in M2, 7-Series, and 3-Series monitors. The One Series includes integrated 60-watt Class D amplification that can drive to 104db SPL (peak). A front-panel headphone jack automatically mutes the speakers, providing isolation in one simple step, and dual 1/4-inch balanced and single 1/8-inch unbalanced TRS inputs accommodate a wide range of sources.

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Kii Three BXT Like the Kii Three speakers, but wish they were floorstanding? Your wish has been granted. The BXT is an extension module that turns the Kii Three into a floor standing loudspeaker with 16 additional drivers. The Kii Three BXT System is combines a line source with horizontal directivity control and makes full use of the Kii Three’s technology, but adds more frequency range and SPL while still being a cardioid system that does not interact with the room. Existing Kii Threes can be upgraded at any time with the BXT. The Kii Threes will detect the presence of a BXT and automatically adjust the software accordingly.

KRK Rokit Generation 4 KRK made a splash with the release of the fourth generation of its popular and mega-selling ROKIT studio monitors. Improvements include all system elements cohesively designed and engineered to work with the advanced drivers made with Kevlar, efficient Class D power amplifiers and front-firing port to extend accurate and tight bass reproduction. ROKIT G4s also include onboard room tuning, with 25 visual room-correction EQ combinations. The G4 range includes RP5 (5-inch), RP7 (7-inch) and RP8

(8-inch) models for nearfield monitoring, and the RP103 configuration, which adds a 4.5-inch midrange woofer and 1-inch tweeter for midfield monitoring. The RP103 also features a horizontal mode that aligns the mid-woofer and tweeter vertically for more precise listening accuracy.

PMC IB2S The PMC IB2S is based on the popular IB1S with one major change to the driver compliment— the addition of the PMC 75 large soft dome mid range unit. This addition increases the definition and clarity to the level of the larger monitors in the range with no increase in cabinet size. Unlike previous iterations, the IB2S-AII and IB2S XBDAII feature a pair of 3U rack mounted electronics per channel that contain DSP-controlled Class-D amplification delivering 2025W for the single cabinet IB2S-AII and 3225W for the IB2S XBD-AII twin cabinet version. This increase in power lowers distortion and provides greater bass definition. n

Instant Dialogue Cleanup with the Turn of a Knob. Unlike traditional denoisers that learn and remove noise, IDC works by separating and preserving your speech in real time, removing background interference without compromising the integrity of the dialogue. This enables IDC to succeed where other tools fail. Tackle complex, variable noise interference including nature sounds, traﬃc noise, music and room ambience, all with knob a simple and intuitive turn of a knob.

audionamix.com/idc-mix

Tech // new products RECORDING Steinberg Nuendo 10 Steinberg, a longtime supporter of the game audio community, used GDC in late March as the site for its softlaunch of Nuendo, the culmination of years of development. The debut comes on the heels of the launch of Cubase 10 and incorporates many of the new musical features; but Nuendo 10 offers powerful creative tools designed specifically for sound designers. Included is a brand-new Doppler effect that virtually simulates the changing perception of a sound as its source passes. VoiceDesigner is the ideal tool for modifying voices, with parameters such as Detune, Formant, Preserve (for pitch shifting while preserving formants), Robot, Morph and FX. ADM files can be directly imported into a new or existing project. Further functionality to Direct Offline Processing has been added, such as quick easy drag-and-drop of insert plug-ins into the process and a loudness normalizer.Other technological highlights in Nuendo 10 are the support of the dearVR Spatial Connect 3D audio production tool for mixing within the VR world as well as further advances with the AmbiDecoder to create an unmatched immersive experience. Nuendo 10 will be available through resellers and the Steinberg Online Shop in Q2 2019.

Shure TwinPlex Subminiature Lavalier, Headset Mics It’s been seven years in the making, and at NAB Shure unveiled TwinPlex, the company’s new line of premium subminiature (5 mm) omnidirectional lavalier and headset microphones. The new patent-pending dual-omni capsule technology yields off-axis consistency and industry-leading low self-noise, creating lifelike vocal clarity and warmth, especially in the low frequencies. The easy-to-conceal package is ideal for quick costume changes or discreetly placed under wardrobe with no impact on sound quality. TwinPlex consists of four lavaliers (TL45, TL46, TL47, TL48) and an ultra-light, fully-adjustable headset microphone (TH53) in multiple colors with extensive accessories and options. The TwinPlex cable is available in 1.1 mm and 1.6 mm options, and they are immune to kinks and memory effects, resulting in never-before-seen flex performance due to an innovative spiral construction with redundant shielding.

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SSL System T S500m Console Last month at NAB in Las Vegas, Solid State Logic introduced the S500m mixing console, the latest addition to its System T line of broadcast production desks. The S500m incorporates all of the features of a System T S500 console, but its form factor is 25 percent lighter, enabling it to be used in remote and off-site applications where weight and portability are an issue. The S500m is available in 32- and 48-fader versions with turnkey flight-ready packages; larger surfaces up to 96 faders can also be supplied to spec. As with the other members of the System T line, the S500m is a fully scalable, networked production system featuring Dante AoIPbased routing and audio I/O with AES67 capability, and full routing control of the Dante network from within the console. The S500m is compatible with a variety of SSL Network I/O interfaces providing analog mic/line, MADI, and AES I/O. Two different SSL Tempest processor engines are currently available for use with the S500m: the T80 (which provides up to 800 audio paths) and the T25 (which provides up to 256 audio paths). Paths and processing can be dynamically allocated in real time without interruption of audio.

La Chappell Audio 983M, 983S Mk2 Scott LaChapell started out 20 years ago to develop boutique tube mic preamps that allow an engineer to have vast control over the harmonic content. That was the 992. Now LaChappell has introduced the 983M single channel tube mic preamp and the 983S MK2 two-channel tube mic preamp, both featuring True48, a dynamic phantom power supply that properly powers condenser and active mics. The half-rack 983M and single-rackspace 983S MK2 both also include front panel Hi-Z inputs, highpass and lowpass filters with selectable frequencies, mute, polarity, and -20dB pad options.

Sound Devices Scorpio Recorder/Mixer The new Sound Devices Scorpio packs a heckuva lot of features and technology into a unit that weighs just a bit little over 5 pounds. The company’s new flagship is a 32-channel mixer/recorder that allows for 36 recording tracks with 16 all-new mic/line preamps (with built-in analog limiters, hig pass filters, delay, 3-band EQ and phantom power); 32 channels of Dante in and out; AES67

compatibility; two 1 Gb/sec Ethernet ports; and 12 analog outputs and multiple headphone outputs. It also includes a fully customizable routing matrix that enables any input to be sent to any channel, bus, or output. Up to 12 buses may be individually mixed. An ultra-powerful engine comprising three FPGA circuits and six ARM processors delivers audio processing with 64-bit data paths. Scorpio records to an internal SSD and simultaneously to two SD cards for redundancy. The companion SD-Remote Android application allows for control of the Scorpio via a large display.

Zaxcom Nova Recorder/Mixer/Receiver Zaxcom made a splash at NAB in early April with Nova, a combo production sound powerhouse with mixer, recorder, ZaxNet remote control and wireless receivers all in a single compact and lightweight device. Nova can record up to 12 channels of audio to two compact flash cards. The unit has 4 mic/line NeverClip inputs, 2 line level balanced inputs, 4 external

SOUND REINFORCEMENT

L-Acoustics ARCS Loudspeakers The new ARCS A15 and A10 systems and companion sub KS21, introduced in late March at Pro Light + Sound is aimed squarely at audiences from 50 to 5,000 in an approachable, compact format that offers unlimited versatility and ease of use. The ARCS family comprises four constant curvature enclosures—A15 Focus, A15 Wide, A10 Focus, A10 Wide—and a dedicated subwoofer, KS21. The flexible coverage options achieve a throw of up to 45 meters, and a maximum output of 144 dB. Each LA4X amplification channel pairs with one A15, one A10, or one KS21. Mounted on a pole, stacked, or flown in a vertical or horizontal line source array, the new ARCS family includes the A15 Focus (15-inch neodymium bass-reflex woofer; 3-inch compression driver; 41 Hz–20 kHz); A15 Wide (15-inch neodymium bass-reflex; 3-inch compression; 42 Hz–20 kHz); A10 Focus (10-inch neodymium bass-reflex; 2.5-inch compression; 65 Hz–20 kHz); A10 Wide (10-inch neodymium bass-reflex; 2.5-inch compression; 65 Hz–20 kHz); KS21 (21-inch transducer; down to 30 Hz, -10 dB).

Adamson S-Series Loudspeakers At Prolight + Sound in March, Adamson Systems Engineering launched four new additions to the S-Series—the S7, S118, S7p and S10p—all aimed at use in corporate, HOW, theater and live music applications. The S7 is a full-range (80 Hz to 18 kHz) line array cabinet constructed from marine-grade birch plywood. The driver complement includes two of

AES inputs and 6 analog/AES output buses. Two AES42 microphones can also connect to the AES inputs and are powered by the Nova. The 4 channels of AES sample rate converting inputs can also connect to external wireless receivers. The 4 NeverClip microphone preamps have 140 dB of dynamic range, eliminating the need for limiters Two optional QRX212 dual receivers can be installed inside the Nova; all connections including antennas are made within the Nova without external cables. When a frequency is changed, both the receiver channel and the transmitters on the talent are changed at the same time. The five faders are high-resolution continuous encoders with LED indicators to indicate fader position and can display precise input audio level metering. Nova will be available Summer 2019. Each QRX212 receiver is optional and sold separately.

Adamson’s ND7-LM16 7-inch Kevlar Neodymium LF transducers and one NH3-8 3-inch diaphragm HF driver, with a nominal dispersion pattern of 100 x 12.5 degrees. Designed as a companion to the S7, the S118 subwoofer features a lightweight, long-excursion, 18-inch ND18-S Kevlar Neodymium LF driver employing Adamson’s Advanced Cone Architecture and a 4-inch voice coil for high power handling (up to 2,000 watts peak) and SPLs up to 133 dB. The S7p and S10p are two-way, full-range, point-source loudspeakers. The S7p utilizes two ND7-LM16 7-inch Kevlar Neodymium LF drivers and a single NH3-8 3-inch HF compression driver, yielding a frequency response of 80 Hz to 18 kHz. The S10p features two ND10-LM 10-inch Kevlar Neodymium LF drivers and one NH3-8 3-inch HF driver, producing a frequency response of 60 Hz to 18 kHz.

YAMAHA DXRmkII Loudspeakers In the first week of April, Yamaha announced the DXRmkII series of powered loudspeakers— DXR15mkII, DXR12mkII, DXR10mkII and DXR8mkII. A joint effort with the engineering team at NEXO, the DXRmkII models reach a higher SPL than the previous series, thanks to a larger, 1.75-inch voice coil HF compression driver and precise amp tuning. All models feature proprietary Yamaha FIR-X tuning, using linear phase FIR filters for the crossover. All models also feature D-CONTOUR dynamic multiband processing for clear, powerful and consistent sound regardless of how hard they are driven. D-CONTOUR provides two settings—FOH/MAIN or MONITOR mode— optimally set to the application. Durable, non-resonant ABS enclosures and a portable, lightweight construction allow for seamless adaptability in various environments and applications. DXRmkII series loudspeakers come equipped with rigging points compatible with standard eyebolts, while optional U-brackets are available for various horizontal and vertical applications. n

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Tech // reviews STEINBERG AXR4T Premium Audio Interface That Supports 32-bit Integer Recording By Mike Levine

he audio interface field is a crowded one, and if you’re willing to spend somewhere in the $2,000 to $3,000 neighborhood, you have many outstanding options. One of the more intriguing new interfaces to come along is the Steinberg AXR4T. This Thunderbolt 2 interface for macOS is the company’s flagship. It raises the quality bar with custom-designed hybrid digital/analog preamps, a robust implementation of Rupert Neve Designs SILK circuitry and, most intriguingly, the ability to record at a maximum quality of 32-bit integer with a 384 kHz sampling rate. The AXR4T is a one-rackspace unit that’s roughly 15 inches deep. The entire top is ventilated, and there’s a small vent on the bottom, as well. Steinberg recommends leaving a free rackspace above and below for ventilation. The unit features four onboard preamps and can handle a total simultaneous I/O count of 28 inputs and 24 outputs. Sixteen of the inputs and 16 of the outputs are of the optical expansion variety, and therefore require additional mic pre units with ADAT optical ports to use them. Analog I/O consists of 12 inputs. These include eight 1/4-inch TRS balanced line inputs on the rear and four convenient combo inputs on the front panel. Channels 1 and 2 can be used for mic, line or high-

impedance sources. Channels 3 and 4 handle mic or line only. For all four mic inputs, you can individually switch on and off the 48V phantom power, either from the front panel or the accompanying dspMixFx software. The unit features eight 1/4-inch TRS balanced line outputs. There are no separate monitor outputs, so you have to use two or more of the line outs to feed your speakers. Two independently addressable headphone outputs are located on the bottom right of the front panel, each with its own volume control. Additional I/O on the back includes MIDI DIN I/O jacks, Word Clock I/O, an AES/EBU port and a pair of Thunderbolt 2 connectors. Interestingly, the Thunderbolt jacks are installed on an interface card that’s screwed into a card slot on the back of the AXR4T. Steinberg is apparently leaving its options open for manufacturing AXR4s with different interface formats in the future. Up to three AXRTs can be daisy-chained to a single computer and work together as an integrated unit. One of the ways the AXR4T differs from Steinberg’s previous flagship interface line, the UR Series, is that Yamaha (which owns Steinberg) has developed entirely new preamps for the unit rather than using the D-PRE preamps in the company’s UR interfaces. The new preamps are hybrid analog/digital and use the latest incarnation

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of Yamaha’s Virtual Circuitry Modeling technology. The unit also offers the most fully evolved digital implementation of Rupert Neve Designs’ SILK circuitry, which allows you to add two different flavors of Neve-style, nonlinear saturation to the input path. The Blue flavor acts more on the lower frequencies, while the Red works predominantly on the highs. You can easily turn the SILK circuit on and off, and dial in as much or as little as you want, from the front panel, as well as from the included dspMixFx application. Although most people probably won’t use it that way, the AXR4T can function as a standalone mixer, thanks to a comprehensive onboard control set and a small but informative display. (Given a choice, however, I suspect most users will control the majority of functions from the dspMixFx software.) Next to each mic input is a Select switch. When you press one, the display jumps from the Home Screen—which shows global input and output meters, the current sample rate, the clock source and Scene name (more on that later)—to a list of functions for the selected preamp channel. These include Gain, Pad, +48V, Phase, HPF (highpass filter) and HPF frequency. Right next to the display is the Multi-Function knob, which lets you

PRODUCT SUMMARY COMPANY: Steinberg PRODUCT: AXR4T WEBSITE: steinberg.net PRICE: $2799.99 PROS: Excellent-sounding preamps and converters; two flavors of Rupert Neve Designs SILK; capable of 32-bit integer, 384 kHz operation; 12 analog inputs including 4 mic pres; comprehensive companion mixing application with Matrix Mixer window; capable of four simultaneous headphone mixes; four quality Yamaha plug-ins that can be used on input or with your DAW; well-designed hardware interface; informative onboard display; built-in HPF; MIDI I/O CONS: Mac-only; pricey; needs one rackspace above and below for proper ventilation change values and acts as a pushbutton, allowing you to select items in menus. A series of additional front-panel buttons let you quickly change the display for a variety of functions, including Monitor routing, System Setup and getting back to the Home Screen. Another button activates the Scene function, which allows you to save up to nine different Scenes. Each Scene contains all your mixer settings at the time you save it, including effects, SILK status and level, reverb sends, stereo-linked or unlinked channels, and so forth. Virtually all of the functions of the AXR4T can be controlled more directly and simply with the included dspMixFx application. It not only allows you to control all the input and output channels of the interface in a mixer-style GUI, but to set up separate monitor mixes to send to musicians in a multitrack recording situation. You can create four separate stereo mixes with it, connected through the analog I/O, and assign one to each output bus and to one of the two stereo headphone outputs. You can switch between these mixes by changing output assignments at the bottom of the channel strips. When you do, the channel will snap to the last-used settings of whatever output is active. Another way of configuring monitor mixes is with the separate Matrix Mixer window in dspMixFx. In addition to the dspMixFx application, the AXR4T also comes with several high-quality Steinberg/Yamaha VST processing plug-ins, including REV-X reverb, Morphing Channel Strip, Equalizer 601 and Compressor 276. The latter two are from Yamaha’s Vintage Plug-in Collection. All can be used in your DAW (assuming it supports VST), as well as on input through the AXR4’s

You can control most of the functions of the interface from the convenient dspMixFx software.

onboard DSP. All except the reverb can also be printed on input if you so choose. Effect configuration is easy in dspMixFx. In addition to the other software, when you purchase an AXR4T a license for Cubase AI 10, a reduced-feature version of Steinberg’s music production DAW, is also included. All versions of Cubase 10 (except Cubase LE) feature built-in integration with the AXR4T. When you open the DAW with the interface connected, you can control most of the input and output functions, like selecting an input source, adjusting input gain, adding effects and picking an output bus. When you’re busy working on a session, it’s really nice to not have to keep switching back and forth between your Cubase and dspMixFx when you’re adjusting interface settings. I’m guessing there will be Nuendo integration coming soon, as well. The new hybrid preamps that Yamaha designed for the unit are impressive. I tried them on vocals and a bunch of different acoustic instruments, as well as DI’d electric guitar and bass. With the SILK off, the preamps are clear and clean. I compared them with preamps in a premium interface from another brand, which I really like, and on the same sources (acoustic guitar and mandolin) the tracks recorded through the AXR4T sounded noticeably more open. Having the SILK circuitry gives you plenty of flexibility for adding in varying amounts of analog-style saturation. The Blue settings add pleasing fatness and warmth. The Red provides more emphasis on the high end. They sound pretty different, and you can vary their intensity with the Texture control, from a low of 1 to a high of 10. One of the characteristics of the AXR4T that sets it apart from its competitors is its capability

for 32-bit integer conversion. In combination with its max sampling rate of 384 kHz, it gives you the opportunity for seriously high-resolution recording. Theoretically, recording with 32-bit word length should yield more accurate reproduction. Whether you’ll notice the difference once the bit depth is reduced and the audio compressed for streaming or CD production is an open question. The only DAW I have access to that even supports 32-bit integer resolution is, not surprisingly, Cubase 10. Then there’s the 384 kHz sampling rate. Very few DAWs support this as of yet, not even Cubase, although you have to figure that’s coming. Regardless, it would be hard to make an argument that the human ear could even notice the difference between something recorded at 96 kHz, 192 kHz and 384 kHz. All have sampling rates higher than necessary to satisfy the requirements of the Nyquist Theorem. However, when I brought that up with Steinberg, I was told that the 384 kHz sampling rate is aimed more at game audio production, where sounds are frequently pitched down. The higher sampling rate means that the shifted audio will have fewer artifacts. Thanks to its Thunderbolt 2 connectivity, the AXR4 has the bandwidth to support multitrack recording at high resolutions. The AXR4T is an impressive piece of engineering. Its preamps and converters sound excellent. The Rupert Neve Designs SILK feature gives you sonic options, and the product as a whole is built with quality and forethought. It remains to be seen how important its embrace of 32-bit, 384 kHz recording will be, but it seems like those capabilities could fill a need in certain areas of the audio industry, such as game audio. n

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Tech // reviews ROYER LABS dBOOSTER Get the Microphone Boost You Need Without the Distortion From the Mic Preamp By Barry Rudolph

oyer Labs’ Model R-DB20 dBooster is an in-line microphone signal booster for passive, low-output ribbon and dynamic microphones. It is connected between the microphone itself and a mic preamp’s balanced input, and it’s powered by 48-volt phantom power. The dBooster increases the output level of low-output ribbon and moving-coil dynamic microphones without adding significant noise, distortion or coloration. Switchable between 12 dB and 20 dB of super-clean gain boost, the dBooster will increase the microphone’s output signal to within the optimum gain range where most mic preamps operate and sound best. When operated at or near maximum gain, microphone preamps tend to become unstable, noisy and non-linear. Besides not accurately amplifying the microphone signal, their dynamic range becomes constrained where peak musical or vocal moments may distort. When recording quiet sources with a dBooster, you won't need to run a mic preamp at or near maximum or add additional amplification to get a proper recording level. Besides extra gain, the dBooster provides true electrical isolation and acts as a buffer stage for your preamp—especially good for the built-in (usually noisy) mic preamps within inexpensive USB DAW interfaces. Users are now able to record acoustic guitars using a Shure SM57 at full record level into their DAWs. The full sound of certain dynamic and many vintage passive ribbon mics is compromised because of unwanted coloration of the mic preamp or long cable runs. Those long microphone cable runs (with unwanted distributed capacitance), microphone splitters and the low input impedance of vintage-style mic preamps can be difficult load impedances. The dBooster presents a relatively high-impedance balanced input (3.6 kohms) for the microphone’s low-impedance output, thereby minimizing the effects of loading down and reducing the mic’s sensitive output signal. And set to the 20 dB gain position, dBooster has an output impedance of 300 ohms and will maintain headroom and gain regardless of driving difficult load impedances. WHAT IS INSIDE? Made in America, the dBooster is housed in a compact, one-piece anodized extruded aluminum box—measuring 3.62 x 2 x 1.62 inches. This enclosure is crush-proof and sturdy; that’s a good

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thing, as it will probably end up on studio floors most of the time. Inside the dBooster is a thick, ruggedized circuit board using surface mount components. It has a single female mic input XLR connector with a 12/20 dB gain pushbutton at one end and a male XLR output connector at the other. Both connectors are Neutriks, have gold pins and are mounted to the unit’s box. To power the dBooster, incoming 48-volt phantom power is down-regulated to 16 volts, drawing up to 7.5mA at full output. However, phantom power is not passed through the unit so there is no danger of applying 48V to a ribbon microphone. The dBooster’s input stage uses eight low-noise PNP transistors in a discrete Class-A bi-polar array amplifier circuit. This input stage then drives a Texas Instruments dual operational amplifier chip using separate amplifiers for the + and – of the balanced line output. There are sufficient noise and RF filters to suppress contamination from spurious radio signals, cable, Wi-Fi routers and cell phones. The dBooster’s circuit board ground plane and enclosure are all connected together to ground at Pin 1 on the XLR connectors. IN THE STUDIO In all my testing, I connected and placed the dBooster close to the microphone by using a short 0.5-meter XLR cable. (It would be a valuable addition for this kit to include a well-made XLR jumper cable for this purpose, as well as a way to “strap” the dBooster directly to the mic stand using a Velcro cable wrap.) My first tests were for extreme usage. I set up a Royer R-10 ribbon mic that I normally use close in on loud guitar amps exactly 1 meter away from my acoustic guitar player. He plays a Taylor model 655-C 12-string guitar—mostly fingerpicking and light strumming.

PRODUCT SUMMARY COMPANY: Royer Labs PRODUCT: Model R-DB20 dBooster WEB: www.royerlabs.com/dbooster/ PRICE: $179 Street PROS: A great accessory to a mic collection CONS: No option to attach it to the mic stand It takes a lot of mic preamp gain to record this guitar from that distance! I wanted to hear any sonic differences with and without the dBooster by recording the same performance on two separate tracks at the same time in Pro Tools HDX at 96 kHz. To do this, I connected the R-10 to a passive mic splitter I built using a Jensen JT-MB-E transformer— it has three secondary windings all with identical 150ohm impedance. (See Fig. 1 schematic.) This splitter has about 2.2 dB of insertion loss—gain that has to be made up by the mic preamps. I fed the splitter’s two outputs to two channels of a transformerless Millennia Media HV37 mic preamp. One channel went straight into Ch1 and then through the dBooster set to 20 dB to Ch2. With the R-10 positioned that far away from the acoustic guitar, I had Ch1 of the HV-37 cranked “flat out” at its max 60 dB of gain (according to the spec sheet), and I could have still used much more record level to Pro Tools. It sounded fine, except it was too low in level. I applied a plug-in on playback and made up the level difference, but I was increasing the noise floor, as well. Ch2 with the dBooster in line meant I could lower the gain on the HV-37 and still get a proper level. It took some experimentation to arrive at a new preamp setting—the HV-37 does not have any front-panel gain markings. After this first recording pass, I inspected the recording’s waveform and found that I had clipped the HV-37’s input with flat-topped peaks! To be conservative here, I went with 12 dB gain boost for the next pass. Switching gain boost produced a “pop.” Other than level, there were no sonic differences I could hear using either the 12 dB or 20 dB positions. Just to verify, I repeated the entire 1 meter test using my Sunset S1P preamps. Unlike the HV-37, specific gain values in dB are silk-screened on the S1P front panels. Without the dBooster in line, I used more than 66 dB of gain to record into Pro Tools. The other S1P, with the dBooster set to 12 dB, used about 50 to 55 dB of gain for a similar recording level. I removed the splitter and kept the R-10 and went for an acoustic guitar sound for a pop record. As a starting position, I moved the R-10 close in, about 10 inches out over the 12th fret and aimed back at the sound hole. With loud playing and the dBooster in line at 12 dB boost, I had the mic preamp cranked back down around its middle position—similar to a gain setting I would use for a smalldiaphragm condenser. Here with the dBooster, I noticed a difference in

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timbre, mostly in that the high frequencies sounded more open. Whatever change in sound apart from level is very subtle, and this will vary with every mic and/or preamp combination you use. REDISCOVER YOUR MIC COLLECTION I definitely learned more about these preamps’ unique character and nature when cranked to or near their maximum gain. I found using the 12 dB gain position on the dBooster is effective for 80 percent of the microphone placements I used close in on sources. The 20 dB boost is great for more distant microphone techniques and/or helping out low-cost mic preamps/interfaces. What was unexpected was rediscovering new uses for my collection of dynamic mics. The dBooster is also useful for amplifying passive direct boxes connected to low-level piezoelectric pickups where clean gain is all that is desired! If you are looking for a great new tool to have in your kit, Royer’s dBooster is a good choice. n

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Tech // reviews STEVEN SLATE DRUMS 5 Venerable VI Adds Outstanding Sample Pack and Masses of MIDI Grooves By Michael Cooper

teven Slate Drums 5 (SSD5) is the smashing follow-up to the critically acclaimed SSD4. The virtual drum plug-in includes a large sample library, intuitive sample player, more than 400 instruments (including acoustic and electronic drums and percussion) and over a thousand all-new MIDI grooves. Many instruments are multi-miked (for example, snare drums on top and bottom), and all are recorded in 24-bit format with up to 24 velocity layers. To preclude successive drum hits having an identical sound, each velocity layer contains 12 alternate drum hits. The included sample library—which weighs in at 15 GB with Slate’s proprietary lossless compression—is divided into five sample packs that contain both new instruments (the highly detailed and many-layered SSD5 Deluxe 2 sample pack) and updated favorites from previous releases of Steven Slate Drums: SSD5 Deluxe 1 (the sample pack recorded for SSD4, edited to contain more layers and round-robin samples), SSD5 Classic Vol. 1 and Vol. 2 (SSD3.5 sample packs, recorded with one direct and one room mic per instrument and no overhead mics), SSD5 Classic Signature (similar to Vols. 1 and 2, but processed to sound like drums heard on famous hit records) and SSD5 Electronic (from SSD4). I reviewed v1.0.8 of the SSD5 Sampler with Digital Performer 9 (DP 9) and an 8-core Mac Pro loaded with 10 GB of RAM and running macOS 10.9.5. DRUM CONTROL TO MAJOR TOMS Clicking on buttons on the left side of SSD5’s GUI brings up different windows, some split into top and bottom sections, on the right side. For example, clicking on the Construct Kit button— when SSD5 is set up in Kit View mode—produces a browser in the top pane and a graphical drum kit straddled by 20 small cells for loading instruments in the bottom pane (see Fig. 1). In lieu of working with the graphical drum kit, you can select

TRY THIS

To import and trigger your custom one-shots in SSD5, first open the Construct Kit window. Click on the Samples button on the left side of the GUI. Drag your one-shot sample into a cell. Then find the sample in the Input Converter window, and drag it to the MIDI Note you wish to trigger it. The sample will automatically populate its own full-featured Mixer channel and can be tuned up or down in pitch in its Edit Instrument window.

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Fig. 1: SSD5’s Construct Kit window shows a virtual drum kit in the bottom center of the GUI. Here, the Kit’s browser appears above the kit. Click on the Inst button at the top of the GUI to view the Instruments browser instead.

Cells View mode to load instruments in up to 32 cells. The graphical drum kit includes one kick, one snare (which uses alternate Snare and Rimshot modes), four toms, hi-hat and five cymbals (two crashes, one splash, one ride and one China). The browser can load an entire-kit preset at once (simply double-click a kit preset), or you can drag and drop individual multi-samples into each kit piece or cell in turn; you can audition multi-samples before loading them into an instrument. You can also layer drum sounds—for example, combining two different snare multi-samples on the same kit piece—to create dense, hybrid sounds. And if you have a collection of custom “oneshots” you’ve created (single samples of snare hits, for example), you can load up to 32 of these into SSD5’s Samples window (if they’re 16- or 24-bit WAV files that were recorded at 44.1 kHz sampling rate; see the “Try This” sidebar). After you’ve assembled your virtual drum kit, click on the Edit Instrument button in the GUI’s left pane to open a composite window to its right: Above the virtual drum kit are controls you can use to edit the sound of each kit piece in turn. To start, edit an instrument’s master volume, tuning (pitch) and polarity (flipping the phase for the entire multi-miked instrument at once). Independently adjust the volume of each articulation and mic the instrument uses and the amount of bleed (for the instrument as a whole) into overhead and room mics (in Fig. 2, see the volume knobs at the center of the GUI). Adjust the dynamic range—independently for each instrument—between soft and loud drum hits so they sit properly in your mix. Adjust the instrument’s velocity curve to scale its dynamic response to incoming MIDI-velocity data; for example, setting a value greater than 0.50 will make progressively higher

PRODUCT SUMMARY velocities trigger exponentially (instead of proportionally) louder samples. You can also delimit the highest and lowest velocities that can be triggered. A bypass-able ADSR allows subtle-to-dramatic shaping of an instrument’s attack, decay, sustain and release times (independently for each mic or for all mics used on the instrument at once), as well as the volume during the sustain phase. Fig. 2: SSD5’s Mixer window shows the Instrument Editor And if linear ADSR curves sound above the Mixer. The Instrument Editor shows controls for the instrument whose Mixer channel is currently selected or kit piece too tame for your esoteric music in the Construct Kit window is clicked. productions and sound-design odysseys, you can also fashion nonlinear shapes. to trigger different Notes. This vital feature Finally, adjust the gain and stereo panning for lets you trigger the same SSD5 articulations each mic used on an instrument (including from MIDI keyboards, electronic drum kits overhead and room mics), and route all the mics and pads that employ different mappings. MIDI Continuous Controllers can be similarly to separate channels in SSD5’s virtual mixer. Clicking on the Mixer button in the GUI’s remapped. SSD5 provides mapping presets for left pane reveals the Mixer on the right (with use with many popular software and hardware the Instrument Editor above it; see Fig. 2). MIDI products, and you can save your own The channel strip for each mic input includes maps as presets, as well. The Input Converter is a volume fader, pan knob and switches for also where you map your imported one-shots to soloing, panning and inverting phase (the MIDI Notes for triggering in SSD5. SSD5 includes a humongous collection of latter independently of other mics used on the same instrument). You can route all the mixer MIDI grooves divided into jazz, pop, R&B, channels (via a pop-up menu at the bottom rock and soul categories. Grooves are further of each channel strip) to a single stereo pair organized according to the song section (intro, of inputs in your DAW or to separate inputs; verse, pre-chorus, chorus, bridge or outro) in the latter strategy lets you process each mic which they are suggested to be used. Grooves separately with different plug-ins (in discrete can be played once or looped, alternately at 1/2x, DAW tracks). Click on the Mixer’s Aux Add 1x and 2x their native tempi. Turn the Dynamics button (on the left side of the GUI) to add an aux knob to make a groove play relatively softer or louder samples. To build a drum track, drag channel to the Mixer. SSD5 can output up to 16 stereo and 16 and drop different grooves successively into a mono channels (48 channels in total), depending MIDI track in your DAW. The tempo coefficient on your DAW; save these setups—including and dynamics adjustment you last set while alternate A and B room-mic selections—as auditioning will be retained by the groove after routing presets to speed future sessions. New to it’s dropped into your DAW. SSD5 is an SLR mixer channel that inputs bleed from the kick and toms into the snare drum’s SOUNDS AWESOME! bottom mic for purportedly enhanced realism. (I SSD5’s all-new, minimally processed Deluxe found that the SLR channel sounded paper-thin 2 instruments and kits, as a whole, sounded stunningly punchy, tightly focused and very and added nothing of value). detailed. That said, the new Deluxe 2 Vintage Kits dish out some ’70s slop if you want that SOMETHING OF NOTE SSD5 maps each articulation for an instrument sound instead. I also appreciated having the (for example, hi-hat opened to various degrees) legacy drum kits from SSD4 and 3.5 available to a unique MIDI Note. Clicking on the Mapping in SSD5, as there are some real gems in there. button in the GUI’s left pane produces the Input Most preset kits loaded in roughly ten seconds, Converter, a quasi-piano roll display in which speeding my sessions along. The included MIDI grooves are played you can remap—via drag and drop or using included global presets—incoming MIDI Notes extremely well overall and provide plenty of

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COMPANY: Steven Slate Drums PRODUCT: Steven Slate Drums 5 (SSD5) WEBSITE: stevenslatedrums.com PRICE: $179.99; upgrade costs $79 (from SSD4 Platinum) or $99 (from SSD4 EX) PROS: Sounds fantastic overall; huge number and variety of all-new, well-played MIDI grooves (including half-time and double-time variations); easy drag-and-drop song arranging; allows deep custom editing of instruments; inexpensive. CONS: No dedicated mixer channels for splash, China and crash cymbals; SLR channel sounds thin; can’t resize GUI; can’t save discrete instrument presets; user manual needs improvement. variety to work with. Activating the Groove window’s Autoplay and Loop buttons made a selected groove continue to loop as I worked in other windows in turn. In the Mapping window, cells for MIDI Notes (in the left column) momentarily lit up when their mapped articulations (right column) voiced, and virtual kit pieces likewise lit up in the Construct Kit window. That made it easy for me to identify fleetingly voiced instruments and articulations at a glance. The Mixer’s channel strips also include a helpful output meter to the right of each fader slot. But unfortunately, the splash, China, and left and right crash cymbals have no dedicated channels in the mixer. (Go into their respective Edit Instruments windows or route them to separate aux channels to adjust their levels.) I wished I could resize SSD5’s GUI so I could see all available Mixer channels at once, and remap instruments to MIDI Notes outside the current view in the Mapping window in one go. (As dragging a one-shot sample to the top or bottom of the current Mapping view doesn’t make the window scroll, I sometimes had to execute three or more serial drops to land the sample on a far-flung MIDI Note.) I also hope a future update will let me save custom instrument presets (separate from kit presets) comprising my unconventional envelope and tuning adjustments in sound design work. Finally, the user manual omits some important details on SSD5’s operation (detailed here in this review). But my complaints with SSD5 are relatively minor. The bottom line is SSD5 is the bestsounding Steven Slate Drums yet. What’s more, it’s surprisingly inexpensive. SSD5 is a (drum) hit! n

(Apocalypse Now: Final Cut continued from page 27)

thought. They did exactly that. “Not only could they monitor and hear into the Infrasonic for the very first time, they could feel it in a way so that they could creatively design, make it a part of the story. ‘Do we want the rumble to roll out, or do we want it to kick you in the chest?’ With a full-frequency, linear system, you can do that.” During the back and forth with the mixers, the Meyer Sound team figured out how best to calibrate the subs so that they could print the LFE channel without losing headroom. Too much LF energy, and headroom is shot, forcing people to sometimes highpass the LFE channel to preserve their headroom. “Effectively, we ended up with a calibration per the SMPTE standard,” Rogers explains. “We have a standard for the screen channels and we have 10 dB of in-band gain for the subwoofers. Each one-third band octave for your screen channels is

“Sensual Sound is when you ‘feel’ the movement of air vibrating everything, including your bones, before you actually hear it.” —Francis Ford Coppola we took two VLFCs over to the Dolby mix studio and they played with them, adding not just low frequency, but textures, like a pulsing sound. After a couple months, they were adding depth with low frequency. The VLFCs add a whole different structure, one that we didn’t even imagine when building it.” But it’s that collaboration between technologists and creatives that has been at the heart of Meyer Sound—and certainly at the heart of Zoetrope, and by extension Walter Murch— from the very beginning. From back in 1979 on the original Apocalypse Now, and still very much alive today in the Sensual Sound of Apocalypse Now: Final Cut. n

going to be 72. For your subwoofers, each one-third band octave is going to be 82, so you have 10 dB of in-band gain. With the VLFC we are calibrating it to be an additional 10 dB of gain above that so you can print your master 20 dB down of level, but reproduced at full level. We can get that because of John’s commitment to linear response.” Coppola describes it as “Power Without Distortion.” To Meyer it is simply how he makes speakers. “You don’t have to make the rest of the film loud if you have power in the subwoofers,” he says. “I think the low frequencies became very, very important for Francis in the making of the film, and this time around he wanted to push it even more. After the months at Zoetrope,

Classifieds ACOUSTIC PRODUCTS

Glenn Rosenstein Producer/Mixer/Engineer (U2, Talking Heads, Ziggy Marley, Whitney Woerz)

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Tech // back page blog Monitoring Copyright Laws in the EU; Dreaming of a Standard Digital Mixer File Mike Levine: Mix Technology Editor, Studio

Steve La Cerra: Mix Technology Editor, Live

Europe Revamps Its Copyright Laws: In Brussels last month, the EU parliament passed The European Union Directive on Copyright, a new law that includes a number of provisions to protect content creators. A great deal of controversy surrounded the law as it made its way toward passage. One part in particular, Article 17, will force companies like YouTube, Facebook and Google to protect copyrighted material on their sites more vigorously. Although this law covers EU countries only, it’s considered significant for the U.S. market, as well, because if its provisions turn out to be effective, it could serve as a model for new measures here. There was a lot of fear-mongering on both sides during the run-up to the vote; most notably, the big tech companies tried to convince people that the law will curtail their online freedom. Those who were against the provision (previously known as Article 13), warned that the only way tech companies would be able to police their vast volume of user uploads is with “draconian” content filters. The concern is that these filters will have to be so broad to comply with the law that they will end up inadvertently blocking copyrighted material that’s allowed under exemptions in the code for reviews, parodies, caricatures and pastiche. If you read just about any user commentary on the subject of Article 13, you’d see multiple instances of a rather appalling attitude: Near total disdain for the concept of intellectual property. The ubiquity of that attitude, which seems to be a driving force behind the many protests against the bill, makes me wonder whether those who’ve grown up exclusively in the internet age have a very different idea of the value of a copyright. In any case, now that the law has passed, there will be a two-year delay before it goes into effect, so that individual member states of the EU can pass their own internal laws to implement the EU directives. After that, it will be fascinating to see whose predictions about the law are closer to reality.

Standard Digital Mixer File?: Many engineers who enjoy console du jour (i.e., we don’t tour with our own mixing desks) know how much fun it is to carry a wallet full of USB drives, each with files for an assortment of digital mixers. File transfer between two “identical” desks from the same manufacturer can be dodgy; if the operating systems are different between the stored file and the console you’re loading, they don’t always play nicely. Many of us have experienced glitches when attempting to load files created on a newer OS into a desk that’s running an older OS. I’ve even crashed a system that didn’t like the OS of a saved file. Luckily, some manufacturers provide translator files (notably DiGiCo and Yamaha) that work very well when moving files from one model to another. But no one has attempted a translator that could convert a file made on, say, a Midas desk into a file that could be used on another manufacturer’s desk. I imagine there would be quite a few wrinkles to iron out, but the idea of having a “Standard Digital Mixer File” (SDMF™ La Cerra) is attractive. I’m sure that manufacturers of digital consoles think about this and have fits for a variety of reasons: they don’t want their code to be public, they don’t want to be responsible for what happens when a file created on another manufacturer’s desk is imported into their OS (and vice-versa), and tech support could result in a lot of finger-pointing. Those are all legit concerns. Somehow, I can’t help but recall the reaction from the majority of companies that manufactured keyboards, drum machines and samplers at the time that MIDI was being developed. Just sayin’…

Product of the Month: LiquidSonics Lustrous Plates. It’s certainly a challenge to release a plate reverb into a market that already contains Universal Audio Plate 140, Waves Abbey Road Plates, SoundToys Little Plate and Valhalla Plate, to name just some of the excellent competitors. LiquidSonics’ latest plug-in, Lustrous Plates, is going to carve out its own space (no pun intended) in the plate reverb field, thanks to a couple of factors. First, being associated with Slate Digital gives it a lot of visibility. Second, and more importantly, it sounds great and offers a lot of sonic versatility.

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Product of the Month: Solid State Logic S500m Console. Last month at NAB, Solid State Logic introduced the S500m mixing console, incorporating all of the features of a System T S500 console, but its form factor is 25 percent lighter, enabling it to be used in remote and offsite applications where weight and portability are an issue. The S500m is available in 32- and 48-fader versions with turnkey flight-ready packages; larger surfaces up to 96 faders can also be supplied to spec. As with the other members of the System T line, the S500m is a fully scalable, networked production system featuring Dante AoIP-based routing and audio I/O with AES67 capability, and full routing control of the Dante network from within the console. The S500m is compatible with a variety of SSL Network I/O interfaces, providing analog mic/line, MADI, and AES I/O. n

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