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February 2012  £4  €7

The business of professional audio EXCLUSIVE

Next from Nexo: ‘modular’ PA STM Series will offer “Swiss Army knife“ approach to large-format system design, says French manufacturer Dave Robinson Paris-based developer Nexo plans to reveal a radical yet simple progression in large-format PA design at Prolight + Sound, PSNE can exclusively report. The STM Series steers away from the conventional line array arrangement and presents users with a modular, “Swiss Army knife” approach, according to technical director François Deffarges. Significantly, Nexo has invested heavily in a rigging mechanism which will enable one engineer working alone to build a complete PA. STM is Nexo’s response to the emergence of so-called “second generation” line array systems. It also taps into the Nexo “DNA” of supplying users with versatile and powerful but compact cabinets. STM (“Scale Through Modularity”) comprises four types of enclosure of proportional dimensions: Main, Bass, Sub and Fill. The Main cab contains four 6.5” drivers for the mid-range and four Keptonpolymer membrane HF drivers which give a smoother response from 10 to 20kHz.

“We’ve gone for a horn-loaded 12” speaker in the Bass cab for 63-200Hz coverage,” notes Deffarges. “That allows a splaying angle of 0 to 10º. When you give users the ability to couple from 0-10º, it is much more versatile and useful to them than one that couples 0-5º.” The Fill speaker, which can be splayed to 15º, will handle side and downfill needs; the Sub is designed to “project LF and give even coverage”. “Using the system is going to be very simple,” continues Deffarges. “You build what you need, like putting together Lego bricks. The recommended set-up ratio is simple too: one Bass, one Main, one Sub – ready to play. “The 12” horn-loaded Bass cab will surprise people with the concentration of power it produces.” Versatile in the air, STM can be flown one wide, two wide or three wide on a single bumper. Critically, says Deffarges: “Our Main and Bass units, flown side-by-side, are smaller and more powerful than any competitive line array. A Main

François Deffarges (left) with David Hochstenbach, senior R&D engineer: but what’s in the box?

and Bass cabinet together will compete with any existing high-end system.” Several factors led to the STM design, the most important being the changing nature of the touring business. Research undertaken by Nexo revealed that customer requirements were being defined by the economics of the business, not the physics of the boxes. “Largescale touring houses are now very rare, with the exception of some North American companies,” states Deffarges.

“Three years ago, the movement for secondgeneration line arrays was triggered,” he continues. “Basically these did not offer, in our opinion, much more than the previous generation. “At Nexo we wanted to take a radically different approach. For today’s rental providers, we aimed to design a system that can work 365 days a year.” Hence, rather than presenting an updated small line array, a medium size one, a larger one and so on, Deffarges says Nexo looked to the “core values that create our company’s DNA” – namely a product that will allow a PA company to cover, within reasonable constraints, the widest range of applications. “Another core value is in the design of small and extremely powerful loudspeakers. Once you put these values together, you create profitable potential for the system and those that buy it.” While exploring rigging possibilities, Nexo discovered that the biggest request from engineers was a that could be flown more easily. The STM ‘one engineer only’ design – which was not revealed to PSNE – represents a “significant part of the cost and Nexo’s investment in technology”. Q

FRANCE EXCLUSIVE While all eyes were firmly focused on the goings on at ISE in Amsterdam, d&b audiotechnik quietly, and with an elegant sleight of hand, chose SIEL in Paris for a clandestine showing of the new V-Series line array loudspeaker system prior to its official launch at Prolight + Sound 2012. A functional response to a well articulated demand, the d&b V-Series is a smaller cousin of the popular J-Series with matching tonality and dispersion. It is a mid-sized line array system that sits neatly above the Q and T-Series and fulfils two roles; as a smaller, lighter off-axis or delay system to complement J-Series in concert format; or as a standalone system for larger theatres and concert halls. Matthias Christner (left) and Werner ‘Vier’ Bayer from the d&b development team were on hand to explain the technical details. Q

Merger creates Dushow SAS Guillaume Schouker Three French rental companies, Arpège, Caméléon and Dispatch, have merged to form Dushow SAS in a move that consolidates their offices and expands their opportunities. Eric Alvergnat, CEO of Dushow SAS, explains: “Two of the three companies were single activity, lighting for Caméléon and audio for Dispatch. The third, Arpège, was multi-site (Nice, Marseille and Paris) and multi-disciplinary. The merger into a sole company, Dushow SAS, creates an entity based in three sites, instead of five, that offers a global package. It mixes our databases, equipment, teams and processes. It is labour-generating.” Q

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news & contents

February 2012


Martin Audio: 2011 was our best year ever MLA system success contributed to 40%+ sales revenue growth last year, writes David Davies Despite the thrills and spills of a global economy experiencing its most sustained period of turbulence in living memory, UK loudspeaker manufacturer Martin Audio has reported that 2011 was, “by quite a stretch”, the most successful year of its four-decade history. Speaking to PSNE, director of sales Simon Bull attributes much of this success to rising export market sales, which constitute around 88% of total turnover. Introduced in 2010, the groundbreaking Multicellular Loudspeaker Array (MLA) intelligent touring system has proven to be a vital ingredient of the company’s recent development. MLA, says Bull, “has quickly become a major success worldwide, and is performing way above expectations. It’s a great leap forward in technology, and customers are realising that it is setting a new standard.” Managing director Anthony Taylor confirms that the company experienced growth in sales revenue in excess of 40% in 2011 – largely due to 14 sales of the MLA touring system over and above those sold in 2010, and recording triple-digit percentage growth in a number of markets in the Far East.

“By any standard, 2011 has been a phenomenally exciting and successful year for Martin Audio,” says Taylor. “We proved equal to the challenges, both in terms of building and supplying the MLA, and in understanding the true potential and depth that the system provides in control and acoustic delivery. The MLA is already changing the landscape for those it has touched, and 2012 promises to be Anthony Taylor: “2011 has been a brighter still, with the phenomenally exciting year” introduction of further leading-edge technology.” For more on how Martin Audio and other UK-based companies are expanding their export market presence worldwide, see page 46. Q


Tannoy support team is go Erica Basnicki TC Group launched its Applications Engineering and Training (AET) group at Integrated Systems Europe (ISE) 2012. Serving TC Group’s professional audio brands – Tannoy, Lab.gruppen and Lake – the new division offers global support for consultants by way of product training, application guidance, optimisation and custom product development.

Graham Hendry, formerly Tannoy’s director of business development, has been appointed to lead the new organisation: “The AET group will act as a direct link between the client and the internal engineering and development departments, helping push the boundaries of our collective technologies to match the challenging requirements of our global customer base,” he commented. In related ISE news, Tannoy unveiled its VLS Series passive column array loudspeaker system. Comprising three models, the VLS series is the first product to incorporate Tannoy’s Focussed Asymmetrical Shaping Technology (FAST). FAST is reportedly capable of “delivering unique acoustic performance benefits not previously seen across a full range of passive column loudspeakers”, by shaping the acoustic coverage towards the lower quadrant of the vertical axis. Q

Josh Evans, technical manager, AET Group (left) and Graham Hendry

+ More ISE news, p37


In this issue... News 4 6

MPG Award winner Martin Mills on his career Show review: NAMM 2012

Technology 10 Product review Yamaha 01V96i mixing console

Studio 11 12 14 15 16

sometimeStudio in France Abbey Road welcomes the public in March Success for MotorMusic’s “open-door” policy Labour of love Lodge looks to grow business STUDIO BOOKINGS listing

Broadcast 17 19 20 21 23

Busy year for BVE Extreme location cameraman Phil Coates talks to PSNE VCS rebrands as SCISYS Vision Media opts for SSL AWS console Yamaha serves up audio at Australian Open

Live 25 26 27 29 31 33 35

New US additions to Adamson’s Project Energia Big Chill festival cancelled for 2012 Friends of Amstel Live: bigger than ever Soundcraft consoles for Belgian charity event Martin Audio MLA makes Brixton debut Chuck Knowledge: live shows sans console LIVE EVENTS listing

Installation 37 38 39 40 41

Show review: growth continues at ISE Riedel MediorNet takes to the slopes Powersoft and Peavey for GelreDome upgrade Audio update for Gdansk cultural centre New exhibition powered by Amptec

Business 42 Live mics: wireless dominates 46 Export markets: UK manufacturers look further afield

Back pages 44 Hither & Dither 46 Interview: Doug Green, Harman Pro

Picture by John Tuffen

4 news & welcome  February 2012 UNITED KINGDOM

Beggars can be choosers Adele’s phenomenal global success capped a terrific 2011 for UK music group Beggars. Now, MD Martin Mills is set for recognition of his own as he celebrates receiving the 2012 MPG Outstanding Contribution to UK Music Award, writes David Davies

Editor’s comment Dave Robinson

WHATEVER STATE the touring and festival market may be reported to be in, 2012 is developing into an interesting year for the medium-to-large format loudspeaker, and it might just be one for the history books. What’s been truly notable over the last few years, eh? Since L-Acoustics shipped the K1 – remarkable for the huge, all-ornothing price tag that came with it, if not just the impressive mid-range – the only real system of note has been Martin Audio’s superb MLA. (And yes, I’ve been a big fan since I first heard it in 2010.) However, in the last few months, we’ve seen the first roll-out of Adamson’s covert Energia initiative; the NAMM launch of the next evolution of VerTec, the VTX (and a huge early order from AED Rent: see page 8); and the cheeky SIEL debut of the forthcoming V Series from d&b (see cover). (There’s someone else’s new design coming at Frankfurt too: but more on that next issue…) Most significant, perhaps, is Nexo’s STM, a direct and considered reaction to the K1’s dominance (and PSNE’s world exclusive lead story). Nexo really is looking to shake things up, while at the same time attempting to supply a ‘one size fits most’ approach. It’s all going to make for an intriguing few months as we see what the PA hire companies favour. Let’s put it this way: three ‘household names’ are betatesting STM, Nexo says, and they aren’t existing customers. Ooh! Finally: say hello to our new staff writer, Erica Basnicki, a journalist and sound engineer. Yes, there are a few out there. 2012, then? Already quite the year... Q

“Adele is an amazing artist who made a brilliant record, and everyone involved did a fantastic job in marketing and promoting it. But none of that accounts for the size of the success. It’s like we really did manage to capture lightning in a bottle on this one.” Beggars Group founder and chairman Martin Mills’ pride in the achievement is nonetheless palpable. Released on Beggars label XL in January 2011, Adele’s second album, 21, is now approaching the 20 million sales mark and continues to linger around the upper reaches of charts worldwide. Impeccably crafted by Adele and a team of collaborators including 2010 MPG Producer of the Year Paul Epworth, the album’s extended shelflife has, in an era of brief careers and diminishing sales, offered welcome validation of a more traditional approach to artist development. “What has caught people’s attention is that she is honest, true and very unmanufactured in a manufactured pop world,” suggests Mills. “The success is unprecedented for us, and for the industry generally in the past 10 years.” While Beggars might be riding high now, its early days carried few indications of future global greatness. From 1973, Mills and his initial business partner, Nick Austin, ran a chain of Beggars Banquet record shops, but it was the emergence of punk several years later that catapulted the operation towards increased prominence. “It was a period of frenetic activity and total musical change,” recalls Mills, excitedly. “Music had become very complex and introverted, but punk brought back a free spirit, and for us it changed what we sold almost overnight.” The ‘anyone can do it’ mentality – so fundamental to punk’s Year Zero ethos – led to an explosion of activity throughout the independent music world. It was, therefore, but a small jump for Beggars to start its own label, a process kick-started by an approach from The Lurkers to release a debut single and album. These sessions were Mills’ first taste of the studio world, and he still marvels at the inspirational contri-


Martin Mills: winner of the MPG Outstanding Contribution to UK Music Award

Mills readily admits that Beggars’ output in the late ’70s was patchy, but fortunately goth was just around the corner. Bands including The Cult, Bauhaus and Gene Loves Jezebel ensured that the label became one of the UK’s leading independents. Emboldened by its success, Beggars was able to evolve into a broader music group, and is now an umbrella organisation that owns or distributes some of the world’s most influential independents, including 4AD (Pixies, Scott Walker), XL (The White Stripes, Dizzee Rascal), Rough Trade (Antony and the Johnsons, British Sea Power) and Matador (Cat Power, Stephen Malkmus). The initially free-floating company has inevitably acquired greater structure over time, but Mills says that Beggars remains “very informal. We don’t run budgets or business plans, and I still sign every cheque.” He also insists that the group’s recent run of success – or, one might add, his own Outstanding Contribution to UK Music trophy at this month’s MPG Awards (“being honoured by them is a massive compliment”) – won’t affect its presiding philosophy. “We are still who we are,” concludes Mills. “The fact that we sold X million records by

“The fact that we sold X million records by Adele doesn’t mean we don’t care every bit as much about an artist who is only going to sell 10,000 copies. We work with who we work with because we love their music and think that they are fantastic” bution made by producer/engineer – and latterday Music Producers Guild (MPG) director – Mick Glossop: “The Lurkers were four punk kids from London, and by the time they came out of the studio they were a different group. It really made me aware of the impact that a producer can have on a new band.”

Adele doesn’t mean we don’t care every bit as much about an artist who is only going to sell 10,000 copies. We work with who we work with because we love their music and think that they are fantastic.” Q


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6 show review  February 2012


Show review: NAMM 2012 The 2012 NAMM Show in Anaheim, US, featured a slew of launches from companies including Line 6, Mackie, Avid, Allen & Heath, Electro-Voice, Telefunken, Studiomaster and more, write Erica Basnicki and Dave Robinson NAMM 2012, which ran from 19-22 January, proved to be a record-breaker for the 110-year-old event. More than 95,700 attendees were recorded, representing a 15% increase on last year. Exhibitor numbers totalled 1,441, reports the organiser. Certainly one of the more exciting announcements at this year’s event was Line 6’s new “smart” digital mixer, the StageScape m20D. Dubbed “the world’s first smart mixer for live sound” its main feature is a new touchscreen visual mixing environment. No faders! None! Switch to Perform Mode, and a graphic display of the stage set-up lets you reach for icons representing each performer or input. A single touch on a performer’s icon provides access to all parameters relating to that channel, controlled by an X-Y pad. The StageScape m20D also features 32-bit floating point processing, a professional suite of dedicated dynamics, EQ and FX processors tailored to each channel, as well as multichannel recording of performances. Remote-controlled operation of the entire system is possible via one or more iPad devices. StageSource speakers (also launched at NAMM) can be integrated into the system using Line 6’s proprietary digital networking L6 LINK. The m20D recognises which speakers are being used as monitors and sends them monitor feeds. Loudspeakers will automatically self-configure, pan stereo signals, adjust Smart Speaker modes and perform system-wide optimisation. Also taking advantage of touchscreen technology – a theme at this year’s NAMM – is the Mackie DL1608 mixing desk. The 16-channel digital mixer features Mackie’s Onyx mic preamps, 24-bit Cirrus Logic A-D/D-A converters, built-in DSP and remotecontrolled operation supporting up to 10 iPads simultaneously. Additionally, the DL1608 features a recall function and channel presets


A packed room for the launch of Line 6’s StageScape and StageSource products, and a song by GRAMMY winner Colbie Caillat

Mackie debuted the DL1608 mixing system, a clever

Allen & Heath team at the launch of the new GLD

combination of iPad control and I/O platform

(“GL – Digital”) system on the eve of the NAMM show

allowing users to quickly save and access a range of settings. Harnessing the power of social media, it allows users to make a stereo recording directly onto an iPad, take a photo of the band, and easily upload and share a performance. Pushing into new territory, digital mixing console pioneer DiGiCo launched its UB MADI interface (under the DiGiCo Solutions moniker) at NAMM. Once the low-latency driver

The Aviom AllFrame Multi-Modular I/O System is ready for Europe

is installed, UB MADI is a simple plug-and-play device, enabling any computer to instantly connect to MADI via the most standard connector of all, USB 2.0. UB MADI uses the Stealth Digital Processing FPGA technology distilled from DiGiCo’s award-winning SD range of consoles. Small enough to fit in a sound engineer’s pocket, it delivers 48 simultaneous inputs and outputs – 96 channels of audio I/O – over USB 2.0.  The Harman brands had much to trumpet about at NAMM, beginning with the launch of the JBL Professional VTX ‘next generation’ line array series, designed for portable and fixedvenue systems. Evolved from the VerTec system, VTX’s key component is the D2 Dual Driver, specially developed to improve sound and performance at high frequencies. JBL Pro says D2 overcomes the limitations of conventional compression driver technology: diaphragm and voice coil mass limiting HF extension and distortion characteristics that arise due to dome break-up modes. Paul Bauman, head of tour sound, introducing the D2 at NAMM, likened the technology therein to a “Swiss watch”. The first VTX series product is the VTX

DiGiCo USA’s Matt Larson presents the UB MADI interface, a new business strand for the console manufacturer

V25 – a three-way, high-directivity line array element featuring dual 2kW, 15” Differential Drive woofers mounted in die-cast aluminium baffles. To power the VTX system, Crown Audio announced its new flagship i-Tech HD Series 4x3500HD DriveCore Series 4-channel power amplifier. The 4-channel i-Tech 4x3500HD incorporates Crown’s “sixth-generation” Class I engine with its innovative (and eco-friendly) DriveCore technology to deliver 3,500W per channel burst into 4 or 2 ohms, and offers a host of innovations including a 4.3” TFT LCD with capacitive touchscreen

and HiQnet System Architect 2.0 control functionality. (AED Rent in Europe was the first outfit worldwide to order the new VTX/i-Tech combo – see box, page 8.) More Harman: the AKG WMS 40 MINI 2 Dual wireless system, launched at Winter NAMM, offers high-definition audio performance, with efficient bodypack and cardioid mic transmitters, ensuring “advanced, reliable and quality sound for performances”, says AKG. The new WMS is available in three packages – the Vocal, Instrumental and Mix sets. The Vocal set features two HT 40 MINI dynamic cardioid microphones and the SR 40 MINI DUAL receiver. AKG’s Instrumental set includes two PT 40 MINI body packs – the smallest transmitters in its class that lasts up to 30 hours on one AA battery – the SR 40 MINI 2 and two guitar cables, while the Mix set offers one HT 40 MINI, a PT 40 MINI and the SR 40 MINI 2. Also of note from AKG this year was the DMS 70 a “true uncompressed” digital wireless system operating with 24-bit 48kHz transmission in the 2.4GHz ISM band, a worldwide licencefree frequency range; and the IVM4500 IEM In Ear Monitoring System, which builds on the strengths of its IVM4 predecessor. Elsewhere on the showfloor, Avid unveiled its VENUE SC48 Remote Digital Live Sound System, Stage 48 Remote I/O Box, and VENUE 3 Software. The VENUE SC48 system is a compact digital live sound system that delivers the same sound quality, Pro Tools integration and direct plug-in support of the VENUE SC48, with the addition of remote I/O functionality via the Stage 48 remote I/O box. This enables engineers to place the I/O away from the console and closer to sources. In a separate development, French high-end plug-in developer FLUX showed off a VENUE-compatible version of its Pure Analyzer System at NAMM – a network-driven modular RTA (Real Time Analyzer) system that consists of the standalone Pure Analyzer Essential application and up to three optional modules (Pure Analyzer Live, Pure Analyzer Metering, and Pure Analyzer Multichannel). Employing these highly impressive tools, VENUE users gain access to an extensive range of analysis options for live productions and other audio measurement applications. Unveiled just before NAMM kick-off (and previewed in last month’s PSNE) was Allen & Heath’s GLD scalable live digital mixing system, centred around the GLD-80 mixer, which provides 48-input processing channels, eight stereo FX returns fed by iLive’s FX emulations, 30 configurable buses, 20 mix processing channels and DSP power. The GLD-80 has an analogue-style channel processing control section complemented by a graphical 8.4” touchscreen. A fully-customisable drag-and-drop layout allows quick and easy assignment of inputs and mixes to fader strips. f

With the latest programmable studio-grade 32-bit Sharc® processor, FIR and IIR filters, and coordinated LevelMAX™ limiters, this integrated DSP outperforms many of the best stand-alone DSP loudspeaker processors in the world.

A culmination of nearly two decades of R&D, DriveCore is a HARMAN exclusive that combines hundreds of parts into one chip the size of your fingertip, resulting in higher efficiency and unsurpassed reliability.

© 2012 Crown Audio



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Boasting eight patents – three on the power supply alone – and the amplifier industry’s first integrated TFT LCD full-color touchscreen, the I-Tech HD DriveCore series offers a switching power supply with PFC and Crown’s patented Class-I output stage, resulting in greater fidelity at high and low power levels, more efficiency with less waste heat, and unparalleled reliability.

The I-Tech DriveCore series of amplifiers represents decades of work developing and refining amplifier technology that pushes the limits of sound reinforcement. It started in 1967 with the world’s first solid-state, high-powered amplifier with unsurpassed reliability and it continues today with the first tour sound amplifier offering four inputs routable to any output (analog, AES3, VDrive, or CobraNet™), the new I-Tech 4 x 3500HD.

8 show review  February 2012

Jumbo JBL VTX order from AED Rent AED Rent has become the first company to make a substantial investment in the NAMM-launched JBL VTX loudspeaker system, reports Marc Maes. The huge order – over 300 cabinets plus nearly 200 Crown i-Tech power amps – will ship to the dry-hire outfit in February. “The size of this single order has never been seen before in Europe’s audio industry but it is essential to meet the needs of the professional production companies in a season with the London Olympics and other large events in Europe,” says Glenn Roggeman, CEO of AED Group. AED Rent, which has subsidiaries in the UK, Germany, France and the Netherlands, will take charge of of 216 JBL VTX V25 line array top cabinets, 120 JBL VTX S28 double 18” subs and 192 new Crown i-Tech HD power amplifiers (3500HD and 12000HD models). Full systems will be available to rent in May.

AED Rent already offers a substantial number of JBL VerTec and VRX enclosures; the VTX order underlines the company’s commitment to the brand. Roggeman adds: “VTX is poised to become the reference speaker for touring systems. With our strong European rental network we want to promote the system, resulting in a win-win situation both for JBL/Crown and its users.” JBL Professional’s Paul Bauman says: “As the first adopter of VTX V25 and a key strategic partner in the VTX Network, AED Rent’s support of this groundbreaking new system is appreciated and I have full confidence that their technical expertise will be highly effective in helping us to introduce V25 to the market.”

Head of tour sound for JBL Professional, Paul Bauman, introduces the D2 Dual Driver, a key component in the design of the new VTX line array


Allen & Heath also launched two rack and floor toms, as well as horns, new models in its ZED range of live especially the trumpet.” sound and recording mixers – the ZEDAviom, the exclusive developer of 16FX and ZED-18. Each has 10 mono the long-standing A-Net audio transport channels and three or four dual stereo protocol, announced both at NAMM channels, respectively, fulfilling the and later at ISE (see page 37) that the demand for increased channel counts AllFrame Multi-Modular I/O System is in a compact format. now shipping internationally. Set to be There were more than just mixers hugely popular with installers and specbeing introduced at NAMM: Studioifiers for its innovative design, the master launched a trio of new products, AllFrame is suitable for a wide range of Crown introduced the i-Tech 4x3500HD including a high-performance, ultrapermanent and portable applications, amp, designed to power the VTX array portable injection-moulded PA series, and, says Aviom, “brings the flexibility the Studiomaster XPX. improved styling and finishing along of the company’s powerful Pro64 audio Available in both active and passive with the addition of flying points. network to the wall box, stage box or variants, the series comprises two Telefunken, meanwhile, introduced floor pocket”. 2-way injection-moulded trapezoidal the new M81 universal dynamic cardioid Yamaha didn’t disappoint: the DXR cabinets. These respectively feature 12” microphone. The M81 has a more linear series and DXS series subwoofers and 15” lightweight neodymium drivfrequency response than the company’s made their first appearance at NAMM. ers; the XPX12 offers 3” voice coils, and popular M80 and less of the M80’s The DXR series, designed with knowa 1.7” compression driver with 1” throat, characteristic high-end response. how from Yamaha-owned Nexo, comwhile the XPX15 features a 3” comAccording to Telefunken, the M81 prises four full-range models – the pression driver with 1.5” throat. Both features “superior feedback rejection, DXR8, DXR10, DXR12 and DXR15, boxes feature Class D biamplification detailed and balanced frequency complemented by the DXS12 and with switch-mode power supplies. response, and a smooth present sound DXS15 active subs. All feaAlso on display were a line of that is never boomy. The M81’s freture a compact and verAcoustic Image distributed mode quency response attenuates the high satile design, suitable loudspeakers, which end, making the mic exceptional on for a wide range of exploit the latest NXT electric guitars, percussion instruments, applications. Each entechnology developclosure houses a highments and manufacefficiency, 1,100W Class D turing advances to amplifier, delivering an SPL of “provide improved reproup to 133dB. duction capabilities in NXT Competing in this field, driven flat panel speakers”. Electro-Voice launched the The company also refreshed matching subwoofer for its ZXA1 its PA product line up with compact self-powered loudthe TRX Series, speaker – the ZXA1which offers SR 40 MINI stationary receiver, part of the updated WMS 40 package from AKG Sub. The ZXA1 is

Now, THAT is a big iPod dock…

equipped with an EVS-12S 12” woofer, an integrated 700W Class D amplifier, a 15mm wood enclosure, and a maximum SPL rating of 126dB. One last surprise at NAMM? It was on the Behringer stand certainly: but was it the 10kW iPod speaker, or the fact that the X32 mixer, launched two years ago, has a new livery featuring the words ‘Powered by Midas’? Q

Yamaha’s DXR series features four full-range speakers and two subs

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10 technology  February 2012

Yamaha 01V96i mixing console Yamaha’s latest 01V evolution offers 24-bit, 96kHz sound, multi-track recording and playback via USB 2.0 streaming, advanced functionality and ease of use. Simon Duff celebrates the good news combinations of reverbs, chorus and delays that can be used on one send. When the 01V96i operates at a high sampling frequency (88.2kHz or 96kHz), only two effects sends can be used. If it’s fast, flexible, creative recording that you are after, the 01V96i will not disappoint. The console is a superb high-quality choice, offering the versatility and reliability of the current version while adding updated features and capabilities geared towards professional DAW use – though I would have liked a greater palette of FX, perhaps. It’s also reassuring to note that the price matches that of its predecessor. With this new console Yamaha has added a broader range of applications with a fully integrated, comprehensive system that meets my growing needs and requirements. I will be investing. Q

Price and Availability £2,620 (€3,022) Distributed by Yamaha Pro Audio

Since its initial release in 1998 a Yamaha 01V has been at the heart of my studio set-up. Plenty of outboard gear has come and gone but not the console. It has also been used on location for a range of live music and speech duties. The sound and intuitive design means that it has been a joy to use. Not once has it let me down, in fact: the dynamics, EQ and multi FX have all stood the test of time. Right from the outset, Yamaha says, it listened to 01V customers, giving them the features and improvements needed when it came to release the upgraded version, 01V96, in 2003. Launched in November last year the 01V96i offers 24-bit/96kHz performance, USB 2.0 connectivity and multi-track recording features. The new console’s surface is well laid out and menus are simple to access. It features 40 mixing channels, 16 analogue and eight digital inputs, eight mix buses and eight aux buses. The 01V96i control surface also boasts precision 100mm motor faders, 99 scene memories for instant recall and fully configurable user-defined keys to help users adapt to just about any studio or sound reinforcement environment. The metal black surface is rugged with the matching grey faders, red and blue EQ buttons and a red master stereo bus providing a workflow that makes it easy to use for long periods of time. The input channels feature four-band parametric EQ. The Low and High bands can be set to shelving, peaking, or HPF and LPF respectively. EQ settings can be recalled from a healthy selection of presets. Likewise dynamic processing and library presets are available on all channels. Pad switches are located at the top of each input and turn on or off the 20dB attenuator.

A peak indicator lights up when the input signal level is 3dB below clipping. The central display section screen is a 320 x 240 dot LCD screen with a backlight and contrast control. The 12-segmented level meters, to the right of the screen, displays the final output level of the stereo bus. The great leap forward is the addition of USB 2.0, which makes 24-bit/96kHz 16 in/16 out multi-track recording and playback possible, while providing full integration with Pro Tools, Nuendo, Cubase, ASIO and Core Audio DAW software. The console also comes bundled with the latest version of Steinberg’s Cubase AI, offering a comprehensive range of tools for recording, editing and mixing, as well as an intuitive interface. Yamaha claims that the improvement in the console’s sonic performance comes via its Virtual Circuitry Modelling (VCM) technology, the same VCM effects and REV-X reverbs used with Yamaha’s top-of-the-line mixers. On the rear panel a healthy selection of outputs includes balanced TRS phone-type connectors for monitor outputs and two track in/out digital

coaxial connectors as well as MIDI IN/OUT/ THRU and the host USB port. To establish word-clock synchronisation between the console and external devices it is possible to distribute word-clock signals independently via dedicated cables, or use clock information derived from digital audio connections. Once I had downloaded the correct drivers for Pro Tools from the Yamaha Pro Audio website and located the phantom power switches (on the rear panel), I recorded a straightforward speech session with a high-quality condenser microphone, running the console at 48kHz. It was easy to achieve a warm, clean, detailed and well-compressed sound into Pro Tools via a single USB cable. I then recorded a variety of guitars and experimented with a range of EQ, dynamics and FX. The 01V96i features four internal multieffects processors, with reverbs, delays, modulation-based effects and combination effects designed especially for use with surround-sound programs. I was particularly impressed by the hall reverbs, chorus, amp simulations and the

TECHNICAL SPECIFICATIONS f 24-bit/96kHz A-D with 40 mixing channels f 16 analogue and eight digital inputs f Eight mix buses and eight aux buses f Precision 100mm motor faders f 99 scene memories for instant recall f Fully configurable user-defined keys f USB 2.0 connectivity for multi-track recording PROS AND CONS

Pros f Sound is warm and detailed f VCM effects and REV-X reverbs f USB 2.0 streaming for multi-track recording

including Pro Tools, Nuendo and Cubase f Cubase A1 software included

Cons f No USB cable provided f When operating at a high sampling frequency

(88.2kHz or 96kHz), only two effects can be used instead of four f Some more imaginative FX would be nice

studio 11

February 2012

fstudio news APPOINTMENTS


Right time for sometime Guillaume Schouker reports from brand new multi-discipline residential site, sometimeStudio, in north-eastern France Acclaimed artist, musician, engineer and producer Ramuntcho Matta has turned his dream into reality with the completion of Lizières, a “centre for world culture” built from the ruins of the 19th century Château d’Épaux-Bézu. Lizières features a state-of-the-art recording facility named sometimeStudio based around a Neve Custom Series 75 console. Located in a small village in the Picardy region of France – about halfway between Paris and Riems – and set in three acres, the Château d’Épaux-Bézu was originally built in the 14th century. It was destroyed during the French Revolution (around 1790), before being reconstructed under the Second Empire (the Bonapartist regime between 1852-1870). Managing director and co-owner Matta explains: “The major assets of Lizières are both its geographical situation – near the city of Paris [86km], but also not far from Germany and Belgium – and the building’s several annexes in which disciplines such as music, visual arts, arts therapists and artists-inresidence can contribute to encounters that can be productive at the creative stage of an album or a piece of music.” In fact, Matta’s project is purportedly supported by a ‘council of the wise’, who will help to define its “artistic heading and bring Lizières its international radiance”.

JBL Pro 4333As are mounted on stands built out of reclaimed chestnut roof-beams

This council includes musicians Laurie Anderson and Lou Reed, human rights activist François Zimeray and artists Richard Nonas and Valérie Le Huche. Lizières’ sometimeStudio is centred around a well-appointed control room designed by acoustician Jean-Pierre Lafont and featuring a 32-channel Neve Custom Series 75. Matta reveals: “It is first of all an emotional principle: I have done my best productions on a Neve board in the early ’80s. The transparency of contemporary technology with the warmth of [the desk’s] retro mode allows a slight signal saturation, enabling a mild distortion that brings out all the potential in the harmonics of the sound.”

Next to the control room is a small voice-over booth, while two large live rooms – one of 80sqm and the other of 115sqm – provide plenty of scope for all manner of projects. Mounted on stands built out of old chestnut roof-beams reclaimed from the château, a pair of JBL Pro 4333As are used as main monitors; mid- and near-field speakers are Quested V3110s, Yamaha NS10s, Dynaudio BM5A Series and Auratone 5Cs. Matta explains the reasons for this choice: “We offer a selection of monitoring systems that make for a journey in time.” In addition to full daylight and a view of the lush greenery, the control room

offers a Pro Tools 7.2 HD system operated by an Apple Mac G5, plus 48 in/48 out SSL XLogic AlphaLink audio converters, SSL XLogic Delta Link MADI HD and Brainstorm Electronics DCD8 Word Clock. Top-range outboard mounted in more chestnut beam racks includes a D.W. Fearn VT2, Universal Audio 1176LN, TC Electronic D-Two, Line6 Filter Pro, Akai MFC 42, GML 8200, Eventide H7600, Portico 5012 Duo, Focusrite ISA 430, and Lexicon PCM70. The residential part of Lizières is well specified, consisting of two bedrooms with private bathroom, plus two large bright apartments of 55 and 60sqm respectively that can accommodate up to 12 people. An old pigeon-loft annex will be renovated this year and will be turned into an exclusive penthouse. Matta concludes: “Lizières is a place where the most important people are the project bearers – those who represent the philosophy of the place. This includes people such as Lou Reed or Gregorio Manzur, writers, doctors, philosophers... Talking music with a poet or an architect can lead to new directions. Having the gardener listen to a music draft is also an inspiratory gateway...” Q

f Audinate has named Dave Anderson as director of sales at the company. He previously spent 18 years with Avid, holding various sales roles; latterly he was territory account manager and US West coast sales manager with responsibility for the largest territory in Avid’s audio business.

f Copenhagen-based Tube-Tech

has appointed Bigger Boat Distribution to represent its valve outboard in the UK and Ireland. The products have been added to a portfolio that also includes kit from Lavry Engineering.

f Simon Horn has joined console

maker Audient as sales manager for customers in Switzerland, Austria and Germany. The addition comes following a period of growth in Germany that has led to a change in Audient’s distribution strategy.

f Unity Audio has been named

Assistance in preparing this article was provided by Edouard Hardel.

as the exclusive international distributor for Cartec Audio. Cartec, based in Manchester, UK, has been in business for just over two years and produces the Pultec valve EQ recreation, the EQP-1A. Unity Audio’s owner, Kevin Walker, commented: “Cartec Audio fits in perfectly with what Unity Audio does and believes in.”

12 studio  February 2012


The Abbey habit As Abbey Road celebrates its 80th birthday with a series of public showcases, presenter and Beatles scholar Brian Kehew discusses the studios’ great legacy with David Davies Studio Two is opening its doors to the public in March

It’s where the ‘magic’ happens, but as with any studio, the magic must necessarily take place behind closed doors. Next month, however, the general public will have a few, extremely rare opportunities to peak behind the baffles and experience the history-infused ambience of Abbey Road Studio Two. The events – which do not include a tour of the Abbey Road complex – will commence by ushering visitors into a space whose legacy embraces a cornucopia of pioneering musical figures, from Sir Edward Elgar to The Beatles to Kate Bush. This remarkable musical journey will be examined in a far-reaching presentation by authors and Beatles scholars Brian Kehew and Kevin Ryan with reference to rare and unseen photographs, films and recordings from the Abbey Road archives. There will also be an extensive array of vintage instruments and equipment – including classic mixers and microphones – for visitors to savour.


With more than 20 years of research into EMI/Abbey Road history to their credit, there is no doubting Ryan and Kehew’s expert credentials. But speaking to PSNE, Kehew was frank enough to admit that the events’ primary attraction is likely to be the extremely rare chance to immerse oneself in the studios’ sound history – a profound reserve of sense-memory that virtually seeps from the walls.

Beatles expert Brian Kehew

“We realise the lecture portion is only a centrepiece for a main experience the visitors will get,� says Kehew. “Most, I’m sure, will be more excited to walk

his and Ryan’s presentation. A producer, engineer and musician who has worked with artists including Air and Fiona Apple, Kehew has co-authored

�I’ve heard people describe [Abbey Road Studio Two] as the musical Mecca – a kind of holy ground for fans of pop music� into that famous building and see the actual studio of The Beatles and so many others. I’ve heard people describe it as the musical Mecca – a kind of holy ground for fans of pop music – [...and] the room does have some special ‘vibe’ to it. We’ll be allowing time for people to wander about inside, take photos and feel comfortable; they will not be rushed in and out.� Nonetheless, Kehew is looking forward to drawing a “personal connection between the room you’re seated in and some very significant history� during

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several acclaimed books on the Beatles with producer/engineer Ryan, including a deep mining of the band’s studio history in Recording the Beatles – a compelling piece of Fabs scholarship fit to stand alongside Mark Lewisohn’s The Complete Beatles Recording Sessions and Ian MacDonald’s Revolution in the Head. “When we began the project many years ago, it was clear that the most important aspect of the Beatles’ legacy was the records themselves,� says Kehew. “Only the dates and scheduling of those records had been explored

before, in Mark Lewisohn’s superb book. We hoped to explore the ‘how’, ‘where’ and ‘who’ of the recordings in great depth. There were the many books showing holidays, Maharishis, chauffeurs and airplane travel of The Beatles, but their musical work is their real legacy, and we’re pleased to have illuminated that dark corner.� A valuable journey, then, but hardly one without its fair share of pot-holes, admits Kehew, who with Ryan is currently collaborating on a new book based around Beatles studio photos taken by revered lensman Henry Grossman. “It was difficult to find this information,� he says, “and [the project] took 16 years to complete, so we see why it had not been done before!� Abbey Road Studio Two events are taking place on dates throughout March. For more information and purchasing details, see www.seetickets. com/tour/abbey-road-studios. Q

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14 studio SOUNDBITES f Sound Devices has purchased a new facility for its US HQ in Wisconsin. It is expected to relocate into the 27,000sqft facility in the first half of 2012. “This move is part of Sound Devices’ continued commitment to our customers, our community and to the marketplace,” said Jon Tatooles, managing director, Sound Devices. “It gives us the necessary room to grow, and to have all departments, including engineering, manufacturing and sales under one (much larger) roof.”  February 2012 BELGIUM

Residents add vroom to MotorMusic With external engineers and producers residing in the MotorMusic building, a new audio production cluster has become reality, writes Marc Maes

Staf Verbeek was an early resident

f Post-production studio The

Jungle Group has invested in 12 Fairlight EVO mixing consoles, as part of a studio refurbishment programme across its trio of Soho, London sites. Azule Finance worked with the post house to arrange the acquisitions.

Towards the end of last year, the MotorMusic management took the decision to open up part of its spacious building for thirdparty audio activities. “We had spare room and we felt that this could serve kindred spirits – people who would not actually be part of the company but could hire working space with us at favourable rates,” explains MotorMusic manager Hans.


An early resident in the Mechelenbased studio was veteran recording engineer Staf Verbeeck; after having sold the legendary Jet Studios, he worked as audio engineer at Ancienne Belgique in Brussels – now he returns to the recording business in one of the country’s finest facilities. The combination of Staf ’s expertise and vast inventory of recording equipment with MotorMusic’s spacious recording room, acclaimed

acoustics and control room centred on an SSL 9000 K will add a new dimension to MotorMusic. “Staf’s equipment is a dream for any engineer, we now have a working relationship benefiting both his and our clients,” says Hans. Musician, film score composer and sound designer Johan Hoogewijs has also started working in the MotorMusic building – Hans and Hoogewijs have known each other for many years and the idea that “we should team up one way or another” was always there. Hoogewijs is a well-known composer for TV and film in Belgium and Holland – his company Sonic Silence caters for radio sound design. A completely different ensemble entered the recording facility when the Chamber Orchestra of Belgium (Belgische Kamerfilharmonie) est ablished their HQ in the facility. “Ben Haemhouts, artistic director of the orchestra, and general manager Veerle Simoens came to see us – they

wanted to have their administrative headquarters here and we believe this may be a win-win for both parties,” Hans says. He adds that their particular organisation and structure is different from public orchestras, allowing more flexibility. “The Chamber Orchestra of Belgium is one of the finest classical orchestras, it also offers opportunities to use their players on recordings for film and even pop and rock albums.” MotorMusic strongly believes in the cross-pollination of the different resident partners because they attract new projects, making the studio environment energetic. “It’s a matter of matching the best engineers with the types of music,” says Hans. “I’d like to see our studio, and the cosy relaxation bar, act as a meeting point for artists, engineers, producers and other clients – a stimulus for networking, yielding potential new projects.” Q

SSL-equipped East Point is accessed via a secret bookcase in the billiards room


Miloco Studios: new island retreat, new Avid products Erica Basnicki Miloco Studios has partnered with Sugababes producer Nigel Frieda to launch Osea Island, “the UK’s ultimate retreat for the music industry”. The privately owned island is located in the Blackwater Estuary off the Essex coast, and was chosen to film the outdoor scenes of new Daniel Radcliffe ghost flick The Woman in Black. The island’s musical offerings are centred around East Point, a recording and mix studio based in Manor House – entry to which is located through a

secret bookcase in the billiards room. The studio is equipped with a Solid State Logic 4064 E Series 64-channel and an Avid Pro Tools HD3 rig, with an upgrade to HDX planned for the near future. In related news, Miloco has announced the introduction of new Avid products to its flagship Londonbased studios. The Bridge, Miloco’s programming/writing room, was outfitted with Pro Tools HDX cards while The Engine Room was upgraded with new HD I/O audio interfaces. Q

studio 15

February 2012



Grain control

f In a move designed to provide

full native 64-bit support for DAWs such as Logic and Cubase, Sonnox has announced the release of 64-bit versions of all native Oxford plug-ins. The new versions – which also feature updated graphic interfaces – can be downloaded directly from the Sonnox website. The company will also be adding AAX native plug-ins (for Pro Tools 10), free of charge to licence holders of the new native versions.

Down on the farm, something is stirring: but it’s more Traktor than tractor at Lodge. Dave Robinson puts on his headphones and his wellies

“I built the studio with my fair hands!” smiles Lodge Studio owner Peter Miller. “A plasterer did the ceilings and a carpenter put in the doors but everything else – all the blockwork, carpentry and electrics – that was all me.” Dance music producer Miller set up Lodge in the outbuildings of his family farm near Orpington, Kent, in 2004, and, after a number of equipment upgrades, he’s now looking to grow his business. “I offer local bands full recording services from live demos to multi-track recording. I’ve also done mixes for clients,” he says. Lodge is small but ambitious. It consists of a live room (6.5m x 5.5m) and vocal booth (2.5sqm) flanking a 6.5m x 4m control room. Of his budget, Miller says: “Um, I didn’t really have one when I started! I bought my


ADAM Audio monitors and tried to match everything else to that quality. In the end I think I spent about 85 grand… and still going…” The ADAM P11As, plus sub, are nothing less than his pride and joy. “What can I say? Fantastic monitors, great stereo image, good response and very accurate: great for recording. Some times they can be too good! I flick between them and a pair of Mackie HR624s for balance.” Among a collection of AKG and Shure microphones, a Neumann TLM 103 takes centre stage for vocals. “I used this a lot when I was at college learning my craft, and have never looked back since. There’s not much that can touch it for the price.” Miller chose MOTU192 HD A-D converters for his beloved 28-year-old Soundcraft 800b 18-channel inline desk. Although he finds himself mixing ‘in-

f Gary Numan has purchased a Peter Miller: “Lodge is small but ambitious”

the-box’ more often than not, he willingly takes to the console when he can. “I am a massive fan of old analogue sound of this console. I didn’t want a digital desk as there are loads of studios that are fully digital. Not for me!” Other outboard includes TC’s M3000 reverb, four Focusrite compounders and a TL Audio stereo value compressor. Pro Tools 10 has just been

added to the arsenal, joining Logic 9 and Native Instruments Komplete sound design software. (Despite the weak pun in the standfirst above, there isn’t a copy of NI’s Traktor.) “Next will be an upgrade for more mics, for sure,” says Miller. “In the mean time, I just want to record more and more and keep enjoying it.” Q

pair of Unity Audio Rock active monitors for his private studio. “Being able to listen to tracks at low level, should you want to, and yet still hear all the low end is incredible. I’m used to having to drive my studio speakers somewhat to get them to sound accurate but you don’t have to with these,” commented Numan.

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Rap star LL Cool J launches online studio at CES 2012 Erica Basnicki Studio time is expensive, especially if you have to travel to find one. Enter Boomdizzle, an online community with a virtual recording studio, co-founded by rap musician LL Cool J in 2008 and launched at the consumer electronics showcase, CES 2012, in January. Over 25,000 musicians have already pre-registered to take part in Boomdizzle’s Virtual Studio Alpha Launch. The studio promises latencyfree, delay-free, real-time multi-track recording with anyone, anywhere. Video and text chat allow for instant communication between collaborators. “This won’t eliminate recording studios, but it will definitely change the way music is recorded, forever,” predicted the GRAMMY Award-winning artist during a live demo on the CNET stage. “I mean seriously, think about it: you’re in Chicago, your friend is in Paris, and you’re actually recording! No plane tickets.” The technology powering Boomdizzle is patented, and appears to deliver on LL Cool J’s promises. During the demo, the musician-turned-actor recorded a segment of his new song No More in realtime with his GRAMMY Award-winning engineer, Glen Marchese, who was in New York. CNET’s Brian Tong attempted a vocal ad lib. After a brief uploading period, recordings were played back perfectly in time with the pre-recorded instrumental track, eliciting applause from the audience.

“The industry has completely changed since I first started recording music,” commented the rapper. “The next great artists of the future are out there all over the world and I am excited that Boomdizzle’s Virtual Studio can help them collaborate and bring their music to everyone.” At CES, Boomdizzle partnered with Dolby, which provided technical assistance for the real-time demonstration along with a Dolby technology-enabled laptop featuring the new Dolby Digital Plus platform. The new audio solution allows the delivery of high-definition audio across a range of consumer devices including HDTVs, smartphones, tablets, PCs, game consoles and Blu-ray players. What the audience heard at CES in Las Vegas was the same as what Marchese was listening to back in New York. “As a leader in delivering premium quality audio it is Dolby’s role to ensure that the playback experience meets the standards of artists like LL Cool J who work hard to give their fans the best experience possible,” added Ramzi Haidamus, executive vice president, sales and marketing, Dolby. The initial launch of the Boomdizzle Virtual Studio will be an invitation-only opportunity for artists to access the studio, as well as providing them with the opportunity to interact with celebrity artists and producers. Q

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16 studio bookings  February 2012

Studio bookings

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The Studio Bookings listing is a free service. All information is provided by the companies listed and PSNE cannot be held responsible for any factual errors. To be included in the listings, please contact Lianne Davey, studio bookings editor, on +44 20 7226 7246, or email ARTIST AUSTRIA Hit Fabrik Back to Earth




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broadcast 17

February 2012

fbroadcast news UNITED KINGDOM

Broadcasting in London More than 300 exhibitors crammed into Earls Court this month to see the latest in broadcast technologies at BVE Broadcast Video Expo, which took place at Earls Court, London from 14-16 February, had a higher profile than ever, both on the exhibition floor and in the seminar sessions. Audio-wise, there was plenty to see. The newest member of Calrec’s Artemis family of Bluefin2/Hydra2 audio consoles, Artemis Light, introduced a new compact processing rack dedicated to delivering DSP and routing capabilities in a 4U enclosure. Like all Artemis consoles, Artemis Light incorporates Bluefin2 High Density Signal Processing and Hydra2 networking technologies in a compact yet scalable control surface. “No sacrifice has been made to quality, reliability or specification. This is a broadcast-production audio console with full redundancy, designed to be an integral part of the Bluefin2/Hydra2 family,” said Henry Goodman, head of sales and marketing at Calrec. Artemis Light also supports point to multipoint routing, the Calrec H2O router control GUI, and third-party remote control protocols SW-P-08 and EMBER, allowing remote control of router and console functions. CEDAR Audio showed off its DNS One plug-in as part of the CEDAR Studio suite for Pro Tools plus the Debuzz, Declip and Adaptive Limiter processes (see PSNE’s review next month). Cel-Soft announced a major new addition to its suite of quality-control and monitoring software. Designed to run on a standard desktop PC or workstation, Reel-Check Solo-QC enables a complete set of quality-control tests to be performed on live or file-based video and audio.


The Logitek ROC from Preco made its UK debut at BVE

It is compatible with all signal standards and media file-types in common use, including webcast, broadcast and 444 digital-film formats up to 4K. “ReelCheck Solo-QC is the facility’s equivalent of a Swiss Army knife,” said Cel-Soft MD Robin Palmer. UK-based console manufacturer DiGiCo, which recently attracted new investment of some £50 million (see PSNE January 2012), showed the new broadcast-specific SD7B, SD10B and SD11B from its latest SD series of consoles. The SD Series is based on the power of FPGA technology and Stealth Digital Processing, and adopts a multiapplication approach. It is this that has enabled it to develop applicationspecific feature sets, resulting in dedicated broadcast versions of its SD7, SD10 and SD11 consoles. “We have a heritage within the broadcast industry from our Soundtracs days,” said DiGiCo managing director James Gordon. “It’s exciting to be back with a set of consoles that

address the entire scope of the broadcast market’s needs.” The DK Meter, a highly portable Compact Audio Loudness Meter that retails at €995 in Europe, was on show at BVE. Richard Kelley, sales and marketing director for DK-Technologies, said: “The new DK Meter has received more enquiries per week than any other product we have sold in the past, proving that there is huge demand from the industry for an affordable audio metering solution that not only delivers conventional metering but also ITU, EBU R128 and ATSC-compliant loudness metering at the same time, on the same display and in a single box.” BVE marked the first UK showings of the NTP Technology Penta 725 IP audio router and the AETA 4Minx location mixer and recorder by UK distributor Aspen Media. Riedel Communications presented MediorNet Compact – described as the cost-effective entry into the

Riedel MediorNet world of integrated media signal distribution and processing, and already seen at several international trade shows – to the broadcast audience. TC Electronic’s LM6 Radar Loudness Meter was part of a comprehensive showcase of pro-audio loudness tools proffered by HHB Communications. As new loudness standards gain traction in Europe those in the media supply chain are adopting a mix of hardware and software loudness technologies for both linear and non-linear environments. HHB will be focusing on four loudness applications: OB and live production, post-production, playout and archive with technologies from DK-Technologies, Dolby, Nugen, RTW, TC Electronic and Wohler. The HHB stand also featured new portable recorders from Olympus (2channel LS-100) and Roland (6-channel R-26), new consoles from Studer (OnAir 1500) and Yamaha (01V96i) and more. Preco chose BVE 2012 for the UK launch of the Logitek ROC audio control console. Designed for easy operation in live control rooms, post-production rooms and news booths, the ROC is a modular system with a low-profile control panel which can be placed directly onto an existing worksurface. Available in 6, 12, 18 and 24 (Penny & Giles) fader configurations, the console is “easily integrated into permanent or temporary studios”, says Preco. Finally, Roland Systems Group (RSG) UK showcased its flagship standalone and portable recording products: the R-1000 dedicated 48-track audio recorder/player which provides 48-channel solution for live recording/playback and soundcheck was on show; as was the R-26 portable handheld recorder, designed to appeal to all professionals. Q

SOUNDBITES f Broadcasting services provider

Bow Tie Television recently fitted one of its outside broadcast (OB) vans with a K-array KZ10 system. The KZ10 is an ultra-micro line array measuring 2.2 x 10 x 1.7cm.

“Because the KZ10 is so small, we thought that it was the ideal product to use. It allowed us to do something we’d never been able to do before,” said Ross Banks, head of outside broadcast sound for Bow Tie TV. Working with K-array distributor Sennheiser UK’s Dave Wooster and Lee Shuttlewood, Banks and his colleagues installed five KZ10 and five KU36 subwoofers in the truck as a 5.1 surround system.

f Centro Televisivo Vaticano

(CTV), official broadcaster of Vatican City, has selected ClearCom’s Eclipse-Median digital matrix and Tempest 2400 digital wireless intercoms to help cover the official activities of Pope Benedict XVI. The communication capabilities offered by the four connected Eclipse-Median, six I-Series intercom panels, two Tempest BaseStations and four Tempest BeltStations are said to ensure that broadcasts have fast access to reliable communications.

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broadcast 19

February 2012 WORLD

Recording the sound of frozen wastes Not all TV production crews today include a sound recordist but, as extreme location cameraman and director Phil Coates tells Kevin Hilton, that does not mean audio is any less important in the making of exciting programmes Human endeavour, endurance and adventure are a popular mainstay of TV schedules these days. And the more remote or dangerous the location the better. This means these programmes cannot be made in the same way as conventional shows, which, even if they do not have a sound recordist on the crew, will feature a camera operator, a producer and perhaps a production assistant.

Picture by


shoot comes down to experience over several years. Coates started out on the production side of TV, working for the BBC science and features department as first a researcher and latterly a producer. He later went freelance, setting up a logistics company to advise people about organising safe and successful expeditions. As well as consulting on projects, providing risk management and training personnel, Coates

Phil Coates: recording sound in extreme locations, particularly cold and windy ones

Having a team of people like that following explorers up Mount Everest or to the North Pole is not practical or sensible, which is why a new breed of specialist filmmaker has emerged. Phil Coates has shot video and audio in some of the most desolate and dangerous places on earth and says the priority for any camera operator working on this kind of production is to come back from an adventure with “a great narrative, some fine sequences the editor can cut together well and sumptuous images”. But, he adds, the thing many people still forget is to also have good quality location audio. This point was emphasised during Coates’ audio seminar presentation at BVE 2012 in London on 15 February. Recording Sound in Extreme Locations looked at the importance of good location sound production and the potential challenges in recording quality audio as a solo director/cameraman working in some of the most inhospitable places on the planet. To achieve the best results there are some basic technical/operational rules to follow but, says Coates, much of how he approaches an extreme

continues to make films on location. He works variously for the BBC, ITV, Channel 4, Channel 5, Discovery International and National Geographic Television, with recent destinations including the north side of Everest, the Greenland Ice Cap and the magnetic North Pole. Coates used his experiences on location to illustrate in the BVE session the importance of having what he describes as “crisp, clean audio on location”. The presentation was aimed at both PD (producer/director) shooters and young filmmakers starting out in the business. Like many lone PD operators Coates is shooting on the latest generation small digital cameras, including the Canon XF100 and the Canon XA10. In most cases he works with “top mics” mounted on the camera. These have been principally the Sennheiser ME 66 highly directional supercardioid shotgun but recently he has started to test the MKH 8060. He says this is suitable for smaller cameras, with the response being directional but not to the same extent as the ME 66. The shotgun mics are mounted in Rycote suspensions, including some Coates modified

himself to make them even more robust to suit different terrain and weather conditions. He also has two Sennheiser Evolution wireless systems, which are fitted inside the cold weather clothing worn by explorers – although, Coates acknowledges, this can cause problems with rustling and movement noise – and run on longlife Lithium batteries. For his last project Coates was filming three adventurers on a multi-million pound expedition. Each person in the team, including him, pulled a sledge laden with equipment. “Anybody on a trip like that has to deal with the physicality and be very methodical, ensuring they don’t get frostbite or altitude sickness,” he says. “In addition to that I have to consider the quality of the images and sound.” In most cases, Coates says, he won’t be wearing headphones and so relies on the level display on the camera. “If I can’t see something, I don’t

shoot it,” he explains. If he’s using a top mic with one input on the camera Coates will split the channels, setting a higher level to one and a lower level to the other. This way, he says, he will get at least one good recording. “We may have to do something with it in post but it works,” he observes. Similarly radio mics are recorded through a two-channel input. As well as the camera mic and wireless units, Coates often travels with a boom pole and “commandeers” a member of the expedition to use it. Being a one-man band, Coates records sound on the audio tracks of the camera and tries to get as much material as possible on location rather than having to put in spot effects or Foley during postproduction. “You can always tell canned wind noise,” he adds, “so I record as much as I can so it sounds realistic.” During his career Coates has been on BBC courses to learn the fundamental operational skills. Now he runs his own instruction sessions for PD shooters, aspiring filmmakers and adventurers. He says the advice for getting good sound depends on which of these groups he is talking to but the basics are: aim the mic directly at the sound source and get it as close as possible; buy a mic that is as expensive as you can afford because “quality always delivers quality”; and always shoot wearing headphone but if you cannot do that be familiar with the camera set-up and keep the audio levels in vision at all times. “Everything else comes down to experience, craft and the skills you learn as you go along,” Coates says. He admits that he has brought back material, listened to it and sworn because it’s not been any good. “But I make sure that happens only once.” Q

20 broadcast APPOINTMENTS f Clear-Com has named Bob

Boster, previously vice president of worldwide sales, as the company’s new president. He succeeds Matt Danilowicz who left at the end of 2011. Boster, who joined Clear-Com in 2006, will be based in Alameda, California, and will report to Mitzi Dominguez, president of HME.

f TV Tools OY has been named

as a representative and reseller of Wohler products in Finland. The Helsinki-based business will offer the full portfolio of Wohler products such as signal management and confidence monitoring solutions, including the new DVM-2443 video monitor and the RMQ 230 quad split monitor. TV Tools Oy imports, sells, and markets video and audio solutions and information systems. The company also designs, builds, and maintains systems from single editing stations to solutions for large cruise liners.  February 2012 EUROPE

VCS rebrands as SCISYS Erica Basnicki German broadcast production/ playout systems manufacturer VCS Aktiengesellschaft has become SCISYS Deutschland GmbH, a 100% subsidiary of UK company SciSys plc. VCS Aktiengesellschaft has been a subsidiary of SciSys plc for four years; ever-greater integration between the two during that time has led to the rebranding. The transformation is a corporate re-naming according to German law. All assets, rights, contracts

Klaus M Heidrich, SciSys plc

and obligations will transfer to the new corporate form unchanged; ownership is also unaffected. Klaus M Heidrich, CEO of SciSys plc, commented: “Continuity, mutual appreciation and respect remain the guiding principles of the continuing integration process, maintaining and improving the long-standing partnerships between us and our customers and business partners. We will continue and expand our joint use of resources, knowledge and technologies

to strengthen the innovation capability of the entire group.” As VCS, SCISYS Deutschland GmbH has been offering broadcast solutions for more than 20 years. The Media Broadcasting Division implements turnkey systems for broadcasters based on the modular dira! product line. Its customers include the BBC, as well as major German, Belgian, Egyptian and Icelandic broadcasters. Q


Raycom signs major Wisycom deal with Sky News channel Following extensive trials and appraisals, Sky News is planning to reequip all of its ENG  cameras with Wisycom radio microphone systems supplied by Raycom. Sky will be taking almost 200 channels worth of MCR42 slot-in receivers and a selection of matching hand-held, belt-pack

and plug-on transmitters. Raycom is also supplying Sky News with DPA microphones for some of the systems. “The Wisycom equipment performed very well against other manufacturers, it is robust, has good range and is very user friendly in both operation and bandwidth,” said Sky News’s

head of cameras, George Davies. Raycom’s Pyers Easton said: “We are delighted that Sky News has chosen the Wisycom systems for such an important role. It is a glowing testament to the quality and innovation that Wisycom brings to bear in this field.” Q

Wisycom MCR42 with battery pack

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February 2012

broadcast 21

The SSL console forms the centrepiece of Studio 1


SSL console improves Vision Nigel Lord Vision Seven Media Group International has installed a SSL AWS console/controller in its Control 1 studio near Augsburg in Germany. The complex services commercial music and audio for video production and post as well as a School of the Arts. “The AWS is the workhorse and centrepiece of the studio facility,� says Joe Webb La Fontaine, director and owner of VSM. “It efficiently runs the different DAW programs we use without any problems.� The AWS is joined by three SSL X-Rack frames offering eight VHD mic pres, E-Series dynamics and EQ. An SSL X-Patch is incorporated to bring

the extensive collection of outboard gear into the AWS, while Alpha-Link and Delta-Link I/O connect to the resident DAW. The Control 2 mix room, post-production suite, mastering room, pre-production room, graphics suite and live performance space are all interconnected using an XLogic Madi-X8 to maximise the flexibility of the complex. “The console adapts easily and quickly to every situation we have thrown at it,� adds La Fontaine. “The flexible routing and monitoring system make it a pleasure to work with for the engineering staff. Add to this the signature SSL sound quality and the console is just unbeatable.� Q

21 – 24. 3. 2012 discovering new dimensions Prolight + Sound in Frankfurt am Main is the place to be for anyone involved in the business of event technology, system integration and production. Here you’ll find a complete overview of all products and services relating to PA systems, microphones and effects, live sound, fixed installations and studio systems. The show also offers an extensive programme of professional development opportunities and product presentations. Further information available at: XXXQSPMJHIUTPVOEDPN TURKMENISTAN An Allen & Heath iLive digital mixing system has been installed in the conference room of Turkmenistan’s iconic TV Tower, located in the capital city of Ashgabad. The conference room has a small control centre, which required a similarly compact mixing console. Audio and lighting contractor Asimetrik selected an iLive-T80 control surface and iDR-48 MixRack system. “The tiny control room now has a small mixing system but with enormous features,� comments Mert Kiliccote from Asimetrik. “iLive more than caters for the requirements of the application and will grow with the building as facilities develop.� The TV Tower includes a TV and radio studio complex catering for six channels. Q Tel. +44 (0) 17 84 41 59 50

broadcast 23


Crosspoint and Yamaha serving up audio at tennis Open Erica Basnicki Hampshire-based Crosspoint Solu tions showcased its recently purchased Yamaha M7CL-32 digital mixing console at the Australian Open tennis championship held in Melbourne in January. The company provided audio facilities to Eurovision for its Master Control and Distribution centre and to Eurosport for its temporary HD  studio setup.

The Yamaha system will also be used at the US and French Opens

“We had seen an M7CL in operation at other events and spoke to a close colleague, Trevor Beck, who is very well respected in the industry and whose credits include the opening ceremonies for the last few Olympics and other such high-profile events. His advice to go with the M7CL has proved absolutely correct,� said Crosspoint head Geoff Mann. As well as the Australian Open, the M7CL will used at Wimbledon, the

French Open, the US Open, the Queen’s Diamond Jubilee, and other globally televised events in 2012. “Yamaha’s technical back-up has also been excellent. In an industry where the options for equipment are widespread, one of the biggest elements of decisionmaking is support and reliability – Yamaha has these in abundance,� added Mann. Q

SOUNDBITES f PSNE sister title TVBEurope has

released further details about is Fast Turnaround TV conference, to be held on 13 March at the Soho Hotel, London. The event will be keynoted by Andrew Ioannou, strategy director, ITV, and will see in-depth case studies from Mediaset Italy and NRK Norway along with European case studies involving workflows from sponsors Dalet, Quantel and Sony. John Ive, currently director of business development & technology at the IABM, will chair the conference.

f December proved the best UNITED STATES

Lawo takes country road Dave Robinson A ‘Red Carpet Special’ interview show before this year’s CMA (Country Music Association) Awards in Nashville marked the debut of MTV Networks’ newest OB truck – Nereus – and the Lawo mc266 MKII production console onboard. For this year’s pre-show, Keith Durham, an engineer for CMT (Country Music Television, a unit of Viacom), was at the helm of the new

56-fader desk, assisted by engineers Browning McCollum and Marc Repp. “There was very little music on this show,� said Repp. “The real challenge was the fact that there were numerous interview locations and each location had five wired and five wireless microphones. This created not only a lot of microphone inputs, but numerous microphone groups that had to be managed. Moving quickly from one micro-

phone group to another and to seamlessly switch from a wireless to a hard wired mic – should the wireless system drop out or otherwise fail – were the most pressing tasks on this job.� “In addition to the various microphones and microphone groups,� Repp continued, “there was also a considerable amount of IFB (interruptible foldback) traffic for communication between the production staff and the

various interviewers. All of these audio signals were handled by the mc²66 MKII. While there may not have been much music, there was a lot of audio moving through the board.â€? “The mc²66 MKII’s ability to quickly and easily recall snapshots and switch between the various microphone groups was a huge factor in the success of this project,â€? Repp said. “Likewise, the console’s Extra Faders feature, which includes a ‘Short Fader Control’ panel in the console’s central control section, was equally important, as it provided greater control over crucial elements assigned to this area.â€? Q

month of 2011 for Merging Technologies, the company has reported. “Sales and orders came in at a brisk pace despite the fewer working days in the month,� says sales, operations and marketing manager Chris Hollebone. “Most notable was a large order for Pyramix and associated hardware from a major Middle Eastern broadcaster but there were significant orders received from Japan, Bulgaria, Switzerland, USA, UK, Poland and Italy.�

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live 25

February 2012


Adamson adds US Energia partners Adamson continues the Phase One roll-out of its new PA solution with two more beta-testers in North America, writes Erica Basnicki Sound Image, one of the US’s leading PA hire companies, has become the second American company (behind Eighth Day Sound Systems) to join Adamson’s Project Energia initiative, followed closely by Atomic Professional Audio of Vermont. “Adamson kept us closely informed as Energia was developing,� says Sound Image president, David Shadoan. “As soon as beta testing began, we confirmed that we would join in Phase One (of the technology roll-out). The Sound Image philosophy is to deliver leading technology and to stay ahead of the curve. Energia was a simple choice. This system is pro-

Team Atomic and their Adamson E15 speakers: (L-R) Mark Trepanier, George Perone, Vic Hess, Kristin Margolin, Kevin Margolin, Mike Alcorn

gressive and a very powerful solution. We look forward to getting it on the road,� Meanwhile, the Atomic team took

delivery of its system in January and expects to have it on the road before the end of the month. Atomic Professional

Audio’s president, Kevin Margolin stated: “Our Y-Axis speakers have been fantastic and as always, Adamson puts audio quality first. The E15 is better in every way. It’s truly stunning!� The sound company is no stranger to the Adamson family, with Y-Axis systems in their inventory dating back to 2002. Phase One of Project Energia involves the evaluation of a set of transducers, sound chambers, and mechanical elements of forthcoming large-format PA system by beta partners worldwide. Q

SOUNBITES f The International Outdoor

Event Expo (IOEX) – a new event to be held at ExCeL in March – predicts a bright 2012 for the events industry as it releases the results of its industry poll. The survey reveals budgets for the event industry are looking positive, with 83.4% of respondents saying their investment budget would be the same or increase in 2012. The current economy was the biggest issue affecting the events industry this year at 45%, whereas only 18% highlighted the Olympics as a key influence. Running alongside International Confex at ExCeL London from 6-8 March, IOEX intends “to offer a major international showcase for the innovative and world-leading UK outdoor event production industry�.

+ In other news the professorship of Mechatronics at the Helmut-Schmidt University/University of the German Federal Armed Forces in Hamburg has invested in 16 Adamson B-118 subwoofers. In an unusual experiment, the speaker rig will be used for studying the effects of noise emissions of so-called ‘propfan’ engines (part propeller, part jet) inside an aircraft passenger cabin model, and the effectiveness of active noise cancelling measures. The B-118 subs will be used to recreate a specific acoustic signature of the engine at realistic sound pressure levels.

f Celtic punk band Flogging

Molly is currently touring the world with Harman’s Soundcraft Vi1 as its monitor console. The band’s tour manager Aaron Glas has been fond of Soundcraft boards from his experience working with the Vi4 and Vi6: “The Vi1 is very compact which makes it the perfect size for our travelling production. It’s always nice on the road to have consistent, great sound when going in and out of many different types of venues; we knew we’d have a console to rely on that wouldn’t fail.�


FBT opens UK sales and support office Erica Basnicki Italian loudspeaker manufacturer FBT has established a London-based office focused on sales and distribution of its brand throughout the UK and Ireland. Known as FBT Audio (UK) Ltd, the company will also provide professional technology

support to pro-audio and musical instruments customers. FBT Audio UK’s joint founding partner and managing director Mark Parkhouse commented: “FBT has long been recognised as a major international player in speaker systems and I see this as an exciting opportunity for pro-

moting its comprehensive product line. Focusing initially on the professional loudspeaker range, we will provide a service that is a mix of proven products and high-end consultancy advice combined with more competitive pricing policy.� Mauro Tanoni, FBT’s sales director, said from the company’s Italian head-

quarters: “One of our company’s strengths is its flexibility to address the diverse demands of a dynamic pro-audio community. We decided to take a different and better approach to marketing and sales in the UK, and we are now pleased to join forces with Mark.� Q


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26 live APPOINTMENTS f James Lawford has returned to pro-audio sales and support outfit LMC Audio as sales manager, following a period in UK sales at DiGiCo. “I enjoyed my time with DiGiCo immensely and it has been enlightening to carry out business from the manufacturer side of the table. In my new role as sales manager I plan to work with my team to continue our overall objective: bringing the best service and the best products to the professional audio market,” he said.

f Cadac Holdings has

announced the appointment of as the exclusive distributor of its new range of analogue and digital consoles in Spain and Portugal. Headquartered outside of Barcelona, is the pro-audio distribution arm of Grupo Adagio, which also incorporates an extensive MI distribution division.

f dBTechnologies has appointed Sky Corporation as the exclusive distributor of its product range in Serbia. dBTechnologies’ business development manager Giovanni Barbieri said: “Together with Sky Corporation we can see opportunities for further expansion and growth in the Adriatic region.”  February 2012 UNITED KINGDOM

Big Chill festival cancelled London Olympics and lack of artist availability cited as key reasons to put the festival on ice in 2012, writes Erica Basnicki The UK’s Big Chill festival has been cancelled for 2012. In a statement released online, Melvin Benn, managing director at event promoter Festival Republic, explained his decision: “I looked long and hard late last year at moving the date so it didn’t clash with the Olympics but the mix of the festival fans’ desire to keep the date and an inability to find an alternative date that works meant I plumped for maintaining the existing weekend. “Sadly, the artist availability and confirmations we were achieving led me to conclude that I couldn’t risk going ahead with the event as an outdoor event this year. Efforts are being made to look to bring a smaller event indoors this year with the anticipation of Big Chill being back outdoors in 2013.” SSE Audio Group, which was slated to provide the PA for Big Chill, was asked to comment but declined.

Festival cancellations numbered in the 30s in 2011, but the effects of these cancellations on the live sound industry have been questionable, as PSNE reported in September. Big Chill was founded in 1994 by Pete Lawrence and Katrina Larkin, developed into an outdoor festival in 1995, and in 2002 moved to Eastnor Castle, Here fordshire. Festival Republic acquired the rights to hold further Big Chill festivals when former organiser ChillFest Limited went into voluntary liquidation in 2009. Q

f Have (Paloma) faith: a smaller indoor event may still be held in 2012

Teenyweeny versatility. Live.

A Barix Exstreamer 1000 will be employed for the festival

ITALY f Audio-Technica has added

three members of staff to its sales team. Tim Riley assumes the position of area sales manager for the north and Scotland, and joins from Kendal University where he was senior music production lecturer. New pro installation manager Stuart McKay and technical sales manager Gary Maguire‘s primary responsibilities will be to oversee the development of sales. McKay joins from John Hornby Skewes where he was pro sales manager, while Maguire counts both Studiospares and Tascam as previous employers.

f Outline has announced a new distribution partnership which will service key territories in eastern and central Europe. Outline Central-Europe is the brainchild of Tamás Fazekas, CEO and owner of Zaj System House, Budapest. It breaks with the traditional national distribution model in that it is a territorial representative for the brand, responsible for Outline sales, service and support in no fewer than 10 countries – Hungary, Slovenia, Slovakia, Romania, Czech Republic, Croatia, Serbia, Ukraine, Bulgaria and Macedonia.

Barix to stream Piano Festival Erica Basnicki Audio over IP provider Barix will bring the International Piano Festival to a global audience this year through the power of streaming media. For the event – which consists of a series of weekly piano concerts taking place from 3 March to 7 April at the Teatro Miela in Trieste, Italy – Barix will provide a complete audio over IP solution to support the live audio streams, which will be accessible via the festival website. The International Piano Festival audio feeds will originate from a front of house mixer in the theatre. A Barix Exstreamer 1000 professional audio over IP device will receive a balanced stereo signal from a mixer output, and encode the audio for distribution over a high-speed broadband connection. Barix Instreamer firmware will encode the analogue audio signals in the MPEG1 Layer III 48kHz format – the highest bit rate allowed for maximum audio quality. The broadband connection will transport the digital encoded signals to a remote Icecast server, which enables the live stream over fixed and mobile devices. Q

The E5 loudspeaker is probably the size of a paperback. A miniature, nevertheless, with a conically symmetric directivity. Intended for mobile applications such as delays, infills and surround sound. While it sounds distinctively bigger than it is, it remains neutral, clear, transparent and intelligible even at high sound pressure levels. As with all the little systems in the d&b E-Series.

live 27

February 2012 NETHERLANDS

Friends again Once upon a time, there was a café showcasing bands on the banks of the Amstel River. Fifteen years later, that showcase has moved to a 10,000-seater stadium


array of digital audio control in the event’s history, courtesy of four DiGiCo SD7 consoles, linked over Optocore 2 via seven of DiGiCo’s latest SD racks running at 96kHz. Broadcast by Nederland 3 and produced by Sightline, the show was born on 15 January 1998 as The Lords of Amstel, named after its first shooting location, a typical Dutch brown café at Thorbecke Square. The small pub gig showcased a combination of Dutch bands jamming together, which swiftly became popular enough

to feature regularly on Dutch television, before the organisers decided to celebrate by holding a special full night in the Ahoy featuring those same bands on two stages. A separate series of shows entitled Amstel Heroes Live was added in 2010 with Dutch artists singing songs from artists and bands who inspired them. This year, with a three-stage layout in the Ahoy, the idea was that singers would be able to move from one stage to another accompanied by various bands. The night finished with a battle

For Stage A the PA was incorporated into the set, designed like a pair of Dutch houses, which were used for 3D projection

of bands from south Holland – Rowwen Heze from county Limburg and, from county Brabant, singer Guus Meeuwis. The bands played opposite each other on the A and C end stages and their singers walked a large catwalk to face each others’ bands via the central B stage. Audio-wise, explains Ampco Flashlight’s Dieter van Denzel, this meant the singers needed access to their in-ear monitor mixes at any point along the length of the arena floor. A rather different challenge was that of keeping the four consoles at front of house, located by the centre stage, free from the sponsor’s product, as the battle of bands entails mostly middle-aged people throwing large quantities of beer at each other. The answer: a clear plastic tent covering the entire mix area.

Sydney van Gastel at FOH

The show that began life as an unsigned band night in one of Amsterdam’s smoke-filled brown cafés has risen to become a legend in its own lifetime. Vrienden van Amstel Live (Friends of Amstel Live)’s sold-out seven-night run at the 10,000 seat Ahoy Arena in Rotterdam is now the show to beat them all. With Ampco Flashlight providing the audio system, and three stages featuring 17 top Dutch bands including Golden Earring and Kane, this January’s gigs saw the most complex

“The technical challenge,” says van Denzel, “was that four DiGiCo SD7s were working simultaneously between stages A and B, achieved using a loop of the new Optocore 2 network, which made it possible to send complete mixes from monitor set A to monitor set C via virtual input racks, which is a new feature of Optocore 2. In terms of channel numbers, Stages A and B shared 112 inputs and 48 outputs, while Stage C was equipped with 56 inputs and 24 outputs. Another new feature used for the show was the DiGiCo SD Racks running at 96kHz.” An SD11 handled presentations and audio playback for video clips. “We were using a total of seven 56/24 SD Racks on the network,” he continues, “with four racks for stages A and B – front of house and monitors – and two racks on Stage C, plus a single rack at FOH for inserts for both FOH SD7s. This rack employs a new DiGiCo software feature that allows user selection of card routing to the

worksurface, enabling one rack to be used for two consoles simultaneously. All bands played for around 15 minutes with no stoppage for changeovers, so the whole audio infrastructure for this show was very complex.” Also brand new for the show were the in-ear systems, he adds: “Our in-ears were 24 of the new Shure PSM1000 systems, which performed very well: a lot of artists like them for their great dynamic range.” The PA, too, was necessarily complex, needing to deliver consistent sound to every corner of the house, and yet not obstruct sightlines. Says van Denzel: “We had to eliminate the previous year’s sightline issues with loudspeaker hangs, so for Stage A the PA was incorporated into the set, designed like a pair of Dutch houses, which were used for incredible 3D projection.” For sightline reasons the full PA surrounding the rear ‘C’ stage, consisting of two hangs of 40 Synco W8L Longbow cabinets plus underhangs of 24 W8LM Mini line arrays, was flown from moving trusses and raised out of sight as required. Loudspeakers totalled 136 Synco by Martin Audio W8L Longbow and 24 W8LCs, with 25 Synco W8LM cabinets as near fills and rear fills, augmented by 30 of Synco’s exclusive WS318X cardioid subwoofers. All speaker management was handled by XTA DP448s, and controlled digitally from the desk over ASE/EBU fibre optic using a Dante network. Distances over 100m were achieved using a special Dante network driven from eight Dolby Lake processors, allowing the system to run completely in the digital domain from the SD Racks on stage to the XTA loudspeaker processors. A total of 38 Synco CW-152A wedge monitors served the stages, along with Synco subwoofers as drum fills. Sound design was by Jeroen ten Brinke, with DiGiCo specialist Sydney van Gastel, production manager Jos van der Hoeven, FOH engineers Jeroen Bas, Ronald Koster, Remco Verhoek, monitors by Merijn Mols and Bennie Veenstra and five additional crew for patching and the wireless systems on the three stages. Adds van Denzel: “The benefits were the sound quality of the new 96kHz racks, and eliminating intermediate analogue conversion. People commented that it sounded like a blanket had been taken off the PA.” Q



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live 29

February 2012

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Music for Life blooms with Soundcraft Vi consoles

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Music for Life – an annual event staged for the first time in 2006 and which aims to raise awareness of the the need to improve access to clean drinking water across the globe – was organised by Flemish public broadcaster VRT’s alternative channel Studio Brussel. Three of the station’s presenters were shut in a glass outside broadcast studio for a week, broadcasting around the clock and surviving on a diet of fruit and vegetable juices, while collecting donations for the cause. After five editions in Flemish cities including Louvain, Ghent and Antwerp, the latest event travelled between these cities – Louvain then Ghent then Antwerp – offering technicians and engineers an extra challenge. This paid off, as appearances by the likes of Elbow, Snow Patrol and Belgium’s Milk Inc enabled the tour to raise over €7 million for this year’s campaign to fight diarrhoea and pneumonia worldwide.


Sound rental company VDB-PA has been involved in the project since the first edition, supplying audio for both the open-air broadcasts and live concerts. Jan Van den Brande, manager of VDB-PA, has over 20 years of experience in sound reinforcement, working in clubs and on festivals such as Pukkelpop and I Love Techno, as well as supplying audio kit for touring artists such as Jamie Lidell. “Music for Life combines radio with live concerts, and contrary to earlier editions the production team opted for two separate configurations. With the VRT’s vans already equipped with Soundcraft consoles, we decided to have two Soundcraft Vi4 consoles for monitors and FOH,” says Van den Brande. “The live signal was then routed to the broadcaster’s production room with three Vi1 consoles, controlling the radio broadcasts, the Studio Brussel live stream and the audio signal for the TV broadcast. Throughout the event, the radio signal

Studio Brussel presenters were shut in a glass OB studio for a week to raise money

Picture credit: VRT

Eight Soundcraft Vi consoles were deployed for live and broadcast work at the final edition of annual charity campaign Music for Life, notes Marc Maes

Rental company VDB-PA provided kit from Nexo as well as the Soundcraft consoles

from the glass studio and the live sound were channelled from the Vi1 desk to the main FOH system, consisting of eight GEO D (in Antwerp and Louvain) or GEO S12 (in Ghent) Nexo line arrays per side and 10 Nexo PS15R2 monitors and wedges, powered by NXamp4X4C controllers. The Vi1 also adapted the outside sound level during overnight broadcasts.” The audio signal from the live stage Soundcraft Vi4s was split to the VRT’s outside broadcast van for multitracking on a Vi4 console. “With both the VRT and the rental company using the same series of Soundcraft consoles, this collaboration proved an interesting and efficient combination,” adds Kris Van Veeckhoven, chief engineer with Studio Brussel. To facilitate the changeover between the three cities, Van den Brande used


World’s smallest 1,000W amplifier from Pascal Erica Basnicki OEM specialist Pascal A/S has launched the S-PRO2 amplifier module, reported to be the world’s smallest 2 x 500W (1,000W bridge mode) amp with integrated power supply. The S-PRO2 is a complete power pack featuring 2 x 500W RMS at 4 ohms with integrated universal power supply including power factor correction (PFC), and it measures only 5.1 x 8.0 x 21.5 cm (2.0” x 3.1” x 8.5”). Designed for a wide range of one- and two-way cabinets, such as monitors, line arrays and subwoofers, the S-PRO2

Pascal CEO Lars Rosenkvist Fenger with the new amp module

two Vi4 tandem configurations: one in Louvain and Antwerp, a second one in Ghent. “The Soundcraft inventory was put together with the support of Audio XL,” says Van den Brande. “We supplied the Vi1’s to the VRT well in advance to allow engineers enough time for installation and cabling.” “The concept of Music for Life needed consoles for broadcast and live applications,” underlines Alain Boone, account manager live sound with Soundcraft distributor Audio XL. “VRT had already taken delivery of two Vi4 desks in the past – they were familiar with Vi. The key element for us was that everybody involved is aware of the fact that the Vi series consoles were used both for live work and broadcast.” Q


The Digital Audio Network

160 channels via locking EtherCon RJ45 cables Network redundancy Simple user interface – no computer required Unlimited lossless splits Superb audio quality

features Pascal UMAC Class D technology, designed to deliver “audio specifications unmatched in the pro-audio industry”. Pascal UREC power supply technology and PFC functionality provides universal mains and regulation for worldwide AC mains compatibility and consistent power performance. “Our new S-PRO2 is our response to client demand for an ultra costeffective 2 x 500W all-in-one amplifier module with an unprecedented price per watt ratio, yet delivering extremely audiophile sonic performance,” explains Pascal’s sales manager, Peter Frentz. The S-PRO2 includes a wide range of protection features as well as auxiliary power for DSP cards, making it suitable for the most demanding applications. Pascal is an OEM manufacturer of high-power pro-audio amplifier modules for integration into professional loudspeakers, capable of providing up to 4kW of output power. Q

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live 31

February 2012 UNITED KINGDOM

Martin Audio MLA rocks O2 Academy Brixton Martin Audio’s Multi-cellular Loudspeaker Array tames bouncing soundwaves at the former cinema, writes Erica Basnicki The 02 Academy Brixton’s infamous deep balcony failed to fox the sound team at a recent gig by US supergroup Chickenfoot. FOH engineer Michael ‘Ace’ Baker, Martin Audio’s Jason Baird and system tech Mark Edwards employed the MLA (Multi-cellular Loudspeaker Array) system to notch out that section of the coverage pattern in the dedicated optimisation software. The result was “plain to hear, with an obvious reduction in reflections off that deep balcony front”, according to Baird. The Chickenfoot concert – which saw Van Halen’s Sammy Hagar and Michael Anthony joining forces with axe legend Joe Satriani and Chilis drummer Chad Smith – marked the MLA’s 02 Academy Brixton debut. Martin Audio launched the MLA series in 2010. The multi-cellular format


The Chickenfoot concert marked the MLA’s Brixton debut

has six individual cells in each enclosure, up to 24 enclosures per array, each with its own DSP and amplification. Users can input the dimensions of a venue into

the proprietary Display2 software to direct individual cells within each array (up to 144) to produce a consistent sound throughout the performance space. VU-

World first for Chemical Brothers cinema release Don’t Think, a film by acclaimed director Adam Smith which captures the full Chemical Brothers live experience, is the world’s first concert film cinema release mixed in Dolby Surround 7.1. Filmed using 20 cameras at the band’s 2011 headline show at Japan’s Fuji Rock Festival, Don’t Think was conceived to capture the Chemical Brothers’ renowned fusion of visual and audio elements to give a fan’s perspective of the show. The soundtrack, which was mixed by the Chemical Brothers, makes use of the improved panning, sound localisation and enhanced definition provided by Dolby Surround 7.1’s eight channels and four surround zones to realise the creative team’s vision for the film.

“After 18 years of working on the Chemical Brothers’ live show, we have finally captured it on film. You could almost say it’s 18 years in the making,” said Smith. “I wanted to capture what it is like to experience the show from right in the middle of the crowd, as well as showing and combining the visuals featured in the show with the footage we captured on one night, to see how the music and visuals emotionally affect and connect with the audience. Mixing Don’t Think in Dolby Surround 7.1 certainly helped us to achieve this like never before.” Don’t Think was released on 1 February 2012 and shown on more than 500 screens in 20 countries the same week. Q


Rodrigo Y Gabriela: back to basics with two guitars and an Allen & Heath system


Compact iLive for RyG Euro tour Erica Basnicki

Don’t Think: 18 years in the making for the former UMIST students Ed and Tom

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NET software provides real-time control and monitoring of the system. The reduction in reflections bouncing back on stage was especially attractive to Baker, who had been keen to use the MLA series since seeing a demo in Las Vegas last summer: “That’s what got me so excited. Initially, all that computer stuff looked like something I wouldn’t be able to handle, but then Mark showed me how simple it was – all you need to be able to do is measure correctly and you are done. The drag and drop approach to loading the optimisation is as transparent as it could possibly be and at Brixton I was surprised how little room interaction there was. Overall, I was extremely pleased with the sound.” “There are a lot of good systems out there but only a few have been truly groundbreaking; right now this is the one that has everyone talking about it,” he continues. “There will be a lot of touring ahead this year and MLA is the system I want to use from now on.” Q


Erica Basnicki

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On a recent European tour, guitar duo Rodrigo y Gabriela cut out the big production and stripped back to just two people and two guitars. Performing in a handful of intimate venues, the tour carried a compact Allen & Heath iLive digital system, comprising the iDR-16 MixRack and iLive-R72 rackmount control surface, with a Dante audio interface card for virtual soundcheck. “We needed a small desk with a big desk capability and we certainly found

that in the iLive-R72,” explained production manager Mike Taylor. “We have been turning up at venues and putting our small desk next to these big-format analogue consoles and hearing a few sniggers from the local crew but that all stops the second the sound kicks in! Using inputs and outputs on both the Surface and MixRack we were able to adapt to everything the venues threw at us.” Q

live 33


Know-how from Knowledge Chuck Knowledge, engineer for dubstep/dance act Nero, takes an innovative approach to mixing – without a console. Erica Basnicki is curious... Using a tablet to control a mixing desk isn’t unheard of. Many digital console manufacturers have released iPad apps so engineers can walk around a venue while tuning the system (Yamaha’s StageMix and Allen & Heath’s MixPad immediately spring to mind). Chuck Knowledge, FOH engineer for dance duo Nero, has taken this idea one step further: on their recent US and UK tours at the end of 2011, he ran the whole show using nothing but a tablet. No console. At all. Instead, his pared-down live kit consists of a couple of racks of gear he can easily roll onto the stage – XTA DP548s for mixing, Sennheiser G3 wireless microphones and monitoring, and RME Fireface UFX interfaces – all controlled via tablets over Ethernet. The unusual set-up is certainly a lot more portable and a lot less expensive than using a console, and according to Chuck his system has worked “flawlessly� so far. The question remains: how does it sound? “I have been using XTA my entire career and in my opinion they are the best signal processors. People talk about whether this mixing desk has got a sound or whether that mixing desk has got a sound, but the bottom line is that at 90% of the gigs you ever go to, the last thing that the mix is running through is an XTA, so no one can ever complain about the sound of an XTA.� “In a digital console, I think that signal summing is one of the biggest factors in their characteristic sound, just as much as the EQ and dynamics or clocking. I’ve been using RME soundcards alongside every digital console out there, and I reckon that their digital summing sounds better.�


No console needed: Chuck Knowledge and his pared down live set-up

explains. “It’s supposed to be a system processor, but the way I look at it is: I can insert each of these over four channels, but it’s not just that it’s four in, and then four out for FOH; we can have another four out for monitors, which are processed differently. So we have actually got a monitor and FOH set up and the best summing that I’ve ever heard, the best EQ and dynamics, with dynamic EQ, and all in a package that comes up to my waist, which means I can move it around by myself.� With his setup still in its conceptual stage, the next phase was to figure out how the system could be controlled without a desk. The solution combined XTA’s iCore software and RME’s TotalMix FX software, and takes advantage of the Ethernet jack on the Sennheiser G3’s to use the bundled Wireless Systems Manager software for remote control and RF spectrum scanDance duo Nero recently toured the UK and US ning capabilities. Apple’s MainThe ultra-portable setup has develStage software enabled Chuck to oped over time, beginning when Chuck provide Nero live with the same effect was on tour with Dizzee Rascal. During processing used on the album. the performance – which was being Audinate’s Dante protocol took care recorded – a fan threw a pint into the mixof transporting the audio over the ing desk, causing it to crash. Chuck’s solunetwork, and MC2 breakout boxes tion was to plug the soundcard straight provided analogue outputs. In theory into the PA and continue mixing on the it would work, but finding a brave front panel controls of the XTAs. Chuck soul to take the unconventional setup then realised that the XTA’s flexible I/O on tour was another story. could be used to his advantage. Chuck found the support he needed “The DP548 is a four-channel from Dave Shepherd at South Coast unit, but they are four in, eight out� he supplier BCS Audio.

“I talk to him a lot about the future of audio and he believes in this enough to help me put it together. We’ve taken it out on the road with Nero around the UK, US, New Zealand and Australia, and it has been flawless,� says Chuck. “Our production manager Andy Bain was concerned that we wouldn’t always be able to get the network infrastructure we need, but I got a bunch of Cisco fibre modules and we’ve run it over Cat lines, Optocore and even used the multi from a Vi6.� Nero are no strangers to technology either, having recorded and mastered their debut album Welcome Reality themselves. The album debuted at number 1 on the UK album chart when it was released in August 2011. The pressure was on Chuck to make sure his experimental setup worked: “They know exactly what they are doing, which means I have to be extra careful because they’ll come over and ask me ‘Hmm, what are you doing?’. If they see a high-frequency dynamic EQ bouncing on screen, they wonder where that’s happening to their audio, so I have to explain how the XTAs are controlling the top end on the truss mics for the ambience in their IEMs, or whatever.� Ready to test the new system, Chuck bought all the gear required just a few days before the Nero tour began. Half of his four-day production rehearsal was spent just unwrapping everything, racking it up, and plugging it in. A conventional desk was spec’d for backup just in case. Everything was ready to go for Nero’s first live gig at The Warehouse Project in Manchester. “I was confident that the show would go well, because even though it’s basically a rave in an underground parking lot, (Manchester supplier) Audile takes care of it. It’s a really good

use of Funktion One. The legendary Stev was there, and he’s my number one tech for anything, so I only had to worry about my bit working. I actually set it up via an AirPort Express that day to see if I could run it wirelessly; I was pretty pleased later on when I did! We weren’t on until three in the morning, so I thought: ‘Right I’m going to get some sleep,’ and went to the bus to my bunk.� Two hours before Nero’s performance, disaster struck. Chuck adds: “Jarvey Moss our tour manager came and woke me up and said, ‘Chuck, you’ve got to come inside right now. People have been throwing drinks at the stage and there has been some kind of technical problem.’� The monitor desk had been crippled by a pint thrown by an exuberant fan. Chuck’s backup system was no longer available. “I had always planned to be able to handle this, but I didn’t want to test it the first night ever, when I didn’t even know about it at sound check,� he says. “Credit has to go to our monitor engineer, Anna Dahlin, who had seen the system for the first time just a few days before and had no choice but to use it, so we went in with fingers crossed and came out with flying colours! Afterwards, we were all patting ourselves on the back, but it took a while for our heart rates to go down because we were like, ‘Shit, we’re really doing it!’� Later in the tour, there was a mixup with the advance at Newcastle Academy. Chuck had neither a FOH or monitor desk: “It caused an issue because I’d only designed this system for Nero, and how the hell were we going to handle the support acts? So I got on the phone to Rich Fleming (application and support manager at XTA). We talked it through and wired it up and we mixed the support acts on it as well. That was when everyone thought. ‘We don’t have a FOH footprint, which means we can sell more tickets!’ So that’s the story so far. I’m really, really happy with everything.� Chuck hasn’t looked back since his trial-by-fire with Nero and is still developing his system to include lighting and video. He firmly believes his approach is the way forward: “It was a headache putting it all together for the first time, but it’s going to get easier. It’s all about standards: OSC, AVB, OSA, ACN. There shouldn’t be anything stopping me from taking a DiGiCo stagebox, a Meyer Sound D-Mitri, and a couple of Smart AV Tango’s, plugging them into a Cisco switch and doing a show. I joke with people because, well, everybody knows I am a joker, but I am deadly serious about this stuff. I want to build the future. The components are all here now, we just need to put them together and make it work.� Q

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The 50G Real-Time Media Network

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live events 35

February 2012

Live events

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The Live Events listing is a free service. All information is provided by the companies listed and PSNE cannot be help responsible for any factual errors. To be included in the listings, please email Linda Frost at






BRITANNIA ROW Young Voices Duran Duran Kasabian

UK Europe World

B Bartlett K Newton P Ramsay

Outline T9/T11 L-Acoustics LA8 -

+44 20 8877 3949 Outline GTO/Butterfly K1/V-DOSC -

Simple Minds


Digidesign Profile, PM1D Digidesign Profile, Profile Midas PRO6, Midas PRO6 Soundcraft Vi4, Midas PRO6

O Gerard

d&b D12

d&b M2

Yamaha M7, -,Avid SC48, DiGiCo D1

S Seymore M Edwards P Whitelaw

Martin Audio Martin Audio Meyer Sound

+44 20 8944 6777 Martin Audio LM Martin Audio MLA Meyer Sound

Yamaha M7CL, -

M Ellis-Cope

Meyer Sound

Meyer Sound USW

CAPITAL SOUND HIRE Frank Skinner UK Chickenfoot UK Paloma Faith UK USW/UPQ ITV Legends UK CONCEPT AUDIO LTD Star* UK Tour Rick Parfitt Jnr Band Saviours Of Soul Key Of Life Hayleigh Burns Night Q1/Q7 Saks UK Awards Spirit Of Dance/ Tap Fever


Yamaha LS9/32, LS9/32 S Staunton Soundcraft GB8, M Gumbrell Yamaha LS9/32, LS9/32 S Staunton A&H i-Live T112, i-Live T112 D Schurer A&H i-Live T112, M Gumbrell

EV Martin Audio EV QSC d&b audiotechnik

+44 12 438 27915 EV Tour X Martin Audio EV Tour X EAW d&b audiotechnik


A&H i-Live T112, i-Live T112 DiGiCo SD8, DiGiCo SD8

M Gumbrell

d&b audiotechnik

d&b audiotechnik Q1

D Schurer


L-Acoustics V-DOSC


DELTA SOUND INC (UK) LTD Britain’s Got Talent UK

DiGiCo SD8, -

F Jackson


+44 20 8339 3800 K-array/KUDO

ELECTROTECH SOLUTIONS SL Revolver Spain Sr. Chinarro Spain Le Peuple De L’Herbe Spain The Wailers Spain

DiGiCo D1, DiGiCo D1 Yamaha M7CL, M7CL Yamaha M7CL, Yamaha M7CL, M7CL

M Sena M Sena

Amcron Amcron -

+34 96 122 0357 Meyer Sound MICA Martin Audio W8C Martin Audio W8C Meyer Sound CQ

ETP APS Spleen United

Heritage 2000, -

A Bergmann



+45 36 30780 Denmark

Van Morrison is touring Ireland with Production House






EXCESS BV Rosmalen Blues Loeff Claeys Verbeke Timeless Outdoor

Holland Holland Holland

Soundcraft MH3, MH2 Soundcraft MH3, MH2 DiGiCo, Soundcraft MH2

Pieters Vermeer De Visser

Crown Itec Crown Itec Crown Itec

+31 10 2012 111 JBL VRX JBL VRX JBL SRX


- , Profile/Vi6/PM5 - , LS9 - , LS9/M7 M7, LS9

A Gregory J Shaw D Chester T Hammond


+44 20 7609 9818 EAW Clair QSC/Radian Radian QSC/Radian


LS9, -

T Hammond



JOHN HENRY’S LTD ITV Jonathan Ross Show BBC Radio 1 Introducing ITV This Morning Warner Music Showcases Universal Music Showcases

36 live events  February 2012

Snow Patrol have embarked on a European tour with d&b amps and loudspeakers

BAND MAC SOUND White Christmas The Musical Peter Pan The Musical The Nutcracker Jack & The Beanstalk Adventures of Robin Hood MILAN ACOUSTICA Orquesta Santa Cecilia Alabama Gospel Choir Madrid Presenta Follies






Midas, -

C Rawling


+44 16 1969 8311 Martin Audio Line Array


DiGiCo, Midas, Midas Yamaha, A&H, -

T Whittingham C Rawling G Holder L Windsor


Martin Audio Line Array Martin Audio Line Array Martin Audio Martin Audio

Spain Spain Spain Spain

Midas Venice, Yamaha PM5D RH, PM5D RH Yamaha PM5D RH, PM5D RH Digidesign D-Show, D-Show


Camco d&b D12 d&b D12

+34 91 3801 010 Nexo Meyer Sound d&b Q-Series d&b Q-Series





MPM Les Pretres


Veronic Di Caire RFM Party 80





Yamaha PM5D RH, PM5D RH Digidesign SC48, -




Soundcraft V14, -

S Plisson


+33 387 343232 Adamson Y-18 Spektrix Adamson Y-10 Spektrix Adamson Y-18

PRODUCTION HOUSE Van Morrison Flash Harry/ Ulster Orchestra Strictly Come Singing IRFU New Irish Orchestra

Ireland Ireland


J Willis Willis

Lab.gruppen Meyer Sound

+44 28 9079 8999 V-DOSC MILO

Ireland Ireland Ireland

M4000, Profile, PRO2, -

J Green M Gillespie -

Lab.gruppen Lab.gruppen Lab.gruppen


Q AUDIO AB Anna Ternheim Pernilla Andersson

Europe Sweden

A&H i-Live T80, DiGiCo SD8-24, -

L Nyberg L Nyberg



RENTAL PRO S.R.A. Telefonica O2 Event AWD Event Event Alphaville

Czech Rep Czech Rep Czech Rep

Innovason Eclipse, M7CL P Vojta Innovason SY48, M Janicek Innvason Eclipse, M7CL M Janicek

Camco Vortex6 Camco Vortex6 Camco Vortex6

+42 06 0522 8905 Nexo GEO-T Nexo ALPHA Nexo GEO S*

+46 70 7271 007

SELV GELUIDSTECHNIEK Benefit for Haiti Belgium Gala Flanenca Belgium SportGala Vlaams Belgium Brabent Zefira Torna Belgium Anoo Belgium Tricycle Belgium

Midas/APB, Soundcraft APB, Soundcraft Midas, Soundcraft

Vleugels+Deboes Coda Audio Vleugels+Deboes Coda Audio Soundcraft Coda Audio

+32 16 4433 33 Coda Audio Coda Audio Coda Audio

APB, Soundcraft Midas, Soundcraft APB, Soundcraft

Vleugels+Deboes Coda Audio Vleugels+Deboes Coda Audio Vleugels+Deboes Coda Audio

Coda Audio Coda Audio Coda Audio

XL4, D-Show PM5D, Profile - , Profile

M Carolan N Ingram G Pattison

d&b D12 d&b D12 -

+44 16 3552 1010 d&b J d&b J -

STS TOURING PRODUCTIONS LTD International Badminton UK Yamaha M7, International Squash UK DiGiCo SD8, British Swimming UK DiGiCo SD8, -

P Danson R Knowles P Danson

Nexo Nexo Turbosound

+44 161 273 598 Nexo Nexo Turbosound Flex

SYSTEM SOUND UK LTD Citroen UK Reuters Awards UK Google Belgium Reckitt Benckiser S. Africa

R McNeal J Lynch R Biddulph S King

d&b d&b Crown L-Acoustics

+44 18 9543 2995 d&b d&b EV L-Acoustics

SKAN PA HIRE LTD Snow Patrol James Morrison David Grey

Europe Europe UK

Yamaha M7CL, DiGiCo SD10 Yamaha M7CL, Yamaha M7CL, DiGiCo SD9, -

installation 37

February 2012

finstallation news SOUNDBITES


ISE: bigger than ever The Integrated Systems Europe show in Amsterdam knows no bounds when it comes to growth, it seems. Dave Robinson and David Davies walked the floor A final registered attendance figure of 40,869 made ISE 2012 the Amsterdam event’s strongest performance to date. The total registered attendance is 17% higher than in 2011, continuing an impressive upward trend that has been sustained consistently ever since the first 2004 event in Geneva. “ISE is now clearly established as the best-attended event of its kind anywhere in the world,” comments managing director Mike Blackman. “To be able to post record numbers in every key area against an uncertain economic backdrop is a fantastic achievement, not just for ISE but for the industry it serves.” Clear-Com’s Larry Estrin (somewhat of an industry veteran) launched the Global Rental Group (CGRG), a new rental partner network, at ISE. CGRG comprises a hand-selected team of trained and experienced rental businesses worldwide, says the company. These partners will support short-term and rapid installation needs with a full range of advanced wired and wireless production intercoms and technical support. By connecting rental partners across the globe, CGRG aims to give customers local access to the most fitting communications equipment for their specific applications, whether for film and television, live performance, special events or theatre. Clear-Com went on to highlight upgrades to its Concert software, now on version 2.6, at the show. Dave Fuller from California-based QSC Audio Products was at ISE to


“Clearly established as the best-attended event of its kind anywhere,” says the MD

QSC Audio Products’ Dave Fuller, director of technical marketing, introduced two new Q-Sys Core devices

announce the next generation of Q-Sys products, designed to deliver powerful digital networked audio solutions for the widest range of applications, and therefore making them available to a bigger user-base. The Core 500i and Core 250i provide advanced centralised processing, routing and control for contractors and consultants needing a solution for smaller venues such as restaurants, nightclubs, stores, schools and churches. These two new Core models are fully integrated solutions, each with eight card

slots on-board. The Core500i is capable of up to 128 network channels while the Core 250i provides up to 64 channels. I/O is selectable via the Q-Sys I/O cards. d&b turned the spotlight on its new White version loudspeakers from the xS- and xA-Series. Marcus Bäumler, product manager for the d&b White range, commented: “ISE has established itself as the leading exhibition for installation and integration business in Europe and helps us to increase the awareness of our products and services in this area of the professional audio market.” Elsewhere, Biamp Systems gave international distributors and consultants their first chance to get an up-close look at Tesira; Biamp’s first DSP-based networked media system to use Audio Video Bridging (AVB) as the primary digital media transport. Tesira is equipped with modular scalable inputs and outputs, DSPs and networked end-points, providing system

design capabilities for unlimited scenarios, including centralised, distributed and hybrid type applications. Integrators have the option of customising Tesira with up to eight DSP cards (16 DSPs) in a single chassis with up to 420 by 420 audio channels over a scalable digital media backbone (AVB). Home automation pioneer Crestron used this year’s ISE to launch a variety of new audio- and conferencing-related products. Designed for versatility and energy efficiency, the AMP Series of commercial amplifiers provides more heardroom for powering large rooms in lecture halls, sports bars, restaurants, auditoria, retail spaces, hotel conference rooms and corporate boardrooms. Channel selectable for either 70V or 100V, any AMP can be used in both US and international environments. Also on display was the new FreeSpeech wireless microphone system – which allows speakers and lecturers to move about the classroom and be heard clearly from anywhere in the room – and Excite speakers. Combined with Crestron’s digital audio delivery system, Sonnex, Excite speakers can reduce the physical impact of an installation and ensure efficient install times. Audio-Technica celebrates “50 Years Of Passionate Listening” in 2012, and to mark the occasion no fewer than six ‘anniversary’ microphones and two headphones were released in limited numbers with special finishes all on display at ISE. Order yours soon before they all go…. Q

f PA/VA specialist Ateis has

reported that its new IDA8 networked public address-voice alarm system has been embraced by Fourway Communications at the hub of a number of upcoming projects in the rail sector, including Kings Cross St Pancras, Reading Station and most recently, Transport for London’s new Paddington underground station. Ateis UK has also announced a major upgrade to its website.

f As part of Istanbul’s European

Capital of Culture 2010 project, Vortvots Vorodman (Children of Thunder) Church (pictured above) in the city has reopened complete with a new sound and lighting system from Dinakord Electronics. Kling & Freitag CA 106, SONA 5 and E 90 MK II speakers have been installed in the venue, which also doubles as a cultural centre.

f Moscow Conservatory’s Great

Hall has added a Studer Vista 9 digital console for recording, post-production and broadcast, along with a Vi1 console for multipurpose use. The hall plays host to orchestras, ensembles and soloists from across the world as well as holding international festivals and competitions.

38 installation APPOINTMENTS  February 2012 SWITZERLAND

Riedel: round the mountain Nigel Lord

f TC Group has appointed Guy

Vignet (above) and DV2 as the exclusive distributor of Tannoy products in France. TCGI and DV2 already have a relationship with TC brands Lab.gruppen and Lake.

f Pro Audio Systems has

appointed Neil Muir to its specialist installations division. He has over a decade of production industry experience and joins from Yamaha Commercial Audio.

A Riedel Communications system incorporating MediorNet, Artist and RockNet equipment was used to distribute video, audio and com m unication signals for the alpine skiing competition at the Swiss Chuenisbärgli mountain site in Adelboden. Rivella AG was the on-site technical partner for the event and for the first time used a MediorNet system to distribute live video signals on-site and to the videowall at the finish. “In the past we always connected the videowall and the main PA via copper cabling,” explains Mark Sturzenegger, Rivella’s events/sports manager. “Due to larger distances, the cabling got more and more com -

plicated and was prone to failures. Thanks to MediorNet we were able to distribute all video and audio signals without any problems. I was especially surprised how easy it was to set up a complicated system such as MediorNet. The whole system was installed and running within a short period of time.” To establish a communications infrastructure for the event Rivella used two Artist 64 Digital Matrix Intercom mainframes; one installed at the Chuenisbärgli and the other at the town square where the award cere mony was held. Rivella also used Artist CCP1116 commentary control panels at the finish. Q

featuring 32-bit Analog Devices Blackfin DSP with FIR filters to drive 24-bit high-

quality D-A converters, a ribbon tweeter, 100mm mid-range and 225mm woofer and

ITALY Videoworks, an Italian company specialising in the design, realisation and installation of integrated systems for luxury yachts (pictured: a recent project for the company), conference venues and smart homes, has announced two new products for the marine market. The first is an ANC (Active Noise Control) system, developed over two years by Videoworks with Marches Polytechnic University and CRN SpA, a member shipyard of the Ferretti Group. The system, due for installation on the first yachts in Q1 2012, features a single box incorporating DSP, digital amp and speakers and two microphones used to pick up in-cabin noise. The system is able to reduce bed-area environmental noise by 7-9dBa in the 20-200Hz bandwidth (engines, generators, etc). The second, built to Videoworks’ specs (as is the ANC system) by Italy’s ASK Industries automotive sound specialist, is a three-way powered speaker enclosure,

a 40W channel digital amp with aluminium chassis for optimised heating dissipation. The enclosure’s ultra-slim lines facilitate wall- and ceiling-recessed installation and, thanks to an Ethernet interface, volume and presets can also be controlled via Crestron or AMX. The on-board DSP also enables the speakers to be covered with leather, Alcantara or wooden grilles wooden, without compromising sonic quality. Q


Yamaha brings siege mentality to MACBA Erica Basnicki The Museu d’Art Contemporani de Barcelona (MACBA) is revisiting the siege of Sarajevo; one of the darkest episodes witnessed by mainland Europe since the Second World War. The exhibition comprises a film, 1395 Days Without Red, by Sarajevo-born artist Šejla Kameric and his wife, Anri Sala. The film is designed to be shown in adjacent rooms; each version features the same events, shot from different camera angles. The audio system is on an EtherSound network and comprises a Yamaha 01V96VCM digital console

in each room, where audio signals are mixed with streamed video from an Apple Mac Pro computer, via an RME Fireface interface. The mix is sent to six Nexo PS8 and three PS10 loudspeakers in each room, via Nexo NXAMP4 amplifiers and NX ES104 interfaces. A Yamaha DME64N digital mixing engine with Auvitran AVY16-ES100 interfaces control the overall system. The installation was carried out by Barcelona-based Doscientosveinte Sonido SL. Q

Yamaha audio technology helps bring powerful depiction of Sarajevo siege to life

February 2012

installation 39


Powersoft, NION for Arnhem upgrade Powersoft amps and a Peavey MediaMatrix NION system were recommended by TM Audio to replace the original amplification and control network at GelreDome, writes Erica Basnicki TM Audio has completed a major audio upgrade at the iconic GelreDome arena in Arnhem, Netherlands, replacing the original amplification and control network. Nearly 70 Powersoft 3904 twochannel 1U amplifiers now drive the GelreDome’s main audio system, with a MediaMatrix NION system in control. TM Audio – which installed the original PA system in 1998 – was called back to recommend both new amplifiers and a major upgrade to the audio network. TM Audio project manager Olaf Landzaat commented: “We decided to use a NION MediaMatrix system for the control, matrix and DSP power for routing. We were also looking for a reliable amplifier to deliver a lot of power in a small space, with integral DSP and networking, so that it could handle any future loudspeaker system. The end of that thought process was to use the special abilities of the Powersoft Class D Duecanali amplifier – it can deliver two times 1,950W at 4 ohms, so you can basically connect any speaker you want to it, in just 1U of rack space, and

Nearly 70 Powersoft amps drive the main audio system in the arena

with their switch mode power supply and Powersoft’s other technologies it sounds superb.” Q


Dynacord next in line for Autostadt record Erica Basnicki The Autostadt is a Volkswagen-themed visitor attraction in Wolfsburg, Germany. It boasts the world’s largest automobile museum, world’s largest automobile distribution centre, world’s largest glass doors, world’s longest printed line (four miles long!), and now the world’s largest Dynacord P64 system, combining the Dynacord P64 with Dynacord Promatrix DPM-4000 digital audio matrices. Work began on a technical upgrade to the Autostadt’s sound reinforcement system around a year ago. The Autostadt already had 20 Dynacord ELA control centres installed, which needed to be united in a redundant network conforming to the safety standards applicable to centralised and decentralised alarm and evacuation systems. Mathias Vette, whose company M-Akustik supplied the system, explained: “At the moment there is no other combination of ELA and matrix systems on the market that allows you to program individual functions over

Autostadt: setting records like they were going out of fashion

such a broad spectrum and combine them with one another.” Another firm, Profi Musik, was responsible for programming and system integration. For the implementation, the team relied on the Dynacord Promatrix-4000 systems that were for the most part already installed. These were upgraded and networked with Dynacord P64

matrices driven by 116 Dynacord DPA 4411 power amplifiers and 13 Dynacord TPI 8 touch panels. The installed system now combines 13 different buildings in a redundant configuration with four local priority, three superordinate priority, and 12 network-wide background programmes. Q

40 installation  February 2012 POLAND

Gdansk cultural centre is reborn with Radial, Nexo The new kit has meant a “colossal” change for the centre

The multipurpose cultural centre located at St John’s Church in Gdansk, Poland, has been equipped with a permanent sound and lighting installation as part of a major renovation project. Sopot-based Lauda Audio was given responsibility for the new sound configuration, opting to base its design around EtherSound, Nexo Geo S8 cabinets and PS monitors, and Yamaha consoles.

A notable feature of the system is the ability to control the mixing desks from a computer or an iPad with Yamaha M7CL StageMix software. All elements of the system are linked through six Radial OX8 signal splitters. Maciej Olejniczak, head engineer of the project, commented: “Many years of experience in designing PA

systems has taught me that this domain leaves no place for compromise and the installation in the St John Centre is a perfect example. Apart from OX8s we have also used Radial J48 DI-Boxes, Pro AV1, PRO AV2, PRO D1 and PRO D2. The reason for this choice was simple – they have never failed or caused any problems. The technical specs and the

supreme quality guarantee many years of reliable performance.” Project client Andrzej Drewniak highlighted the “colossal” change in the venue’s capabilities, adding: “The solutions preserve the historic building and fuse it with modern possibilities.” Q

P6215 and P4228 speakers are installed in the stadium


RCF scores for Romanian FC Nigel Lord The recently opened Ilie Oana Stadium in Ploiesti, Romania has been fitted with a state-of-the-art RCF audio system designed to cover all areas of the stadium. Supplied by Romanian RCF distributor, FBS Lines, and completed in collaboration with the RCF project department, the system incorporates 24 P6215 and 28 P4228 speakers for the tribune sections of the stadium. Amplification is provided by six DPS 3000 and eight HPS 2500 2-channel power amplifiers with overall control by dual RCF DX 4008 digital loudspeaker management units, plus additional RCF electronics. The current home of FC Petrolul Ploiesti football club, the Ilie Oana Stadium has a seating capacity of 15,500 people. “Everything has been working according to the plans and we have ended up with a superb solution for the Ilie Oana Stadium – we are receiving many positive comments about our work,” said a spokesman for FBS Lines. “It has been great to see that the investment into a modern audio system solution is on the same high level as all the other segments that are within the stadium construction. I am sure that this installation will add future references to RCF in our country.” Q

February 2012

installation 41

The Sagalassos exhibition combines high-quality sound with impressive visual imagery


Amptec revives historical site Sound solutions supplier Amptec takes exhibition visitors on a journey into the past, notes Marc Maes For the exhibition Sagalassos, City Of Dreams, staged at the Gallo-Roman Museum in Tongeren, Belgium, Amptec was asked to provide a 270° film screen surrounding a 3D scale model of the ancient Turkish city of Sagalassos. “Although Amptec is mainly known as an audio distribution company, this project illustrates how we act as a team-player in delivering an overall solution. Alongside our own specialised staff for turnkey projects, multimedia company Maverick ICS and Watchkraft, taking on camera work, sound recording and postproduction, were involved,” says Frank Geerts, sales manager with Amptec. Whereas Amptec took on the co-ordination of the assignment, Maverick ICS designed the projection set-up, supplied the projection hardware and was responsible for the movie concept, directing and part of the post-production. “The challenge was to revive the poetry of the Sagalassos archaeological site in the mountains of Anatolia, Turkey, concentrating on the exact reproduction of the architecture and giving the audience the impression of being there,” says Johan Schelfhout, managing director at Maverick ICS. “The key element was to offer the public a 270° image without distortion.” The footage was shot by Peter Fizgal of Watchkraft, using a multi-single viewpoint camera resulting in some 24 terrabyte of high-quality 12K video material.” For audio recording,Fizgal used a DPA 2006C microphone and a NagraLB digital field recorder. “I decided to use external audio recording gear alongsidethecamera,andoptedforthenewDPA 2006C microphone because of its twin-diaphragm technology,making it the best choice for the assignment,”commentsFizgal.“Throughout theproject, audio playsasupportive roleadding to theperception of the exhibition;people hear the coldwindblowingin the morning, thecricketsat highnoon…” The concept was to show ‘l’architecture pure’ without any human activity; the actual shooting


was done in a week, followed by two months of intensive post-production. In the Gallo-Roman museum, a projection system consisting of five synchronised highdefinition video servers and a five-channel Barco projection system using simulation class projectors was put in place. The cylindrical projection screen, with a diameter of 7m and a height of 2.5m, is flown above the city of Sagalassos scale model. “Audio reproduction in a museum requires extra measures,” continues Geerts. “The sound system must have controlled and well-defined dispersion characteristics, concentrating the sound projection in one specific area. We also had to think of a system that would allow the museum guides to adapt the overall volume when a guided tour passed along the Salagassos projection.” The sound signal for the projection was routed from the five video servers, connecting the optical digital outputs with three d&b D6 amplifiers. “These amplifiers are equipped with digital inputs and the conversion from the optical signal to AES was quite simple,” explains Geerts. “The volume of the amplifiers is centrally controlled via the projection’s main programmable logic controller allowing museum staff to adjust the output volume of the whole system with just one control.” The 5.1 surround audio configuration is completed with five d&b White range 4S speaker cabinets containing one 4” speaker and one coaxially mounted 0.75” dome driver, hidden in the projection structure, and one 12S subwoofer. “The white range enclosures are a novelty within d&b’s install speaker systems,” adds Geerts, “They are easy to work with and have a very discrete look.” Sagalassos, City Of Dreams runs until 17 June. Q

42 technology feature  February 2012


On the microphone tonight… Neumann KMS capsules (with parent Sennheiser’s bodies) are popular with vocalists worldwide: Annie Lennox and Adele both use the KMS 105, while Muse and Natalie Imbruglia rely on KMS 104s when performing. In terms of miking instruments, Sennheiser E604, E606 and E608 instrument mics find widespread use on various bands’ drum kits and amplifiers.

Maintaining the standard

Tinie Tempah and his customised Sennheiser SKM 2000 microphone

As more pro-audio manufacturers are utilising and developing new technologies to improve the quality of their live mic offerings, Paul Watson finds out which models are currently proving the most popular on the touring circuit... The use of wireless microphone technology has never been so widespread. And of course, the issues that surround it – namely the imminent spectrum sell-off and the fall-out that will follow – have never seen such a high profile. But let’s concentrate on the microphones themselves. It’s somewhat of a rarity nowadays to see any lead vocalist using a wired mic; in fact, customised wireless models – including some very


‘bling’ versions – are becoming more commonplace on the stage. Sennheiser is one of the biggest players in the live industry, and provides wireless mic systems to a string of renowned artists including Tinie Tempah and Dan Gillespie-Sells, lead singer of pop quintet The Feeling, both of which use customised SKM models. “Tinie [Tempah] cups the mic, which doesn’t help anyone,” smiles his

FOH engineer, Nikoma Bell, “but the diaphragm of his SKM 2000 moves better than most, which makes a massive difference; other mics often lose a lot of presence, but I can get a huge amount of headroom out of the Sennheiser mics, which is essential as it’s such a loud show.” Gillespie-Sells uses a particularly sparkly looking SKM 5200 (with Neumann KK 105 head) and the rest of The Feeling use Neumann KMS 105s for

backing vocals. The frontman says ever since the band started using Sennheiser, it has helped fuse their vocal harmonies. “It’s difficult when you have four vocalists; you want to have the vocals at a decent level, but you want the guitars louder,” he explains. “Once we gave these Sennheiser mics a try, immediately it sounded better. They are brighter, easier to deal with, easy to mix, and they have less spill than any of the other mics we’ve used.”

For many years now, Shure’s SM58 and SM57 have been known as the industry standard live vocal and instrument mics, respectively. According to the manufacturer, they remain as popular as ever. However, there is a new mic on the horizon: the Beta 181, which has interchangeable capsules (omni, cardioid, super-cardioid, and bidirectional) and which won a TEC Award at the NAMM show in January. Tuomo Tonolen, Shure’s UK applications & product planning manager and BEIRG Steering Committee member, claims it is currently causing quite a stir. “The thing with the 181 is its versatility. It is extremely usable on a snare or hi-hat, but we have seen it used on banjos, guitars and pianos too,” he explains. “Some engineers have even been calling it a modern day SM57, and it’s now on many rental companies’ riders.” Tonolen says the Beta 91 and 98 have also proved popular, mainly for miking drums; and that the KSM 313 ribbon mic has been going down a storm in live applications. “The 313 looks really cool and also has that expensive feel, I guess,” he adds. “Unusually for a ribbon mic, it’s designed for stage, and it has proven great for miking guitar amps; Slash [Guns N’ Roses guitarist] uses them on his Marshall cabinets. On one side the high frequency is rolled off which gives it that gritty sound; people are starting to use them more and more on stage.”

technology feature 43 A huge number of artists across the globe are Shure endorsees, including Pete Townshend, Doves, Kasabian, Elbow and Snow Patrol. Deep Purple’s FOH engineer Gert Sanner uses a unique combination of Shure, Sennheiser and AKG mics when miking drummer Ian Paice’s kit. “I use a Sennheiser 604 on the snare then put an SM57 inside the snare; they are on top of each other facing down at the same angle so there are no phasing issues; it’s the only way you can hear all of Ian’s intricate drum rolling,� he says. “For the overheads, I mic the cymbals individually using five AKG 519s – the brass version with the drum clip – and for the toms, I’ve got modified AKG D112s in a shockmount and body positioned inside each drum. This combination of microphones works extremely well, I find.� AKG’s D112 is more commonly deployed for a kick drum or on a bass cabinet, of course; and its C518 and C519 clip-on mics are also popular for live drum miking. The manufacturer’s flagship digital wireless microphone is the channel 38compatible DMS 700 V2 system, which features 512-bit encryption. Artists currently using the DMS 700 include Bush, Moby, Alejandro Sanz, and Mexican artists Marc Antonio Solis and Pepe Aguilar. “This is the next step in AKG’s pursuit of the perfect, flawless audio signal transmission,� says the manufacturer’s product marketing manager, Wolfgang Fritz. “It offers the audio professional ease of use, quick set-up and reliable operation even in the most challenging environments.�

New to the market AKG also has great hopes for its newly released DMS 70 digital wireless microphone system, which was











Shure mics: Above SM58; left Beta 58A

shown at NAMM in January for the first time. Available in vocal, instrument and mixed (vocal and instrument) sets, its dynamic frequency provides ‘intelligent’ operation in the 2.4GHz band, and, according to AKG product manager, Thomas Umbauer, “delivers exceptional, studio-quality sound�.

Line 6’s Simon Jones with the new and improved XD-V75

“The DMS 70 has an uncompressed digital audio transmission capability, and is designed for the most exacting applications where the highest level of wireless audio performance is required,� he insists. “It’s especially recommended for guitar and bass because its frequency response is between 20Hz and 20kHz.� A growing company, and a rela tively new player in the world of live microphones, is Line 6. Incorporating 24-bit transmission, the manufac turer only deals in digital, and less than two years ago introduced its XD-V70 wireless system, which, through its interchangeable capsules, is able to emulate the sound of a string of other manufacturer’s microphone models. Now, version two has arrived: the XD-V75, which vice president of new market development Simon Jones says boasts several significant improvements over its predecessor. “Earthworks and Telefunken will now have their capsules on the 75; they don’t have the R&D for their own wireless, so using our fitting works perfectly for them,� he says. “All our systems are naturally encrypted, but the 75 also has an extra layer of encryption for applications such as corporate presentations; and there is a wireless world receiver bar chart on each of f

Keep this frequency clear! Ofcom’s selling off of the spectrum is something PSNE has followed closely over the past 18 months, and in an age where engineers and sound designers need to be ever more vigilant of what frequencies are floating around them, there are a couple of innovations to help them keep track. Shure’s Axient wireless management network was the first wireless system to not only detect interference, but to automatically change frequencies, undetected by the user, to avoid interference; and most recently, European newcomer Kaltman Creations has revealed its own solution: Invisible Waves X, which also warns of rogue interference

and identifies usable RF space. The manufacturer says the product provides a total RF command centre for the user’s wireless microphones, IEMs and intercom. “The Invisible Waves X represents a monumental leap in features and functions designed specifically for proaudio wireless,� insists president Mark Kaltman. “I mean, where else can you find an RF analyser that will automatically alarm with the presence of new interference, let you listen in to your transmitters or provide a master status display of all transmissions; and still function as a true RF spectrum analyser?�




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technology feature 45

February 2012

f the 75’s 14 channels – that’s two

more than the 70 had.” Line 6 also recently added an SM57 capsule, which has been used for backline applications as well as vocals. Dynamically, Jones says, it could be used on a snare drum and, being wireless, it reduces cabling on stage. Recording artist Tony Vincent, who played the Broadway lead in productions including Rent and Jesus Christ Superstar, as well as Green Day’s American Idiot, has been a beta tester for the XD-V75, and is extremely enthusiastic about its performance. “The fidelity is brilliant; no other wireless mic comes close to reproducing the full range of my voice with such clarity,” Vincent insists. “It’s rock solid and dependable, night after night.” As of December 2011, Line 6 was ranked fourth (according to retail reporting service MI Sales Trak) in overall US wireless sales behind Sennheiser, Shure and Audio-Technica, which is a huge boost for the manufacturer.

Malmö Opera House is the first opera house to install Sony Professional’s DWX range

Major milestone Audio-Technica (AT) celebrates its 50th anniversary this year, and will release a range of limited edition products including the return of

the AT-M25 instrument mic, which was “an old favourite” according to Tom Harrold, assistant marketing manager UK, who also deals with artist relations.

“The main models currently being used are from the Artist Elite series; they’re our specialist live mics,” he says. “There’s the AE6100 and AE5400 vocal mics and the AE2500, which is a dual element instrument mic designed for use on kick drums, but over the years it’s been used on guitar and bass cabinets.” AT users cover quite a spectrum of musical genres, from the delicate tones of Katherine Jenkins (AE5400) to posthardcore band The Blackout (Kerrang’s Best Live Band 2011), the latter of which use a whole complement of AT mics across the stage, including AE6100s for both vocalists.

overheads; and D3s for the guitar amplifiers,” Rance reveals. “Every Audix mic has a transparent voice that lets a song carry the message on its own without coloration; for me, the fidelity and stage rejection is incomparable.” Malmö Opera in southern Sweden recently became the world’s first opera house to make the transition from analogue to digital sound, courtesy of Sony Professional’s DWT-B01 wireless microphone and DWR-R01D wireless receiver, which provides multiple channels per frequency band as well as detailed remote control of the venue’s 50 digital pocket transmitters. The manufacturer’s DWX range was also recently used on BBC reality show The Apprentice as it made the switch from analogue to digital audio production workflow. Sony Professional says a driving factor behind this technological development is the new EU directive for awarding sound frequencies to theatres and concert halls. According to Ronny Sjostrand, technical manager at Arva Trading, which is heading up the Malmö Opera project, “there will be a sound revolution within the musical theatre and opera industry”. “We are excited to be part of this pioneer work and driving the sound technology forward,” says Henrik Felixon, Sony Professional’s key account manager, media. “At Sony, we develop our own technologies while many providers merely combine components from key producers; we therefore see few competitors in this arena.” Where does all of that put our performing artists, then?

“The vocalists in The Blackout swing their mics around their heads, so it’s good to know that the AE6100s stand up to the beating” “The vocalists in The Blackout swing their mics around their heads, so it’s good to know that the AE6100s stand up to the beating,” smiles Harrold. “We’ve found our mics do really well on the rock scene, but we’ve also got a good blend of artists; and the same mics are used for different genres, so versatile is probably the right word to describe them!” US microphone manufacturer Audix caters for a wide range of international touring acts including Willie Nelson, Jeff Beck, Steve Earle, Crosby Stills & Nash and the Poncho Sanchez Latin Big Band. Its OM series is a particularly popular range of dynamic hypercardioid vocal microphones. The Doobie Brothers and Jeff Beck both use OM-7s; Willie Nelson uses the OM-5; and Crosby Stills & Nash (CSN) use OM-6s and OM-7s. Rance Caldwell, monitor engineer for the latter, says that with the exception of one mic, everything on his stage is by Audix. “For those golden CSN vocals, we use OM-6s and OM-7s, plus there’s a D6 on the kick; D2s for the snare and rack toms; D4s on the floor toms; an SCX1 on the hat; CX-111s for the

Although classic live mics like Shure’s 57 and 58 look like being around for some time yet, Sennheiser’s wireless SKM range has definitely become one of the most popular for lead vocals. Line 6 has also created its own niche in terms of affordable digital wireless, eliminating any channel-38 issues, and generating collaborative opportunities with a string of other manufacturers; Telefunken and Earthworks have both showed interest in its digital receiver. Inevitably, wireless technology will continue to improve, with all major manufacturers seeking to bring costs down as well as find their own unique edge, and it’ll be fascinating to see what develops as the digital switchover really makes its impact. Q

AKG’s newly released DMS 70 digital wireless microphone system

46 business feature  February 2012

While finance specialist Medialease is looking at opportunities further afield, it is also involved in numerous UK projects, including the provision of a bespoke funding package for a new PA/VA audio system at Edgbaston, the home of Warwickshire County Cricket Club


Eastward bound Economic gloom has plunged Europe into what is arguably its greatest period of crisis since the end of the Second World War. No wonder then, writes David Davies, that UK manufacturers are expending so much energy exploring new opportunities in China and the other BRIC nations While the year might have seen many of us become materially poorer, 2011 was at least rich in apocalyptic-sounding proclamations. We were, it was said, one small step away from a banking crisis that would make the events of 2008 resemble a minor fracas in a pub car park. As the year progressed, ruminations on the future of the euro metamorphosed into a seemingly intractable debate about the possible demise of the European project and the failure of capitalism. When we weren’t on a ‘knife’s edge’, we were almost certainly approaching a ‘tipping point’. The fact that so much of the rhetoric accompanying these events inclined towards the feverish did little to inspire confidence in individuals or the financial community as a whole. Nonetheless, it was almost impossible to shake the suspicion that not only was the destination harbour unknown, no one was steering the ship. Instead, as economic commentator and general voice of reason, Gillian Tett, told The Guardian in November, we were left drifting in “limbo-land”, moving from “one mini-crisis to another”. The concentration of problems in the eurozone has affected activity levels across the region, as various UK proaudio manufacturers who spoke to PSNE confirmed. One inevitable consequence has been a lag in payment times as customers – many of whom are likely to be struggling with credit access – fight to manage cashflow. The GAS (Germany, Austria and Switzerland) countries are relatively buoyant, but there is no denying a general reduction in European business confidence. The mid-to-late ’00s saw doubledigit growth in several Asia-Pacific territories, and while recent events might

experiencing problems managing their own cashflow.” Chris Scott from Inspired Audio agrees that the economic mood is “having a massive effect on confidence in the UK and EU regions, and the shortage of finance to purchase new systems is a key issue. Three years ago, a hire company would have financed a major capital purchase on a lease, but few at


The Kuwait Broadcast Service recently upgraded four studios with Solid State Logic

“For the manufacturer to get their money up-front and customers to not pay a penny for a year, and for it to fit into a very busy period for the customer... that is pretty funky stuff!” exclaims Azule’s Peter Savage. While broadcast remains Azule’s primary driver, Savage confirms increasing recognition about the contribution to be made by this kind of financial package in pro audio per se: “Manufacturers are more accepting of the premise that to sell their equipment they now have to do something more than just have a great product.” Savage doesn’t attempt to play down the current challenges of operating in the eurozone, but his experience is that many manufacturers are “still very busy”. In addition to benefiting from a “microclimate” engendered by the 2012 Olympics, he expects UK companies to experience renewed opportunities in the GAS nations. To this end, Azule recently established a new office in Germany – in addition to easing the passage of credit, Savage says the operation is helping manufacturers “to bridge the language and culture gap” – and is considering an increased presence in France. Medialease is another specialist funding company to recognise renewed potential in mainland Europe. “The shutters came down in 2009 [during the worst period of the economic crisis], but in the past eight months the opportunities have started to build up again,” observes Medialease’s Paul Robson. Along with Germany, France and the Netherlands, Robson highlights the attractiveness of the Belgian market to UK companies, with the Belgian government inclined to be “very supportive of any business that is doing well”. Looking forward, Medialease intends to strengthen its relationship with banking organisations in individual countries in order to help ease the procurement of credit. Fineline Media Finance is currently managing vendor finance programmes for four specific pro-audio equipment

“The economic mood is having a massive effect on confidence in the UK and EU regions, and the shortage of finance to purchase new systems is a key issue”

C10 HD Compact Broadcast Consoles

have cooled their ardour, China remains a key export priority. Other countries in the BRIC bracket – Brazil, Russia and India – are also providing opportunities, with Brazil looking especially promising for 2012. Several manufacturers also point to the importance of specific Middle Eastern territories. “Solid State Logic has always been an export-driven business,” says SSL head of marketing Dan Duffell, and many other British-based companies share this emphasis. It is by no means uncommon for UK manufacturers to derive between 80% and 90% of their business from exports, and with the domestic economy showing few signs of improvement, that figure is only destined to rise in the shortto mid-term.

A (sad) song for Europe? It is, to put it mildly, a funny old time for Europe. Financial crises in Greece, Italy and other countries have brought

the single currency close to the brink, and many observers agree that, at the very least, the euro will probably need to be restructured. As ever, the UK’s relationship to continental events has been problematic; while remaining outside the euro, the recent decision by David Cameron’s government to veto measures intended to boost stability threatened to earn the UK nearpariah status. While Allen & Heath continues to register strong growth in many European territories, sales and marketing manager Debbie Maxted is not alone in observing that “the lack of confidence in the economies of the eurozone and the wider European market is putting fairly hefty pressure on current performance”. Both in Europe and other areas, it is getting “increasingly challenging to manage cashflow because of late payments; some customers are feeling the downturn affecting their sales and, therefore, are

the moment would have this luxury. [Even if they] do have the funding, the economic mood might make them hold on to what they have.” Inevitably, this greater air of caution has ramifications all the way along the supply chain. “The first casualty of restricted cashflow is restricted stock levels and increased lead times,” continues Scott. “This is unfortunately not helped by suppliers who in turn have longer lead times on components for the same reason. The economic mood should not be limiting export growth, but funding can play a major part when customers’ lead times are increasingly being reduced.” One option in this more pressurised selling environment is to seek out relationships with finance brokers. Azule works in conjunction with numerous leading brands, frequently facilitating subsidised rates of 0% or 1-2% that provide customers with additional incentive to go out and invest in new products.

manufacturers – speaker systems, microphone systems, mixing consoles – in the UK. “We have been sufficiently successful for them to ask us to consider rolling them out into other European territories,” says sales and marketing director Gareth Wilding, “and we have been developing relationships with local funders in France, Germany, Benelux and the Nordics on that basis. It has to be said, though, that the ‘Sunshine States’ – Spain, Portugal, Greece, Italy – are rather more challenging right now.” But while more problematic access to funds is hardly a cause for euphoria, the fragile nature of the banking sector does mean that there is “another side” to the situation, as AMS Neve distribution manager David Walton observes: “If banks are struggling to stay afloat and interest rates are low, those who are cashrich have less of a problem getting hold of money than deciding where it’s safest. Many of them are concluding that rather

February 2012

business feature 47

than risk losing it to a failing bank, they might as well invest in equipment that not only gives them a competitive and technological edge, but is also known to hold its value in the long-term.”

China in your hand While certain European markets remain integral to export business, it is the BRIC nations – and in particular China – that are really setting manufacturers’ pulses racing. “I can only speak about speakers, but the Middle East and Asia-Pacific are clearly the areas with potential, money and ambition,” says Scott. “England has an important kudos in Asia, which can still be milked.” Brazil and Russia both received multiple namechecks, but China was the most ubiquitous name in the upper reaches of the premium priority list, its importance doubtless emboldened by economic predictions including 8.7% GDP growth for 2012 (source: Moody Analytics). “China is our biggest export market now and will be increasing in 2012,” says Ohm’s Clive Kinton, who believes there is “no better time for UK manufacturers to be exporting. The cheap China goods bubble has burst in that discerning customers want premium products now, which we have in this country.” Martin Audio, too, is witnessing “tremendous growth” in Asia-Pacific as a whole, and specifically in China. In addition to the cachet of being a UKdesigned and manufactured brand, director of sales Simon Bull emphasises the value of arranging specialist distribution for three distinct sectors: entertainment, commercial/touring and cinema. The financial clout of parent company LOUD Technologies has also helped Martin Audio’s case, but in 2011 the greatest single factor appears to have been the continued rollout of the MLA (Multi-cellular Loudspeaker Array) system. “Sales of MLA have been fantastic,” confirms Bull. “It’s up there with the highest price systems, but because it’s such a great leap in technology people are realising its value.” The problems generated by intellectual property infringements – an especially acute problem in China – do constitute one, not insignificant caveat to the company’s burgeoning success. Martin Audio, says Bull, has a member of staff in China working nearly full-time on the issue, as well as retaining legal counsel in the country. “It is a real battle and we invest a lot of money in pursuing it,” he says. “Our dealers are also very important in fighting the issue. It’s in everyone’s interests to stamp it out.” The IP issue, suggests Maxted, is one where manufacturers might reasonably expect the UK government to play a greater role in assisting them overseas.

Peter Savage, Azule: looking at France

manufacturing exports are crucial to the UK’s economic revival. In the meantime, the main practical exportboosting strategies remain unchanged from decades past and include exploratory trips to individual markets and presence at key international trade events, notably Prolight + Sound – the “must-do for UK companies with export ambition”, according to Scott. While support from official bodies might be welcome, it can never be a substitute for putting in the road miles and building strong relationships in new markets – a process that may take several years. Accordingly, Maxted speaks for many when she remarks that, to

Get together, stay connected

“The cheap China goods bubble has burst in that discerning customers want premium products now” “A plausible strategy to help our industry would be helpful, although it’s a persistent problem which is not about to disappear,” she says, adding that the introduction of new and innovative products is probably the best “antidote” to the problem. Anecdotal evidence suggests that current industry awareness of governmentrelated schemes is not particularly extensive, but there are actually a number of options that UK manufacturers might wish to explore. For example, UKTI (UK Trade & Investment) – the government department that helps British companies export overseas and encourages foreign investment to the UK – has multiple programmes designed to assist its primarily SMEoriented customer base. Passport to Export is designed to put companies in contact with an international trade adviser who will mentor them through the exporting process, while businesses with greater experience of foreign markets might wish to tap Gateway to Global Growth as they ‘broaden and deepen’ their reach. In addition, Overseas Markets Introduction Service (OMIS) reports can be produced by locally-sited commercial officers for companies looking to explore specific markets. Within the industry, PLASA is set to run more manufacturer-based meetings geared towards expanding awareness of export market opportunities. “The intention is for PLASA members to share their experiences and learn from each other,” says DiGiCo managing director and PLASA committee member James Gordon. “The first one of these meetings was very encouraging and I am sure the follow-up meetings in 2012 will build on it.” Such developments chime with an increasing awareness that strong

secure growth overseas, it is primarily “down to British exporters to do the legwork themselves, and to work to establish their brands with the best available local partners”.

Beyond the eurozone “Right from the beginning of the [global] crisis we took the view that we should get out more into the market and meet clients,” says Gordon in what appears to be a consensus view across pro audio. DiGiCo’s recent expansion with new investment from ISIS Equity Partners confirms the validity of this laudably proactive approach, as does Martin Audio’s export-powered bestever year (see page 3 for more). Many companies are enjoying growth in the mega-markets of China and India, while Vietnam, Malaysia and various central Asian states are also assuming greater importance. With influential financial services company Standard & Poor’s downgrading more than half of the eurozone’s 17 members at the time this article was filed, Europe’s current crisis evidently has further chapters yet to be written. The decision by many UK companies to have invested so much energy in AsiaPacific these past few years appears to have been not only prescient, but one likely to prove fundamental to their continued prosperity. Q

The leading event for entertainment and installation technology in the north of England 130 exhibitors • 2,000 colleagues • Two-days of free seminars • Two free lunches! • There’s no better place to be this April!

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The new Harpa conference centre and music hall in Reykjavik, Iceland, the construction of which was affected by the downturn, has been equipped with a selection of Allen & Heath iLive and iDR digital technology

48 hither & dither EXPOS & EVENTS 2012 BVE 14-16 February London, UK  February 2012

Hither & washer

The wonderful world of white goods, as seen through the eyes of PSNE

Please send all contributions for possible publication to

CABSAT MENA 28 Feb-1March Dubai, UAE

The ARC Show 29 Feb-1 March London, UK

45th AES Conference 1-4 March Helsinki, Finland

Digital Signage Expo 6-9 March Los Angeles, US

Wind-up merchant: TM Audio’s Marc Kocks gets in a spin at Utrecht’s

Mars Chocolate North America LLC created this word, for the back of their Snickers

amazing Speelklok museum of self-playing mechanical musical instruments,

bars, in 2006. Its definition is: “A state of mind making you feel very strong and pow-

where Renkus-Heinz held a party during ISE. A (bizarre) highlight had to be a

erful”. On eating one at NAMM, it made me feel like some proper food. Not likely in

Carl Frei street organ, programmed to play Madness’ Baggy Trousers

Disneyland though, eh readers? Oof!

CeBIT 6-10 March Hannover, Germany To promote its PolyTune Mini

2012 Media Summit 7-8 March New York, US

polyphonic guitar tuner, TC Electronic created a campaign where an original

PolyTune was placed in a washing machine, then

Fast Turnaround TV 13 March London, Uk

retrieved, shrunken. So what did the company do? Bring the washing machine to NAMM… all the way from

Prolight + Sound 21-24 March Frankfurt, Germany

PLASA Focus 17-18 April Leeds, UK

132nd AES Convention 26-29 April Budapest, Hungary

PALME Middle East 1-3 May Dubai, UAE

ShowWay 5-7 May Bergamo, Italy

Denmark. Not heard of Best Buy, obviously…

Sign spotted in the TR Guitars (California) mobile guitar workshop – based in a converted ambulance, of course – at NAMM

Pro Sound News Europe vol 27 no 2 February 2012 Editor: Dave Robinson, Managing Editor: Joanne Ruddock, Staff Writer: Erica Basnicki, Head of Design and Production: Adam Butler Editorial Production Manager: Dawn Boultwood European Correspondents: Mike Clark (Italy), Marc Maes (Belgium/Holland), Phil Ward (UK), Mel Lambert (USA) UK Contributors: David Davies, Simon Duff, Jim Evans, Lin Frost, Kevin Hilton, Gez Kahan, Nigel Lord, Rob Speight, Francis Rumsey, Paul Watson, Russ Hepworth-Sawyer, Phil Harding, Ken Blair, Marnix Bosman, Charlotte Wilson, Franck Ermould Digital Content Manager: Tim Frost, Sales Manager: General Nick, Accounts Manager: Stephen O’Sullivan, Classified Sales Executive: Call the team! Senior Production Executive: Alistair Taylor Studio Bookings Editor: Lianne Davey Publisher: Steve Connolly, Managing Director: Stuart Dinsey Editorial and Advertising offices: Pro Sound News Europe, Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road London, N1 8LN. Editorial and sales: +44 20 7226 7246 Press releases to: NO CIRCULATION AND SUBSCRIPTIONS ENQUIRIES TO THIS OFFICE. Circulation and Subscription enquiries: Intent Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK. Subscriptions: Tel: +44 (0)1858 438786 Subscribe online at Pro Sound News Europe is published 12 times a year by Intent Media London, 1st Floor, Suncourt House,

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products and services directory 49

February 2012

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50 interview  February 2012

Doug Green

Soul to the machine our structure in the right way, the end user is taken care of. They’ll see us as the kind of partner that we want to be to them, regardless of whether they’re a contractor, an FOH touring engineer or a guitar player buying a Digitech pedal. We want them all to feel as though we know who they are, what they want and how we can help them. “The EMEA sales structure is actually now coming into a whole new level of efficiency. We have plans to enhance our tour sound presence with a ‘tour sound champion’ product specialist, for example, which coincides with the introduction of JBL’s new VTX Line Array Series; the ongoing consolidation of Crown’s VRack concept: a pre-wired rack of HD amplifiers in various configurations; and the advent of Performance Manager, the latest HiQnet control software. We’re really at the point where we can offer the market a totally new level of product

and also by how meaningful it all was. You get full interaction with the whole structure all the way up to [Harman Pro CEO] Blake Augsburger, an amazing feat following the rigours of the corporate changes that have only recently taken place. It really confirmed our renewed commitment to our distribution partners.” The last one I attended marked the launch of HiQnet, which has become a real glue between technical and business integration… “It makes all of the management so much easier. The Holy Grail in a lot of these applications is the unified system – being able to deliver a truly integrated, real-world solution to individual conditions. Harman has achieved much already, but the next level of ‘glue’, as you call it, will be everything all of this has promised to be, and more. It will integrate

“Even in places like Greece, Italy and Portugal our distribution channels are still finding very meaningful opportunities. I think the key is that we make so many products that can be used on so many levels, in so many different applications. There’s always a place where we can fit in” Interview by Phil Ward


Doug Green is Harman Professional’s new director of sales for the group’s regional sales office that covers the time zone known as EMEA: Europe, the Middle East and Africa. Based out of Potters Bar, UK and Sweden, his brief extends to all of the famous brands from AKG, JBL Professional, BSS Audio and Crown to Lexicon, Soundcraft and Studer. With over 20 years of industry experience behind him, Green comes to Harman from a spell as vice president of international sales for Installed Sound Products at TC Group International. Before this he was a product manager at Lab.gruppen, a regional sales manager for TOA Electronics, the owner of a pro-audio design and installation company and a front of house and recording engineer with some highly street-credible punk and hip-hop credentials. EMEA: that’s big… “My life, Phil, is an intercontinental challenge! I live in Sweden, my offices are in Potters Bar, my mobile number is a UK number… so I’m back and forth a lot.” Having grown up in the US, what first brought you to Europe? “I was managing the Western US for TOA, and connected with Lab.gruppen. The appeal was my background in installed sound – both as a contractor and as an end user – which enabled me to be a fulcrum between sales, marketing and engineering. That led to

joining the product management group, and developing completely new ranges of enhanced amplifier platforms.” Are there comparisons between TC and Harman that now stand you in good stead? “The TC Group structure had become much more of a functional business umbrella, under which the various brands were brought together. Once that happened it changed from being ‘brandcentric’ to being vertical-market orientated, along the lines of HD/broadcast, MI, installed sound and live sound. That’s when I took over the international sales position for installed sound products. So, yes: the recent restructuring of Harman, on many levels, is very similar to what happened at TC. But Harman is also structured regionally. Rather than brands, guys are now responsible for a geographical area. Within that region, they are responsible for all the brands.” What’s your agenda for getting closer to the end user? “Interesting that you should ask that: end users are often given less prominence than they should in a big corporation. For us, the end user is in our minds all the time. If you’re watching the end user, you’re watching the distributor. And if you’re watching the distributor, you’re watching the region. This is very much the big picture. “Having spent a lot of time as an end user myself, I’m very aware of where the buck stops! I feel that if we’re serving all of the different levels of

integration and support. This is key: we’re part of a very large organisation but we can make this happen organically, spending time out on the road with our distributors to reinvigorate those relationships. There’ll be increased roadshows, training and exposure to a lot of amazing new products.” Does your live sound ‘champion’ reveal the need for that sector to keep a certain touring spirit alive? “Absolutely. It’s as distinct from commercial installed sound as domestic installed sound is. Those are two worlds that people often think are the same, but they are different universes. As is live sound: those guys need very different services. It’s a world of credibility. If you have the right guy, as a manufacturer you become a much more valued partner. This role is not about sales; it’s 100% about support, of a unique kind, and a regional kind: European live sound has its own codes and customs. It’s a way of making us ‘real’ about our products, our capabilities and how they can help sound companies grow their businesses. Above all it’s out of respect for the reputation and culture of European live sound. It deserves this level of attention and understanding.” How was your first ever pre-NAMM Harman international mega-conference? “I was absolutely blown away by the scale, the scope, the detail, the delivery mechanisms...

specifying the system, measuring the system, commissioning the system and running the system. And then, on a sales level, it’s an opportunity for us to represent a holistic approach across the brands to anyone who has to design, implement, execute and own a system. As someone responsible for sales across various territories, I see it as a tremendously exciting prospect.” Those territories are tough right now. How do you read the economic and political situations? “I’m constantly absorbing data. Part of it is nuts and bolts: keeping an eye on large, prestige or infrastructure projects and playing our part in them. But the only way to handle this chunk of the world is on a country-by-country basis. Each one has its strengths and weaknesses. But interestingly, even in places like Greece, Italy and Portugal our distribution channels are still finding very meaningful opportunities. I think the key is that we make so many products that can be used on so many levels, in so many different applications. There’s always a place where we can fit in.” Looking at your hip-hop and punk engineering credits, it kind of makes you a piece of authentic rock ’n’ roll on the inside of Harman Pro… “I take that as a compliment! But most importantly – I’m not the only one…” Q

Advertiser index Advertiser AKG Allen & Heath ASL Intercom Audio Sud Audio-Technica CEDAR Audio Celestion Clear-Com Coda Audio Crown Audio d&b audiotechnik

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Advertiser Midas Outline P.Audio PLASA Primacoustic Prolight + Sound QSC Audio Radial Systems Engineering Renkus-Heinz Riedel Communications Sennheiser

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Pro Sound News Europe February 2012