International TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL www.audiomediainternational.com
January 2015
AUDIO IN EXTREMIS Meeting the demand for ever-more challenging installations p28
Conference: April 11-16, 2015 • Exhibits: April 13-16
For information and your FREE Exhibits-only Pass See pages 22-23
LIVE FOCUS
Sound Services on the acclaimed Hydra series p24
STUDIO PROFILE Sawmills celebrates 40 years of success p26
REVIEW
Sennheiser’s Esfera system p38
WELCOME
www.audiomediainternational.com
Editor Adam Savage asavage@nbmedia.com
Experts in the issue
Managing Editor Jo Ruddock jruddock@nbmedia.com Staff Writer Matt Fellows mfellows@nbmedia.com Commercial Director Darrell Carter dcarter@nbmedia.com Account Manager
WELCOME
Iain Betson is a BBC trained engineer with experience ranging from being a station engineer and studio consultant to a presenter and company board member. He has worked in the broadcast industry, both in the UK and internationally, for nearly 30 years. He constantly wonders where all that time went.
Adam Savage Editor Audio Media International
Karma Bertelsen kbertelsen@nbmedia.com Production Executive Jason Dowie jdowie@nbmedia.com Head of Design Jat Garcha jgarcha@nbmedia.com
Alan Branch is a freelance engineer/ producer and ex-member of the On U Sound Crew. His list of credits includes Jamiroquai, Beverley Knight, M People, Simply Red, Depeche Mode, Shed 7, Sinead O’Connor, Bjork, and Sade. He also recently mixed Jeff Beck’s new Live in Tokyo 2014 Blu-ray.
Press releases to: ukpressreleases@nbmedia.com
© NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.
Audio Media International is published by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. Editorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000 Audio Media International ISSN number: ISSN 2057-5165 (Print) Circulation & Subscription enquiries Tel: +44 (0)1580 883848 email: audiomedia.subscriptions@c-cms.com Printed by Pensord Press Ltd
Jim Evans has been involved in and reported on the professional audio and music industries for more than four decades. Founding editor of Pro Sound News Europe, he has written for Audio Media since its inception and is a regular contributor to a number of leading industry publications and websites. His television credits include collaborations with the late Peter Cook and Micky Most.
Alan March joined Sennheiser UK in 2008 after 21 years in various roles at HW International and Shure Distribution UK. He is also actively involved in British Entertainment Industry Radio Group (BEIRG) working for the benefit of all those who use radio spectrum. He is now product management (professional) and head of spectrum affairs at Sennheiser UK.
W
hat better way to begin the New Year than with a fresh start? It’s that time again, when people all over the world – and many of you, I imagine – will have promised to quit smoking, or get down the gym more, or whatever your personal pledge may be, in order to kick off 2015 as positively as possible. The New Year is a time for change, and so it just seemed right to make this the month we launch our first ever issue of Audio Media International – something that we’ve been planning for quite a while. Bringing together Audio Media and Audio Pro International wasn’t an easy decision to make, but it is certainly one that I’m glad we made, and if all the messages of support and encouragement are anything to go by, it seems I’m not alone. Merging the two titles hasn’t just led to a wider reach for the magazine; it’s allowed us to combine the best features of AM and API. Those of you who looked forward to your monthly editions of Audio Media will notice similarities with the layout of AMI – but with a rather snazzy makeover I have to say – and I’m sure Audio Pro International subscribers will welcome the arrival of a brand new responsive website to help us maintain and grow the vast following we had built up over the past decade, as well as a new-look daily e-newsletter. As this is a publication for the pro-audio end user, I want to be able to involve you, the readers, in the development of Audio Media International. Thought of a techy topic that is crying out for coverage in the media, or a studio/install project that demands some attention? Let me know and I’ll look into it. I hope to hear from some of you soon.
January 2015
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CONTENTS
FEATURES 24 LIVE FOCUS Adam Savage meets with audio supplier Sound Services to learn about the Hydra series of club nights in East London
26 STUDIO PROFILE
26 PRODUCT NEWS 6 7 8
Matt Fellows delves into the illustrious history of Sawmills Studio in Cornwall
28 INSTALLATIONS IN EXTREMIS Jim Evans reports on the struggle to provide high-quality sound installations against nature’s biggest challenges
TECHNOLOGY 32 HOW TO Point1Post’s Adam Daniel on assembling a Dolby Atmos mix
STEINBERG RELEASES CUBASE PRO 8 TANNOY ADDS TO VX SERIES
34 EXPERT WITNESS Ashley Smith, Gear4Music’s live sound expert, outlines the importance of the right amplifier choice
WORK PRO EXPANDS NEO FAMILY
35 FOCUS: POWER AMPS We round up some of the latest offerings on the market
SHOW NEWS 10 A SUMMARY OF THE EARLY NAMM NEWS 12 ISE 2015: WHAT WE KNOW SO FAR
PEOPLE 14 OPINION Doctor of Audiology Michael Santucci offers some hearing health tips for audio professionals Alan March, Markus Warlich and Alex Milne discuss the future of wireless technology in the UK, Europe and the US
50 INTERVIEW: LEE DENNISON Adam Savage chats to White Light’s head of audio about the company’s new sound department
ALSO INSIDE 18 COMPANY PROFILE: AUDIOLOGIC We speak to the Essex firm about its first 10 years in business
20 GEO FOCUS: CANADA Matt Fellows explores how the pro-audio market is faring on the world’s second-largest landmass
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38 REVIEWS 38 42 44 46 48
SENNHEISER ESFERA RODE STEREO VIDEOMIC X METERPLUGS PERCEPTION PRISM SOUND SADIE 6.1 ELECTRO-VOICE ETX
PRODUCT NEWS STEINBERG CUBASE PRO 8 NOW AVAILABLE Steinberg has started shipping its Cubase Pro 8 software, offering a vast range of new studio-grade audio and MIDI tools for composing, recording, editing and mixing. Both Cubase Pro 8 and Artist 8 – designed primarily for musicians – have come through a major engine rebuild, which lets the user run more instruments and tracks. ASIO-Guard 2 improves the audio processing performance for instrument tracks and channels, and automation enhancements are also key to Cubase Pro 8, providing VCA faders and virgin territories. Steinberg has added Render In Place to both versions too, for bouncing MIDI and audio parts easily. Chord pads, Chord Assistant modes and MIDI tempo detection are introduced to the creative feature set of both Pro 8 and Artist 8, while the new Rack Zone delivers a dedicated area for the MediaBay sound browser and VST Instrument Rack. The redesigned Track List and Inspector, the new plug-in manager, global workspaces, plus improved windows handling on PCs improve ease-of-use.
Other features include a rejuvenated Quadrafuzz multiband distortion plug-in, a new Virtual Bass Amp, Multiband Expander, Multiband Envelope Shaper and various other effects. Groove Agent SE 4 now offers an acoustic drum kit, the Acoustic Agent, with 20 drum style patterns. The MixConsole has also been expanded, and there’s a new version of VST Connect – ideal for remote recording over the web. A number of downloadable updates and upgrades are available exclusively through the Steinberg Online Shop. Those who have activated Cubase 7.5 and Cubase Artist 7.5 after 15 October 2014 are eligible for a free, downloadable ‘Grace Period’ update to version 8 as well. www.steinberg.net
BLUE UNVEILS YETI STUDIO An all-in-one vocal recording system, Blue Microphones’ new Yeti Studio package combines the Yeti professional USB microphone with custom recording software from PreSonus, advanced studio vocal effects from iZotope, and custom preset templates for voice-overs, podcasts and music. The Yeti features proprietary condenser capsules set in a three-capsule array that provides high sound quality and the versatility of four different recording patterns: cardioid, bidirectional, omnidirectional and stereo. It also offers a built-in headphone jack for zero-latency monitoring; direct controls for headphone volume, pattern selection, instant mute and microphone gain; and comes with PreSonus Studio One Artist Blue Microphones Edition recording and iZotope Nectar Elements studio vocal effects software. www.bluemic.com
MOTU SHIPS MONITOR 8 MIXER
The 24 x 16 x 8 Monitor 8 mixer from MOTU features a six-channel headphone amplifier and USB/AVB audio interface with console-style 48-channel mixing and DSP effects. Monitor 8 can serve as a primary audio interface and monitor mixer in the studio, as a complete monitoring solution for live performance, or as a dedicated monitoring component of a MOTU AVB audio network system. Users can create multiple mixes from a variety of inputs, including eight channels of high-quality balanced (TRS) analogue, 16 channels (two banks) of ADAT optical, 32 channels of audio streamed from other MOTU interfaces on a connected AVB audio network (if present), and host software audio channels over USB or AVB Ethernet. All of these inputs can be mixed to eight stereo output groups, while XLR main outs and balanced 0.25in aux outs feed primary and secondary studio monitors or PA speakers. Users can then set up six additional independent monitor groups, each with multiple mirrored outputs that include two sets of 0.25in headphone outs (front and rear panel), a summed 0.25in mono output, and balanced stereo 0.25in outs. Monitor mixes can be sent to 12 sets of headphones, six stage monitors, four stereo in-ear modules and two sets of powered speakers. Powerful DSP delivers large console-style mixing with 48 channels, 12 stereo busses and 32-bit floating point effects processing, including modelled analogue EQ, vintage compression and classic reverb. Monitor 8 operates without a computer as a stand-alone mixer and headphone amp, or users can control Monitor 8 over WiFi from an iPad, iPhone, tablet, smartphone and laptop – or several devices simultaneously for multiuser control of the Monitor 8’s multiple mix busses. www.motu.com 6
January 2015
PRODUCT NEWS
www.audiomediainternational.com
TANNOY ADDS TO VX SERIES Tannoy has launched a new addition to its VX Series of premium-grade passive sound reinforcement loudspeakers. The new model, VX 8M, introduces a number of subtle changes across the range to provide more flexible solutions for mobile and versatile environments. The latest full range Dual Concentric loudspeaker from the company provides a “compact, yet punchy and sonically vibrant solution” for small to medium-scale sound reinforcement. With a tightly controlled 90º dispersion, the VX 8M has a peak output of 119dB and a recommended amplifier power of 260W, making it suitable for a wide range of applications. A new birch plywood enclosure has been ergonomically redesigned to offer a greater degree of flexibility, while maintaining the power and sonic clarity of the VX Series. The new design includes 40º and 60º angles, making the VX 8M ideal for use as a dedicated floor monitor, with the 8in driver offering “exceptional” vocal monitoring clarity. The enclosure’s added pole mount and vertical yoke mean the user has a range of mounting options.
Audio connection on the highly portable speaker consists of a recessed termination panel with two SpeakOn connectors. An enhanced steel grill has been added to the VX 8M, as well as two of the larger format boxes in the line, the VX 12 and the VX 15. This make the loudspeakers suitable for floor monitor use in medium to large-sized applications where more power and punchiness is required. Stuart Archibald, product manager for Tannoy, commented: “The VX 8M offers unrivalled flexibility in terms of use and mounting location. From the floor to a table top or pole mount to flying bracket, this cabinet can be mounted in any way you choose, making it perfect for any application where crystal clear sound reinforcement is required.” www.tannoy.com
YAMAHA UPDATES NUAGE TO 1.6
Yamaha has released a v1.6 update for its Nuage post-production and studio recording system, which allows seamless compatibility with Steinberg’s Cubase Pro 8 DAW software. Nuage’s IP-based Dante network infrastructure delivers maximum system design flexibility and post-installation expandability, Yamaha says. With 1.6, it has also become an effective way to bridge the gap between production, broadcast and live sound applications. It supports full remote control of Yamaha’s new RMio64-D Dante/MADI conversion audio interface, allowing selection of SRC, word clock sources, and other parameters via the Nuage display. This enables convenient audio communication with
external MADI devices for significantly increased system expansion capability. The latest Nuage software also provides numerous improvements to overall operation, developed in response to feedback from users, including quick division of audio events within the selected range, a stereo panner type selection from Nuage Fader units, channel strip access to cut filter slope, gain, phase, HA high-pass filter, and +48V parameters, as well as overall ON/OFF switching of selected channel inserts and dynamics bypass. The update is available now as a free download from the Yamaha Pro Audio website. www.yamahaproaudio.com
January 2015
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PRODUCT NEWS
WORK PRO EXPANDS NEO FAMILY Work Pro has added the NEO 5 A ES and NEO 5 IP to its loudspeaker line up. The NEO 5 A ES, an updated version of the NEO 5 A, is an installation speaker developed to maximise savings in energy consumption by shutting down when not receiving audio signal, reducing its consumption to below 1W. The second product, the NEO 5 IP, is a waterproof version of the NEO 5. Due to its high IP rating (IP65), this two-way passive loudspeaker can brave outdoor installations in safety, withstanding unfavourable weather conditions such as rain or wind.
Both versions are available in black and white to suit the requirements of any audio installation. www.workproca.com
ARTURIA RELEASES V COLLECTION 4 Arturia’s V Collection 4 is a “premium-packaged” reference software collection of keyboards and drum machines with a total of over 6,000 professionally-produced presets – controllable via an external MIDI keyboard, running standalone or within any DAW. All 12 of Arturia’s Analog Classics range of software recreations of classic analogue instruments are now included, including the latest VOX Continental V, Solina V and Matrix 12 V additions. Also new to V Collection 4 is SPARK 2, Arturia’s advanced sound-sculpting and beat performance software featuring over 170 drum machines and over 5,500 patterns ranging from hip-hop to many of the latest EDM genres. www.arturia.com
BITWIG UPDATES STUDIO SOFTWARE Bitwig has launched the first major update for its Studio software. Studio 1.1 allows users to download and modify a manufacturer control script, or create and share their own. The platform features Plug-in Delay Compensation (PDC), which ensures that, no matter how many plug-ins or devices are added to the mix, everything will playback in time as intended. Also featured is multi-out VST, allowing users to sidechain one voice off another within the VST or anywhere in the program, and multi-in VST, with device slots for any available VST inputs. It also enables users to “route anything from anywhere to any point in their project” using the new suite of routing devices, including the Audio Receiver, Note Receiver, Note MOD, and De-Esser. www.bitwig.com
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RADIAL TO REVEAL ICECUBE ISOLATOR Radial Engineering will display a new ultracompact balanced line isolator at NAMM. Designed to fit inside a tool kit to eliminate hum and buzz caused by ground loops, the IceCube IC-1 measures less than 10.16cm x 3.81cm x 3.81cm. The compact design features an XLR-F input at one end and an XLR-M output at the other, with solid 16-gauge steel construction and durable powder coat finish. Connection to and from the IceCube IC-1 is done using standard three-pin XLR cables and it is also equipped with
W M N E NAM
AT
SHOW NEWS
a ground lift switch to further assist in reducing noise. Radial will also launch stereo versions of two existing direct boxes: the JDI Stereo and the J48 Stereo. The JDI is designed to deliver a phase-accurate, distortion-free signal and handle excessive transients to produce a natural vintage compression. The J48 works within the confines of 48V phantom power to deliver wide frequency response and more headroom with less distortion, and introduces a new
way of lifting the pin-1 ground without cutting off phantom power. By employing an internal switching supply, the unit converts phantom power for more rail voltage, resulting in less distortion and more gain without the use of an input pad. The power system also allows the relocation of the ground lift inside the power supply, enabling the stage technician to lift the ground without having to revert to costly and environmentally hazardous batteries. www.radialeng.com
PMC EXPANDS TWOTWO RANGE PMC’s new sub2, a subwoofer providing greater headroom and dynamics than the smaller twotwo sub1, will be presented at NAMM 2015. A low-distortion active subwoofer featuring PMC’s ATL bass-loading technology with Class D amplification and DSP-based filtering and bass management, the unit’s built-in amplifier delivers 400W of power to the LF driver with an active frequency response from 20Hz up to 200Hz. Also featured is an AES3 input with a built-in sample rate converter, a pair of balanced stereo
analogue XLR inputs and a single parametric equaliser to assist with inroom alignment. The digital input is also passed through to the sub’s analogue and digital outputs for connection with other devices, allowing the twotwo sub2 to be used as a high-end digital-to-analogue converter to drive other analogue monitors from a digital stream if required. The company will also offer visitors a chance to see the QB1, its large-scale studio monitor launched in Autumn 2014, and can be found at booth 6598. www.pmc-speakers.com
MXL UNVEILS PORTABLE MIXER AND CAMERA MIC MXL Microphones will be showcasing its new MM-4000 Mini Mixer and portable audio mixer for mobile phones, tablets, DSLRs and computers. It enables audio recording to a device using up to four electret mics simultaneously, consolidating four analogue inputs into one analogue or digital output. The unit is compatible with all MXL Mobile Media microphones and features a digital output that allows it to work with the iPhone or iPad using Apple’s camera adapter, a headphone jack for direct audio monitoring, multiple power
options and a line level out for mobile devices with adjustable output. It will also show the MXL GOLav lavalier mic. Compatible with GoPro Hero3, Hero 3+ and Hero4 cameras, the omni-directional GOLav is the first lavalier mic for GoPro that has the right angle mini USB connector built into the mic cable, so no adapter is needed. A foam windscreen and bonus fuzzy windscreen are included to minimise wind noise and plosives. along with a 5ft Mogami cable for sound clarity and durability. www.mxlmics.com
MASTERCHECK NEW FROM NUGEN At the NAMM Show, in cooperation with Music Marketing, Nugen Audio will introduce MasterCheck, “the first modern loudness tool for the music industry,” as well as a significant update of Visualizer, the company’s audio analysis tool. The MasterCheck plug-in reveals how the consumer will hear audio on platforms such as iTunes and Spotify by using internationally recognised loudness, dynamics and truepeak standards. Designed for every aspect of music production, including recording, mixing, mastering, archive, and restoration, MasterCheck 10
January 2015
can also be used for producing podcasts at optimal loudness levels for dialogue clarity within the listener environment. Version 2 of Visualizer, meanwhile, features numerous user interface enhancements including a fully resizable interface, a multiview feature that enables engineers to compare multiple sources with a single plug-in, and a ‘difference’ view showing the difference between two input signals. Visualizer is available in a version supporting Avid Pro Tools HDX, as well as a stand-alone application version. www.nugenaudio.com
ISOACOUSTICS INTRODUCES APERTA IsoAcoustics is set to unveil its new Aperta line of sculpted aluminium acoustic isolation stands designed for medium-sized professional studio monitors and speakers. The stands are said to provide an aesthetically pleasing and cost-effective means to enhance the sound clarity and transparency of medium-sized speakers, using the ‘floating design’ that the company is known for.
Aperta stands offer an integrated tilt adjustment feature that enables the user to dial in the optimum tilt angle, with fine gradation markings provided to ensure the best possible precision of the angle adjustments. With an overall size of 6.1in (w) x 7.5in (d), the Aperta stands complement medium-sized studio monitors and speakers weighing up to 35lbs. www.isoacoustics.com
SHOW PREVIEW
RAI-SING HIGH ISE returns to Amsterdam next month for its last outing as a three-day show, and it seems there’s a lot to look forward to...
T
he news that ISE is to move to a four-day show next year could not have come as a surprise to many. Its growth in popularity has been pretty evident in recent years, with the Wednesday of the 2014 show drawing an attendance (25,961) greater than that of the entire event just five years earlier (24,912). But before we all get to enjoy another night in Amsterdam, there’s the small matter of ISE 2015, which looks set to be yet another record breaker. More than 950 exhibitors are already booked in and the organisers are expecting to exceed the 51,000 attendees who visited last year. In addition to the showfloor, there is a wide range of events taking place in and around the RAI Centre. The day before ISE opens its doors, the biannual AV Networking World Congress is taking place at the Amsterdam Holiday Inn. Audinate is supporting its ISE exhibits and floor presence with the all-day media networking event, which the company says will bring together the industry’s leading audio manufacturers, including Yamaha, Bose, Symetrix, Lab.gruppen, Lake, Bosch/ RTS, Attero Tech, Studio Technologies, Focusrite and Presonus. The event will showcase a major interoperability networking demonstration of Dante-enabled products and systems, some of which are to receive their ISE debuts. The event will also feature presentations, workshops and interactive panel discussions led by industry design consultants, AV installation contractors and IT networking experts. Back at the RAI, 9 February will see the return of the AudioForum, a day-long training event dedicated to professional audio topics and philosophies. The focus of this edition of AudioForum 12
January 2015
will be the digital tools that help audio designers and systems integrators perfect the design of audio systems, installations, speakers and components. Topics up for discussion this time will include electroacoustics, simulation software, measurement instruments and design tools. The pro-audio industry is also well represented in InfoComm’s Professional Development Programme. Highlights include Lectrosonics’ Gordon Moore discussing ‘Digital audio protocols – what are your options?’ at 16:00 on 10 February, and ‘Five new technologies that will change the industry; an AV perspective’ with technology evangelist Joe Cornwall at 10:00 on 12 February. ON THE SHOWFLOOR Audio-Technica is bringing its ATND971 cardioid condenser boundary network microphone to the show; a world-first, the unit promises to bridge the gap between audio and IT as the first wired microphone to transmit audio and control data together over Audinate’s Dante network protocol. A simple Ethernet connection allows the network microphone to communicate across an existing network of Dante-enabled devices and – with the microphone’s programmable user switch – control any of those devices at the push of a button. Genelec’s new 8351 monitor will be making its European tradeshow debut at ISE 2015, stand 3-C111. The 8351 is a coaxial three-way Smart Active Monitor system that Genelec developed in response to the need for increasing audio perfection in acoustically challenging production environments. The company will also have a 3D listening room on its stand and will once again be a key participant in the Immersive Sound Experience feature area at the
show. At both locations, there will be a fully working 3D system complete with loudspeakers from the 4000 Series. As well as its Q-Sys network audio platform, QSC is due to display its CXD-Q amplifiers at the event. The new models combine Flexible Amplifier Summing Technology (FAST) from the CXD/ PLD amplifiers with Q-Sys network connectivity and processing to create what the company is calling “the ultimate audio routing and power solution for installed sound applications”. There will also be three new AcousticDesign loudspeakers on the QSC booth this year. The AD-S6T is a 6in, twoway surface-mount loudspeaker featuring the QSC X-Mount system, while the new AD-S112sw surface mount sub comes with a long-throw 12in driver, with yoke-mount hardware to optimise boundary-coupling. Merging Technologies is introducing Ovation 6 and Pyramix 10 at ISE 2015. These new releases build on the success of Pyramix 9.1 and introduce 3D panning for the first time. This not only addresses the cinema and consumer immersive audio formats; it is also designed to offer sound designers working in the AV business a new range of options. Networked audio interfaces such as Horus and Hapi will be available with the ADA8 combination A-D/D-A board, which offers 48 channels in and out with Horus, and 16/16 with Hapi. Audac will be showcasing the newest additions to its loudspeaker range at booth 4-U35: the MERO2 and CELO2 loudspeakers. With a compact, high-end in-wall and ceiling build, these speakers are designed to blend into any interior. The MERO series includes three models: MERO2, MERO5 and MERO6, while the CELO series consists of the CELO2, CELO5, CELO6 and CELO8. They feature an unobtrusive design with a slim grill
sporting a thin border of only 1mm, and its limited grill depth extrudes the surface by only 3.2mm when installed. Visitors will also get to check out the CRS12GT, a new loudspeaker from Alcons created to meet the requirements of digital cinema immersive surround sound formats. Featuring Alcons’ proprietary pro-ribbon driver technology, the two-way, passivefiltered CRS12GT combines clarity and intelligibility with a high dynamic range and up to 90% less distortion than traditional cinema surround systems on the market, the firm says. Bose Professional is taking three new RoomMatch Utility (RMU) loudspeaker models, the RMU206, RMU108 and RMU105, to the RAI. Featuring RoomMatch array modules, these models are designed either to complement a RoomMatch full-range array installation or to be used on their own for foreground music, or in under-balcony, zone-fill and vocal-range floor monitor applications. The Tactus Digital Mixing System is new from Peavey’s Crest Audio. It provides a simple, customisable touchscreen operating interface that puts all audio routing, processing and mixing tools within easy and immediate reach. It has been designed by Crest in partnership with Waves Audio, and works with the new Waves eMotion Mixer for SoundGrid. The Tactus system also allows the use of Waves audio processing plug-ins for live events. Three new products, Dugan Model M, Model N and Model K – featuring automatic microphone mixing technology – will also be revealed by Dan Dugan Sound Design at ISE, adding MADI I/O and Dante I/O capabilities as well as a physical interface to the Dugan range. www.iseurope.org
OPINION
RESPECT YOUR EARS!
Hearing health tips for audio professionals.
MICHAEL SANTUCCI
W
e’ve all heard the cautionary tales of rock stars with severe hearing loss. Anyone who works in pro-audio, including sound designers, engineers and producers, faces similar risks. Fortunately, the most common form of hearing loss is entirely preventable. I’d like to offer a little bit of knowledge and present a few tips on how you can preserve your hearing while still producing the same outstanding audio that your profession demands. SEE AN AUDIOLOGIST ONCE A YEAR You would be amazed how much hearing loss can be prevented simply by following this one simple rule. For people who rely on their ears professionally, it’s really a must-do. 14
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Why? Because noise-induced hearing loss (NIHL) happens slowly over time. Its onset is almost imperceptible, typically caused by repeated overexposure to loud sounds on a regular basis. Most people don’t notice it, as the loss builds up slowly over the course of years. Getting an annual hearing screening from an audiologist is simple, painless, and results in an audiogram that graphs your hearing acuity at key frequencies. By comparing annual audiograms, any changes in hearing can be easily spotted. This is, by far, the most reliable method of diagnosing hearing loss before it becomes serious.
exposure time to excessive decibel levels. There’s nothing wrong with enjoying some high volume music. The key is to be aware of the levels and length of time involved. Below is a chart to help you see if you are putting your hearing at risk. The chart shows two different safe exposure guidelines – the traditional OSHA scale used for industrial workers and the more conservative and scientifically accurate NIOSH scale. They utilise different methodologies, but both show the acceptable daily dosage (length of time) of SPL before significant risk of long-term hearing damage. The OSHA scale (bottom) uses a
PRESERVING THE PROFESSIONAL EAR The keys to maintaining your hearing health are awareness and behaviour. Measure your studio environment so you know how loud you are listening. It’s not that difficult to calibrate your system to determine where the ‘danger line’ lies. There are both hardware and software solutions available – the most obvious being the classic SPL meter. There are also smartphone apps that can help, such as dB Volume Meter or SoundMeter+ for iPhone and Sound Meter or deciBel for Android. (Important note: smartphone apps should be calibrated to ensure accurate readings.)
SAFE EXPOSURE TIME Level, dBA 85
88
NIOSH 8hr
4hr
OSHA 16hr
90 8hr
KNOW HOW LOUD YOU’RE LISTENING For years, studio producers would monitor at extreme levels while mixing and mastering music, often for sessions lasting many hours. Many actually believed they were safe – as long as the sound coming from the monitors was clean – meaning “not distorted”. Nothing could be further from the truth. NIHL is caused by overexposure to loud sound – any loud sound. There is no special dispensation for sound quality. While distorted audio is certainly more fatiguing mentally, hearing damage is driven by daily
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baseline of 90dBA and uses an ‘exchange rate’ of 5dB – meaning that the acceptable daily dosage is cut in half for every 5dB increase in level. Historically, this scale protects 78% of people from NIHL. The NIOSH scale is significantly stricter, but therefore more effective. Under NIOSH guidelines, the baseline level is 85dBA, and the exchange rate used is 3dB. Since each 3dB of increase requires double the amount of energy, this is the more scientifically valid scale. Following NIOSH guidelines should protect about 96% of people from NIHL.
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The bottom line is simple: we live in a loud, loud world. If you have got into the habit of monitoring at 85dBA or more routinely, it’s important to find ways to turn it down.
Dr Michael Santucci Au.D. is founder and president of Sensaphonics, which describes itself as “the technology leader in custom-fit in-ear monitors and earplugs”. His personal mission and corporate cause is to preserve the hearing of musicians and audio technicians.
OPINION
THE SPECTRUM CONUNDRUM
We asked three experts what the future might hold for wireless system users in the UK, US and Europe.
ALAN MARCH
Alan March is product management (professional) and head of spectrum affairs at Sennheiser UK.
O
n 19 November 2014 Ofcom, the UK spectrum regulator, announced its intention to clear existing users – primarily Digital Terrestrial Television (DTT) and Programme Making and Special Events (PMSE – wireless microphones, in-ear monitors and some talkback) from the 700MHz frequency band. These users have been operating
in this band for over 40 years but must, it seems, now make way for additional mobile broadband services to be provided by the Mobile Network Operators (MNOs). Coming after the recent 800MHz clearance, the result will be 168MHz of prime spectrum taken from Broadcasting and Services Ancillary to Broadcasting and Programme Making and Special Events (SAB/PMSE). The decision, when implemented, will have profound consequences, both for the broadcast and entertainment sectors that create, distribute and export content, and consumers in the UK and abroad who consume that content. Many believe that MNOs already have plenty of existing spectrum, which, if re-farmed sensibly, would provide plenty of capacity. Indeed, at a recent Ofcom Stakeholder meeting, EE publically stated that the mobile sector already has enough spectrum and that the MNOs just needed to ‘move the data around the networks better’. Spectrum management moves incredibly slowly. This can have the effect of decisions being overtaken by technological and/or political developments. The technologies employed today are light years from those in place when the clearance of the 700MHz band was first mooted. Additionally,
enabling roaming across each other’s networks would significantly increase capacity without having to allocate the MNOs more spectrum. Meanwhile, technology continues to develop. There is already talk of 5G, which may operate in the GHz frequency bands. Are we going to clear the 700MHz band, then find it was not really required? There are several ironies associated with this decision. Firstly, the claimed increase in data demand is film and video content. This decision will, perversely, remove access to the very band that is critical for the production of the best of that content. It’s wireless production tools that facilitate making the kind of content that users expect and demand. In simple terms, this decision runs the risk of ending up with a large delivery pipe, but nothing of any quality to send down it. Secondly, one of Ofcom’s prime responsibilities is to minimise the interference between conflicting or competing services. In this decision, Ofcom admits that some people will be adversely affected by interference to their DTT reception, but is doing its best to downplay the numbers. But are we about to enter a world whereby, in order to watch DTT interference free, people will need to switch off their mobile phones?
For many years there has been dialogue within the mobile sector, from the International Telecommunications Union (ITU – the highest level of spectrum management), down through the regions and into national regulators. Meanwhile, the broadcast sector has believed that broadcasting, and DTT in particular, is sacrosanct. There are those in this debate who regard the very concept of free-to-air TV as anathema. They would love to switch off DTT so the only way to receive media content would be across consumer subscription networks. While Ofcom has implied that DTT is safe until at least 2030, a watchful eye should be kept on developments. The pressure will remain – and the public should be aware. So is the 700MHz band clearance a ‘Digital Dividend Too Far?’ The PMSE sector says yes, and that not enough has been demanded of the MNOs to get their own houses in order first. It could be viewed as a ‘land grab’ for the mobile sector, predicated on perceived ‘benefits’ to consumers that they do not need and are, in reality, unwilling to pay for. All this at the cost of capping any future growth in the free-to-air TV sector and imposing serious constraints on the industry’s ability to make the quality content that consumers expect.
MARKUS WARLICH
Markus Warlich is pro audio product specialist at Sony Professional Europe.
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January 2015
N
o matter where you are in the world, physics is the same and the specific frequency range is not interchangeable. The benefits of antenna size, diffusion, and material
penetration vary according to transmission power. As the surging growth of mobile devices continues more pressure is being put on bandwidths to deliver. You cannot expand a bandwidth wider than what is physically
possible, so as we increase the amount that we read and watch in a mobile world we will see further pressure on bandwidth. Looking ahead to the WRC 2015 (World Radiocommunication Conferences) it’s possible to assume that we’ll lose the 694790MHz frequency range in Europe, so it would be reasonable to suggest not buying a radio mic or in-ear system which works over 690MHz. The implications are that customers who have invested in equipment that works only in high frequency ranges may find themselves losing out. Not only this, but the European Commission will rule that all member states will have to provide an additional 30MHz worth of bandwidth where possible, to meet demand for wireless audio.
OPINION
www.audiomediainternational.com
ALEX MILNE
Alex Milne is marketing manager at Boston-based RF Venue, a manufacturer of wireless audio antennae and hardware.
T
he reigning atmosphere in the United States is that of uncertainty. As in many other countries, a large percentage of UHF spectrum currently used for OTA TV is being cleared for other purposes – mostly cellular services and mobile broadband. Since almost all professional wireless audio devices operate on UHF broadcast band frequencies between 470-698MHz, these changes threaten the pro-audio community with significant hardship. Six years ago, in 2008, the FCC removed wireless audio devices from the 700MHz band when they repacked 700MHz TV stations into lower channels as a byproduct of the DTV transition. In the next six years, the FCC will remove TV stations and wireless mics from the 600MHz band as well. Unlike the 700MHz band, the federal government cannot evict broadcasters at 600MHz, so they have devised an
unprecedented legal manoeuvre called the ‘incentive auctions’ to do so. The incentive auctions will purchase TV channels from broadcasters and auction them to bidders back-to-back. Some broadcasters may choose to remain on the air, but will be removed from 600MHz and placed on a different channel. In effect, broadcasters can either choose to accept a fat cheque to go out of business, or be compensated for the forced repacking of their stations to a lower channel. To be blunt: 600MHz will no longer be available for users of wireless audio devices. However, numerous variables make predicting exactly when this will happen difficult. The auctions may be delayed by litigations, an insufficient number of broadcasters may relinquish their channels, or the repacking of TV stations post auction may take longer than expected. Of most concern to professional audio is the possibility that spectrum remaining
post-auction (~500-600MHz) will be too congested to use. If a large percentage of TV stations choose to remain on the air, the same number of stations will be packed into half the spectrum. Furthermore, the FCC has authorised the operation of a new breed of radio called a white space device (WSD). Presently, WSDs are nonexistent. But if at some point in the future they become ubiquitous, it will be impossible to operate large numbers of wideband FM microphones without interference. On the bright side, the incentive auctions are not scheduled to begin for another year and a half. Once they are complete, wireless microphones will still have up to 39 months to vacate the 600MHz band. That means, conservatively, the pro-audio community may operate 600MHz equipment for another four to five years. The FCC has addressed the pro-audio industry directly in two official documents. They have proposed many new bands of operation for our equipment.
There are also a few ways to protect yourself from future harm. First, avoid purchasing new equipment that operates in the 600MHz band. For projects that require only a handful of channels, strongly consider purchasing equipment in an ISM band like 2.4GHz, 900MHz, or even 5.8GHz. Second, if you routinely operate 50 or more channels it is essential that you apply for a Part 74 licence as soon as possible. This licence allows greater transmitter power and protection from WSD interference. Third, arm yourself with the fundamentals of wireless communications. Building reliable wireless systems will require basic knowledge of what radio waves are and how they behave. Frequency co-ordination, external antennas, cavity filters, RFI shielding and other tools will be necessary. The future of wireless audio in the United States is daunting, but not hopeless.
January 2015
17
COMPANY PROFILE
THE LOGICAL CHOICE Now 10 years old, Essex-based distributor Audiologic is continuing to gain ground in the UK market at a steady pace. We met up with the management team recently to discuss their impressive progress.
F
or something that began as a two-man business just a decade ago, Audiologic has come a long way in a short space of time. Thanks largely to its attitude towards service and brand strategy, the award-winning firm has developed into a well-respected provider of audio and commercial sound equipment for the UK’s pro-AV and install contractors. Set up by MD Simon Stoll and financial director Matt Boland, Audiologic had a fairly eventful 2014, taking on four exclusive brands and hiring key new staff. Despite tough market conditions, business at the company has remained strong over the past 12 months. To find out the reasons behind this, and discover what might lie ahead for the team, Audio Media International caught up with Stoll (SS) and sales and marketing manager Andy Lewis (AL) at their Harlow headquarters. How did the company get started? SS: Audiologic has progressed from being two guys working from a living room, doing everything, to a team of excellent
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January 2015
Audiologic’s Matt Boland (left) and Simon Stoll
individuals committed to making us the best AV solutions provider in the industry. AL: Quite early on in the life of the business we picked up some exclusive brands, a key determinant in our success. ARX was the first exclusive brand, quickly followed by AMC. These deals were secured after visits to major trade shows in Frankfurt and Amsterdam and began to propel us towards wider industry awareness. In the 10 years we’ve been in existence, we’ve increased our turnover tenfold – a growth trajectory that we aim to continue. Given the tough market conditions during that time, it’s safe to say that we take a lot of satisfaction from our strong position. What do you believe sets you apart from the competition? SS: Customer service is the key and our main goal has always been to improve efficiency and the scope of our offering in line with our customers’ needs. This is illustrated by the expansion of our portfolio from just audio to include cabling, racking and now video and control products.
“In the 10 years we’ve been in existence, we’ve increased our turnover tenfold – a growth trajectory that we aim to continue.” Andy Lewis
We are labelled a distributor but I really see us as a service provider. It’s that emphasis on customer service, which comes in so many forms, that makes us different from our competitors. In our view the harder they find it to categorise us the better. AL: The fact that as individuals we all possess a high degree of technical competency in respect of the products that we stock is fundamental to our operation. The contents of the warehouse are a well-understood means to an end for us, not simply a collection of kit. We also have some AV customers, whose focus is more towards the ‘V’ of AV, who don’t have internal audio specialists and so they use us as their
COMPANY PROFILE
www.audiomediainternational.com
audio department. That is the case with a number of our customers – we look to help them integrate the audio into their visual area of expertise. It’s an arrangement that works really well. What do you think are the other reasons for your recent success? SS: Our main strengths have always been the ability to communicate effectively with our customers, understand their needs exactly and provide a solution that fully meets their requirements. Customer testimonials have consistently shown that we achieve that, but we are always striving to maintain and further improve that ethos. We have always put a huge emphasis on our technical know-how and are in the process of enhancing that capability significantly by growing our team. Our medium-term aim is to offer a more complete solution to a wider range of markets. AL: It’s the added value we offer. We provide a level of support that is maybe compartmentalised at other distributors. We are not straitjacketed in our roles by being either ‘commercial’ or ‘technical’ because while that might be neat and tidy, it’s no bad thing to visit a site and be able to take a simultaneous overview of what will work commercially and technically. We are now at the point where we’re able to cater for every aspect of a project apart from the installation itself. We are able offer a service to our customers whereby we communicate with their end users, attend a site visit on their behalf and specify the right solution. Our customers can thus concentrate on winning the job, undertaking the installation and then rely on our assistance when it comes to commissioning. We’ve grown and we’ll continue to do so. We’re still a team of just 10 people.
What application sectors do you feel you’re strongest in at the moment, and are there any that you’re looking to target specifically? AL: Education is always going to be the mainstay of what we do, certainly in the short to mid-term. We want to establish ourselves in retail spaces and hospitality. Some of our brands are well recognised in retail across mainland Europe, but not necessarily in the UK and that’s something we have to tackle. Undoubtedly our biggest challenge over the next two to three years is to become established in more vertical markets. We’ve had our first big retail project in the last year which took us outside our comfort zone, completing a rollout of over 800 stores. You seem to prefer to do business as a small team, but you were clearly pleased when you took on business development manager Dave Smith last summer. Why was that such a coup for you? AL: Dave has exposed us to new markets and his commitment and enthusiasm is already starting to pay dividends. Dave comes from a consumer background, so he’s putting us in front of companies who we didn’t necessarily know had a commercial install arm. We are now, for example, in talks with a brand that is undertaking a 660-store refurb. Dave was able to initiate a conversation which has led to a fruitful relationship with this new client. Have you got any future plans that we should know about? AL: We have an exciting new venture coming soon – Audiologic Connect. A sister brand to Audiologic, Audiologic Connect will promote the ancillary side of our business. We own a cable brand, Quartex, and as part of our Audac distribution we also distribute Procab cables and the Caymon rack brand. These
ARX was the first exclusive brand on Audiologic’s books
Nexo was just one brand added to Audiologic’s lineup in 2014
brands form the main thrust of Audiologic Connect. While these products could never be considered ‘sexy’ they are absolutely fundamental to everything audio – after all speakers don’t work without cables. Customers will be able to buy direct from the Audiologic Connect website, at list price, and obviously our trade customers will benefit from their usual discount. Quite a few exclusive brands joined your portfolio last year too. Has this become a priority? AL: You can leave yourself exposed if your focus is entirely on third-party brands. Our mixed model of third-party and exclusive brands allows us to provide the best possible choice and solution for our customers and gives us security. The exclusive brand line-up grew in 2014 with Phoenix, Nexo (as a semi-exclusive), Xilica and Aurora Multimedia. Our strategy is to take quality brands that are sometimes under-represented within a territory. We then promote and support them, which enables us to provide our customers with quality products that suit their budget and their project specifications. We play the long game and we have the patience and the expertise to build our brands responsibly. Finally, what can you tell us about Aurora Multimedia? Why are you so excited about that one?
AL: Aurora Multimedia has a fantastic offer. They are the manufacturer of the industry’s first non-proprietary webstandards-based IP control systems, as well as advanced HD video distribution and processing and a whole lot more. We have a catalogue of products that require controlling. Previously we had to look for solutions from third-party providers because we had nothing in-house. Now we can offer a comprehensive solution. If the Holy Grail of this business is to be able to offer installers a one-stop shop for all their requirements for a particular job, then by securing this deal, we’re well on the way towards that situation. These products offer a genuine alternative to proprietary IP control systems and can be integrated with a whole raft of products that we provide, enabling us to move to a whole new level in supplying complete solutions for our customers. There is really only one audio manufacturer who can confidently say that they have an end-to-end audio solution from microphone to speaker and everything in between. Other companies dabble in it a little but there is always one or more links in the chain missing. Our short-term goal is to be able to achieve that Holy Grail from a commercial audio perspective. www.audiologic.uk
January 2015
19
GEO FOCUS: CANADA
HEADING NORTH
With the second-largest land mass in the world but a population of only 35.5 million people, Canada has always faced unique challenges in the pro-audio industry. Matt Fellows explores the situation as it is today.
O
ften overlooked in the business, Canada’s pro-audio market caters to a population of just over half that of the UK, a country it dwarfs 40 times over. This has meant many Canadian pro-audio businesses have found themselves in a prohibitive situation, focusing primarily on the importance of overseas business. But in the wake of ďŹ nancial crises over the past decade, how is the market faring within Canada currently?
It may be tempting to write o Canada as an ailing addendum to its North American neighbour, the US, and therefore victim to the same well-publicised ďŹ nancial woes, but industry experts are quick to dispel these assumptions. Dave Dysart, president of HHB Canada, points out: “One key consideration is that Canada did not suer nearly as badly through the last recession as the US did. Our banking laws protected our economy from the eects of the sub prime mortgages, and stock market variances.â€? Barry Steinburg, sales manager at Xilica Audio Design, echoes this sentiment: “Canada’s banking system, government protection structures, and lack of debt meant that Canada was less aected by the economic downturns around the world than many other countries.â€? Having safely dodged the recession’s bullet, the current pro-audio climate is tentatively positive, with most people we spoke to agreeing that things could be a lot worse. Danny Bracken, senior production account manager at rental and staging company Allstar Show Industries, comments: “The market is somewhat healthy. Not overly but far from being in a recession. We’ve been experiencing a slight growth here in Alberta for the past ďŹ ve years – sometimes up to 35% per year.â€? Steinburg believes that “the pro-audio market in Canada is stable, quite healthy, and growingâ€?, and Peter Janis, president of Radial Engineering, thinks “as a whole Canada has enjoyed a very healthy economy over the past several yearsâ€?. Dysart notes: “Contracting and live sound markets are quite strong in most territories. We have an active Canadian music scene, and Toronto in particular is one of the strongest live music markets anywhere.â€? On the other hand, however, “the MI market is somewhat soft
20
January 2015
Population: 35.5 million
in most areas, although business appears to be picking up. It is dominated by one retailer, who has over 65 stores. We are seeing the rise of a new generation of specialist MI retailers, who focus on speciďŹ c market segments and appear to be able to succeed even in a market dominated by one key retailer.â€?
So the market appears to be holding steady in spite of ďŹ nancial distresses, but how has it fared under the forward march of technology aecting the industry? In the studio and recording markets, president and founder of Holophone and Area 51 Productions Michael Godfrey believes that the “current industry climate is poor and getting poorer for studios – there are too many small ones and artists can now compose at homeâ€?. However, Dysart disagrees, arguing that the market is on the up: “The recording market has recovered to a great degree. We are seeing the return of larger studios that understand their role in the production process and market their facilities accordingly. Some examples would include Noble Street Studios and Revolution Recording in Toronto.â€? This paints a picture of a market saturated, but not one where larger studios are out of luck. However it is a contested arena thanks to the closing quality gap between professional and personal recording equipment and the latter’s overall rise in availability. It can be seen that Canada, like so many other markets, is feeling the eects of the rise of ‘cottage industry’ and will continue to feel it for the foreseeable future, as Janis notes: “Cottage industry is the framework moving forward and business opportunities can often be located anywhere so long as there is electricity and an internet connection.â€? While this places the market upon an uncertain and potentially inert landscape as Godfrey asserts, Dysart believes that this is instead an untapped opportunity for some industry sectors rather than a death knell: “The constantly increasing amount of horsepower available allows for the production of top-class material outside of the traditional model. The smart studios and production companies recognise this, and cater to this method of working.â€? Janis certainly agrees on this mentality of the ‘smart’ company, highlighting how he has capitalised on this
Have there been any significant changes to legislation, regulations or laws that have affected the industry in recent years?
„ ‘There is a possibility there may be an unbundling’ of cable channels in Canada which will have a huge effect on advertising revenue, and thusly new productions.’ „ ‘Possible loss in Arts funding from the provincial and federal government levels.’ „ ‘Changes to provincial tax credits effects where post production is carried out.’
GEO FOCUS: CANADA
www.audiomediainternational.com
market shift, overhauling production focus and design to match demand: “As budgets become constrained for recordings, there has been a shift to home-based recording. This has spawned an increased demand for higher performance, pro-oriented acoustic treatment. With improved PA systems and the universal adoption of in-ear monitoring, there is now a greater focus on improving the signal path from the instrument to the PA. This has increased the demand for higher quality direct boxes. And with so many artists working at home and then heading on the road, the equipment that they use in the studio now must play double duty. So this has brought awareness to the importance of product durability.” The internet is another area where technology has changed the rules of the game. Companies have been forced to rethink their market penetration approach as consumers find themselves increasingly well armed. This is happening worldwide, and Canada is no exception, as Dysart explains: “We have seen similar changes to those seen in other markets. The increase in web-based retailers is occurring in Canada, although perhaps not as quickly as in other countries. The consumer is more price
savvy, as the internet is a great leveller when it comes to comparing prices. As we all know, you get more power at a lower price than ever before.” James Dreyer, owner of Dreyer Bros Sound, believes that he has felt the effects of this shift in the install sector: “Ten years ago we were making an easy 25-point margin on most sales – online retail has done a good job of killing that margin overnight and now we are lucky to see a seven to ten point margin on sales.”
So how will the industry sectors unfold in the future, now that the market has stabilised and is enjoying gentle growth? Dysart says: “We will continue to see growth in the live sound and recording markets. Regardless of how much content people can access over the web, there is still a desire to see live music and events. Delivery methods will continue to be refined, and broadcasters will need to keep up. The links between broadcasters and telecommunications providers will become tighter.” Zoning in on the recording sector, Janis comments: “I believe the shift will continue towards smaller, more agile
recording and post facilities that will offer ‘value-based’ production for artists, TV and film. Gaming will continue to play a major factor, and the shift towards improved audio will likely move the consumer up a notch from compressed files, but audiophile quality will likely be reserved for the few.” And focusing on installation, he comments: “The move towards fully networked solutions means that the audio contractor now must become an IT specialist. This will cause multiple markets to converge, including home theatre, security, hi-fi, sound contractors, AV contractors, and anyone that is supplying technology to businesses or homes. Entrepreneurs will shift to solution-based offerings with service contracts. Major corporations will view the ‘connected home’ as the future and competition for products and technology will be fierce. The awareness of better audio coupled with an ageing ‘baby boomer generation’ will force restaurants, banks, airports and theatres to pay greater attention to improving audio intelligibility. This will create demand for better audio systems with an ear towards better acoustic treatment.”
What’s having the biggest negative effect on the market at the moment?
Economic uncertainty Falling budgets
How do you expect your sector to perform in 2015 compared with 2014?
Slow payments
Better Worse
Goverment legislation
Stay the same
Other 0%
10% 20% 30% 40% 50%
0%
10% 20% 30% 40% 50% 60% 70%
January 2015
21
LIVE FOCUS
GOING UNDERGROUND
London’s clubbing scene has come through some challenging times lately, but the acclaimed Hydra series, held regularly in the East End, continues to grow in strength. Adam Savage met up with audio supplier Sound Services to find out why.
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eing one of the world’s most desirable destinations for pretty much anything, it’s hardly surprising that London was once generally considered to be the UK’s clubbing hotspot. Punters were spoilt for choice when it came to venues and parties, and most Londoners would never dream of going elsewhere for their night out, due to the seemingly endless amount of options available to them. Today, though, things appear to be changing, according to some reports. The closure of major clubs like Turnmills, The End and now Plastic People, and issues such as the cancellation of Bloc Festival in 2012 have not helped, and now many people are choosing other areas of the country to see their favourite DJs. In recent years the city has seen a rise in the number of events held in warehouses 24
January 2015
and other temporary locations, but even these are often not entirely free from controversy, as a lot of the venues are not properly tested, and are simply unsuitable for big, noisy dance gatherings. Of course, some organisers are still getting it right, like the team behind The Hydra event series in Wapping. Situated in a building used as a high-end photography studio during the week, and co-founded by promoter Dolan Bergin, The Hydra has been receiving rave reviews recently for a number of reasons, one of them being sound quality. So who’s responsible? Surrey Quays-based Sound Services, with its highly versatile FunktionOne sound system.
In fact, the project has already been running for over two years, and originally started out in various venues that were
ideal in many respects, but weren’t without their complications. “We did several one-off events, which got really strong bookings and the label showcases particularly went really well. We had some difficulties with venues but the ethos was right – great music, great sound system, in interesting spaces,” says Sound Services’ technical director Rich Cufley. “But a series of difficulties, including licensing and council issues, made it impossible for us to continue in these venues. “At that point I expected Dolan to say ‘this is a pain, we can’t keep doing this’, but he’s as stubborn as we are and it just made him more determined to find a solution to the one thing that was stopping him putting on these amazing nights.” And that solution turned out to be Studio Spaces E1, which, despite serving a very different purpose from Monday
to Friday, has had soundproofing and air conditioning equipment worth around £300,000 installed in both its 1,000-capacity main warehouse space and smaller Black Studio room to ensure it keeps the noise police at bay, and its clubbers comfortable. It seems Burgin and Yuval Hen – the studio’s owner – really went the extra mile when it came to keeping the sound in. “We’ve got almost unlimited volume in there. When the work was finished and we did the first noise tests the consultant was outside with the meter and it got to the point where we couldn’t turn it up any more and there was still nothing,” reports Cufley. “You could probably get 130dB in that dance floor if you wanted to. Knowing that you have the headroom and space to do that is incredible.” This allowed the team to work with few limitations when it came to speccing the
LIVE FOCUS
www.audiomediainternational.com A typical Hydra turnout
Funktion-One loudspeaker system in the main Unit 1 Warehouse, which can be set up dierently depending on the genre of music required. It may have taken a while to get it exactly right, but Cuey and Sound Services owner Curt Gilmore are now able to cater for a wide range of styles, with a Funktion-One Infrabass 218 bass enclosure for the low end – a weapon that other clubs and venues would surely love to have in their audio arsenal. “It meant we were allowed to use the Infrabass as we’re using it, and Curt has got a real gift for timing these things,â€? explains Cuey. “We’ve got the Infrabass doing 20-40Hz, then the F121s and Res 4s on top, in a four-point arrangement. “In a concrete room it’s very diďŹƒcult to get the Infrabass working exactly in time with the higher bass that’s in there. A lot of people wouldn’t be able to tune that. “We got great results from day one and by learning and treating the room and tweaking a few bits the set-up in there is really special, and you can feel that everything is working in time and the energy from that low end is incredible. It complements a lot of what the artists are playing. “We can do things dierently for every label showcase or performer and that’s got to be a good thing. It can go from a really dark underground club with just a few red lights and a real basement feel to it, to something more showcasey for a massive label like Ninja Tune, and I think it does both of those really well.â€?
The Black Studio is also fully equipped with Funktion-One gear when The Hydra comes to town. It might be a smaller space than the warehouse, but that doesn’t mean Sound Services devotes less attention to its conďŹ guration. “There is the same sort of four-point but with fewer speakers. The enclosure that we’re using instead of an Infrabass in there
The Sound Services team (L-R): Rich Cuey, Curt Gilmore, Nav Ubhi and Michael Oram
is actually a prototype of the [Bass Reex] BR221 and Curt’s tuning that to do the same job as the Infrabass. “By deploying the BR under the DJ table, all that low-end energy is coming from the DJ in the source. Where the DJ is we also use two F1201s or F101s as a front-ďŹ ll and it’s almost like being in front of a hi-ďŹ â€“ the clarity and detail is amazing.â€? Speaking of those DJs, some huge names in the ďŹ eld of electronic dance music have oered glowing reports of their experiences at Studio Spaces E1, and some have even named it their venue of choice for exclusive one-o events. Positive feedback from clubbers is obviously important, but approval from those on the other side of the table is perhaps even more desirable. “When Francois K and Kerri Chandler came over and said ‘that was amazing and on a par with Cielo [another revered Funktion-One-equipped facility in New York City]’ we were over the moon,â€? continues Cuey. “It is consistently the only venue in London where Dixon wants to put on his own parties. He didn’t care about the money or how many people he could ďŹ t in, he wanted to do something in London and chose Dolan, The Hydra and Studio Spaces. It doesn’t really get any better than that.â€?
Going back to the noise discussion, the people behind The Hydra have done a lot more than just spend a signiďŹ cant amount of cash on treatment to stay in local residents’ good books. Cuey believes the secret is to become a real part of the community, rather than sit back and hope nobody takes action. “Studio Spaces was such a good proposition because they [the owners] knew there were issues with noisy venues being closed down, and that there were properties nearby, so they wanted to make sure that the building could not be heard by those people,â€? he says.
The Funktion-One set-up in the Black Studio
“Simply being there to address any complaints is the key to success. The people who run the clubs or events have got to be more diplomatic, transparent and open, and engage with the people who could potentially have a problem with it. Those who don’t do that not only give others a bad name; they do not help the cause when you’re trying to plan or build new places.â€? And that’s not all – according to Cuey, the situation is creating a deterrent for those who otherwise would have been keen to launch new clubs and events in the city. “We’re in a really diďŹƒcult time when nothing new is opening. There used to be ďŹ ve or six spaces in East London where you could do one-o events and gradually one-by-one they’ve all been shut down because all it takes is one neighbour to complain,â€? states Cuey.
“It’s such as disadvantage to the people who want to do this that a lot of them have given up and it’s really gone downhill. One of the most vibrant things about London is its music and events – it’s what we’re really good at and we led the ďŹ eld with so it really saddens me. “It won’t be until it dries up and stops that people realise what we had and what we don’t have now.â€? With that in mind, Bergin, Sound Services and not forgetting the clubbers themselves can perhaps count themselves lucky to have a place like Studio Spaces E1 at their disposal. If there were more spaces like it in London for events such as this, there would surely be less of a cause for concern.
www.funktion-one.com www.sound-services.co.uk
January 2015
25
STUDIO PROFILE
DOWN BY THE RIVERSIDE
Responsible for producing work from artists including Robert Plant, Oasis, The Verve, Supergrass and Muse, Sawmills Studio celebrated its 40th anniversary last year. Matt Fellows explores the story of this historic facility.
T
he landscape of studio recording has always been a shifting and mutable one, and never has this been more true than today with the rise of home recording and rampant piracy. But there remains a stalwart bastion of studios waving the flag for the classic generation of recording, and Sawmills Studio is one of them. Founded in 1974 by record producer Tony Cox on the banks of the idyllic River 26
January 2015
Fowey in Cornwall, the studio is one of a diminishing number of residential studios in the UK.
It’s been a stop-start journey for the studio through the decades, but it has always gone from strength to strength during its working years. “It was an active period from 1974 to 80,” explains record agent and current owner Dennis Smith. “Then Tony Cox sold
Sawmills to his engineer Simon Fraser who used it as a family home and musical workshop. It remained commercially dormant until 1983 when Simon wanted to relaunch the studio. We reopened with new equipment that I introduced during 1985 as a partnership.” In 1987, legendary record producer and engineer John Leckie worked in Sawmills Studio for the first time. Having worked with artists from John Lennon to Pink Floyd, Leckie has continued to be involved with
various Sawmills projects over the years, including production of Muse’s first album Showbiz and the now-revered follow-up Origin of Symmetry with producer Paul Reeve, mixed by regular sound engineer John Cornfield. Smith continues: “By 1992, the market was dead for studios – Simon wanted to sell up, and offered his half of the business and the property to me. So what did I want to do? I decided to buy him out. It was a big gamble, but it paid off. Within two years
STUDIO PROFILE
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With such an illustrious back catalogue, Sawmills is spoilt for choice when asked to focus on a single work. Sound engineer John CornďŹ eld selected Supergrass’ 1997 second album In it for the Money – a project he looks back on with pride and fondness. “The second album was recorded entirely at Sawmills, just between myself and the band.â€? CornďŹ eld recalls. “They were very happy with the aesthetic of the place. It worked a treat. They were very chilled, laid-back sessions. They didn’t have too much written – a lot of it occurred at the time because they felt they could write there, so they came down with a bunch of ideas and it all got put together at the studio.â€? Key equipment during recording included the Trident 80B, an EMT 140 stereo plate reverberator and various Joe Meek compressors and AKG mics. “In the summer sessions it was fantastic because we had them set up outside on the grass, so it was cut live – we had mics out across the creek recording boats, birds and wildlife at the same time, which you can hear on the album if you listen carefully,â€? adds CornďŹ eld. â€?And it was all on tape. We were working on the Otari MTR-90. It diers from using DAWs in that you can get three songs, maybe four, on a reel of tape, and tape costs a fair bit of money, so you can’t do take after take. And that forces people to focus.â€?
We’re happy to take just a little credit for that achievement!�
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Photo by Matt Holloway
“The most notable successes to date have been Supergrass and Muse, who have grown to become one of the biggest bands on the planet today. We’re happy to take just a little credit for that achievement!� Dennis Smith
we had recorded DeďŹ nitely Maybe, the Oasis debut, and we signed a production deal.â€? With that, Sawmills had cemented its destiny at the centre of the Britpop movement, which also celebrated an anniversary in 2014 – 20 years since its inception. The studio would go on to record a number of key artists in the genre, brandishing an inuence on UK music that extended into the new millennium. “We have oered numerous production deals,â€? Smith continues. “The most notable successes to date have been Supergrass and Muse, who have grown to become one of the biggest bands on the planet today.
Being such a sequestered retreat for artists, Sawmills has acquired an eminent reputation thanks to a combination of its prodigious output and unique qualities, as CornďŹ eld notes: “People were aware of Sawmills from the early days, this studio down by the river, and it always seemed like this kind of mystical place – which it is, it’s in a fantastic location. I think the uniqueness comes from the atmosphere and the people, and the atmosphere is created by the place – down by the river, it’s beautiful and stunningly serene.â€? Smith believes that this provides an escapist quality that proves conducive for an artist’s work: “I think there has always been people who insist on an aesthetically pleasing environment. Being so isolated keeps the artist focused, and it gives an element of privacy. We’ve never been a truly industry place. We’ve never put gold discs around the walls. We’ve always felt that people want to get away from that.â€?
While the aesthetic environment of the studio is responsible for a large part of the sound and success it has produced, its other ace in the hole is its arsenal of vintage gear. CornďŹ eld explains: “I got involved around 1981 or 82, and there was still the same basic setup as there was when it ďŹ rst opened. We originally had a 16-channel Sound Techniques desk which had been expanded by another eight
“We had a brass section come down and we set them on the grass. They stopped in the middle of a take and said ‘We’re getting wet!’ We looked out the window and the tide had come in and they were all standing in the water.� �When you record, you end up like family with everyone at Sawmills. It was a fantastic time.�
channels on the end, a pair of Tannoy HPD monitors, a Studer A62, Revox A77 and an Ampex MM1100 – so it was quite sparse.â€? And that key arsenal hasn’t required much expansion or modernisation: “The essential layout of the studio is pretty much the same – the monitors are dierent, we’ve had Quested 212s since 1985 or 86. We also have an Ampex ATR and the EMT Plate is still there, in a separate room. And, of course, there’s computer screens everywhere now, like every studio.â€? In 1986, the studio acquired what has become its centrepiece, the Trident 80B console, which, as Smith notes, “still remains our console of choiceâ€?. CornďŹ eld comments: “We’ve added another 24 channels to the Trident console, making additional circuit boards on a metal plate. We added automation to it, which we did on a BBC microcomputer. Trident mic amps are quite noisy so we designed our own, which we put in a select few channels for where we needed low noise. “It’s got a sound that I personally love. It’s a got a really fat bottom end and total clarity, which is something I miss when I’m not recording with it.â€?
A quintessentially classic studio, Sawmills has still had to keep up with the advance of technology and the emergence of standard recording practices; Smith explains that the studio has carved its own niche here, like it has in every area, by swimming against the tide: “We’ve always been an advocate of Soundscape rather
than Pro Tools as a reliable and sonically better system,â€? he reveals. When asked if he would agree, CornďŹ eld immediately replied: “Absolutely. In the mid-90s when it became apparent that you needed to make this jump to a Pro Tools system or a Soundscape system, I listened back to everything and went ‘Wow, Soundscape just sounds like the tape, but without the fuck-ups’. I grew up with Soundscape and personally I still prefer the sound of it. I can work in Pro Tools but I prefer to work in Soundscape because of the workow. “Things have changed but I still approach it in exactly the same way – in a very analogue way. I still run my system very much like a tape machine.â€? Smith recalls: “When we went to record Muse for their ďŹ rst live DVD Hullaballoo, which John recorded and mixed at Sawmills, we recorded the whole thing on Soundscape rather than Pro Tools. They recorded over two nights spotlessly and without a single dropout. The engineers running the mobile were most impressed with the trouble-free operation of this alternative recording platform. Nobody else had done it at that time.â€? When it comes to building on the studio’s stellar successes in the past, Smith and CornďŹ eld both agree that the path forward is clear: to carry on with the winning formula. As Smith notes: “We don’t have plans for expanding the studio. Our view is that if it ain’t broke, don’t ďŹ x it.â€? www.sawmills.co.uk
January 2015
27
FEATURE
INSTALLATIONS IN EXTREMIS
From the mountains of Tibet to the Mexican border and many places in between, systems integrators battle with the elements to provide quality sound installations. Armed with sun lotion and thermals, Jim Evans reports.
T
he live sound reinforcement sector is used to coping with extreme weather conditions. Increasingly, fixed or permanent installation integrators are being asked to provide systems that can conquer the elements for longer than a wet weekend at Glastonbury. And manufacturers have not been slow in tapping into a booming market sector. Community Professional Loudspeakers can claim to be a pioneer in the field of 28
January 2015
“weatherised” speaker technology with decades of experience. “The durability and performance of R-Series and WX-Series is renowned as being outstanding. That’s why we offer the user a five-year parts warranty and a 15-year construction warranty on both ranges,” says the company’s Max Lindsay-Johnson. “Community pioneered the design and use of its Weather-Stop Grille in the first R2 loudspeakers in 1998. Since then, we have continually refined the design using
the latest materials and technologies available, to enhance performance and reliability. All hardware is grade 304 stainless steel. We have recently introduced a number of improvements to our original designs, including duallayer powder-coat (DLPC) technology, UV-resistant synthetic cloth mesh and most recently, NeverWet. Put simply they are designed and built to sound incredible while lasting a lifetime in the most challenging environments.
“The weather hasn’t changed, but what has are the loudspeakers we now deliver that meet the all-weather standards we’ve always achieved,” Lindsay-Johnson added. “Community realised early on that the market required not only completely weatherised products, but ones that were capable of offering strong speech reinforcement while simultaneously offering outstanding musical performance. We engineered the R-MAX and WX-Series specifically to meet these requirements.”
FEATURE
www.audiomediainternational.com
APG Sector SC20 loudspeakers have been handling the extreme conditions of Lhasa for the past eight years
“As new technologies are introduced across the entire economy customer expectations are increasing, including the demand for improved durability.� Phil Sanchez, QSC
Specialist cables are, of course, an essential part of the equation. Sommer Cable recently introduced the Aqua Marinex cable series, especially designed for extremely wet weather conditions. The cables are suitable for permanent laying in water depths of 50-100m (depending on which version is employed), says the company. A special protection sleeve prevents the intrusion of moisture and provides the necessary pressure compensation prevailing in the depths. A UV-resistant and sand-repellent jacket surface also enables the Aqua Marinex series to be used outdoors on boats or for inshore installations. Optocore’s ďŹ bre cables are also being employed increasingly in the great
Cypress Mountain is a world-class resort for all forms of winter sports and leisure. Located just outside Vancouver on Canada’s west coast, it was also host to the freestyle skiing and snowboarding events of the 2010 Winter Olympics. Allstar PaciďŹ c Integration Media Solutions based in Vancouver was asked to ďŹ nd an audio system solution for the Patio Ski and Snowboard Park at Cypress Mountain. As the weather can include sub-zero temperatures, heavy snow, rain and direct sunlight, all within a 24-hour period, careful consideration had to be taken to ďŹ nd loudspeakers that could withstand these extreme conditions and ensure good performance for both music and speech applications. After detailed evaluation, Myk Shaik, Allstar PaciďŹ c’s System Engineer, felt the Community R.599 was the best ďŹ t, both from a performance perspective as well as ease of installation. Designed for high outdoors. “Our products are designed to survive even the most diďŹƒcult temperatures and weather conditions,â€? says applications engineering manager Maciek Janiszewski. “Our devices can operate in extremely low as well as extremely high temperatures. We have existing customers in the Middle East and Australia as well as Russia and Canada at the other end of the weather spectrum. They all use the same devices. Also ďŹ bre cabling is far less aected by the environment and is much more reliable than copper.â€? Back at the sharp end, QSC oers loudspeakers that are constructed using ABS materials with UV paint inhibitors on the cabinet and feature aluminium grilles and mounting accessories, which, when combined, tend to wear well in a variety of environments. “In addition to the use of materials,â€? says Phil Sanchez, “a few of our loudspeakers feature IP54 ratings, which help to minimise water and particulate incursion. “That said, every environment aects a product dierently and concerns a contractor faces in South Florida or on a cruise ship are very dierent to those faced by a contractor in the desert of Southern Nevada or the plains of central Canada in the winter. The use of ABS materials, UV inhibitors, aluminium grilles and mounting accessories, and IP54 ratings, are considerations that can help with long-term durability.â€? Sanchez cautions: “The term ‘weatherproof’ should to be taken with a ‘grain of salt’ because no loudspeaker is absolutely weather-proof. Weather resistance
power music and speech, the two-way, 12in coaxial R.5-99 provides full-range audio with 90 x 90Âş dispersion. The system is sponsored by Skullcandy who wanted to use the product as a vehicle for advertising the brand. Allstar carefully added the Skullcandy logo to the grilles of the loudspeakers, has always been a concern in tough environments and the fact that AV is being deployed in places typically not seen in the past means concerns over durability are likely increasing. “As new technologies are introduced across the entire economy, customer expectations are increasing, including the demand for improved durability.â€? Another US manufacturer whose name crops up regularly when outdoor installations are mentioned is Technomad. “We’ve been producing weatherproof loudspeakers for 20 years, geared towards the requirements of the pro-audio market, with secondary business in the residential market,â€? says vice president Rodger von Kries. “More recently, we’ve expanded our range to also oer weatherproof ampliďŹ er modules, the PowerChiton series, which can drive two to three speakers per module. With available audio distribution options such as wireless, ethernet and twisted pair, installers can now easily deploy entire audio systems without having to worry about providing a weathersecure location for the electronics. “We’ve designed and sold subwoofers for a large theme park customer, which were installed below street level in vaults which could ďŹ ll up with water during rain storms, an example of extreme water exposure. Recently, a customer installed a large system of Berlins and PowerChiton amp modules in a ski area in the Alps where the entire system will be operating in snow and freezing temperatures for months on end. “We also have a separate but related product line which is used extensively by
ensuring the look that both the client and sponsor appreciated. A single pair of R.5s was used to achieve coverage of the park. With the ability of the audio to travel far up both sides of the main ski areas on the mountain, the loudspeakers provided the quality and coverage that Shaik wanted. The loudspeakers are powered by QSC RMX series ampliďŹ ers and a portable rack located in the power house allows for multiple applications from daily programme music to competition reinforcement, with quick and easy setup. Andrew George, terrain park manager at Cypress Mountain, comments: “Having the opportunity to partner with leading-edge sound companies such as Skullcandy and Allstar PaciďŹ c in bringing music to our terrain parks has been a fantastic experience. From events to our daily operations, our customers will agree that skiing and snowboarding is even more fun with a soundtrack.â€? the US Armed Forces for mobile ďŹ eld PA systems.â€? Meyer Sound systems are regularly chosen for their ability to endure signiďŹ cant outdoor use. “Our weather protection techniques have evolved over the years as more customers that emphasise reliability and durability turn to Meyer Sound for audio needs in some of the harshest environments,â€? says Meyer’s business development manager Marc Goossens. “For example, power users in the cruise ship industry provide a valuable opportunity for us to continue to improve our design and materials, and our success in these challenging applications has attracted new customers who need weather-protected products. “Some new customers have turned to Meyer Sound because they heard about our weather-protected products on cruise ships enduring prolonged use at sea. And we have been implementing the lessons from these power users to other products, including the new steerable CAL column array loudspeaker. CAL has now been installed in outdoor applications such as the California Memorial Stadium at the University of California Berkeley and the Khalifa International Tennis and Squash Complex in Doha, Qatar.â€?
French manufacturer APG regularly customises its products for use in dierent climates. Managing director GrĂŠgory Dapsanse reports: “All speaker membranes in standard APG products come with a weatherproof coating treatment. “Whether its boiling hot or freezing January 2015
29
FEATURE cold, APG is able to provide robust gear for every need. Our products are used in saline and damp environments like tropical islands as well as mountain environments where temperatures can often hit sub zero. “For example, our APG Sector SC20 loudspeakers have been withstanding tough weather mountain conditions day in day out for the last eight years in the Potala Palace Place in Lhasa (Tibet). Pilgrims have also been kept informed on their way to Lourdes since 1991 by 250 APG speakers, and the products are still delivering flawlessly. We also fitted the main stadium in La Rochelle, which is less than 500m away from the Atlantic Ocean, with Matrix 4000 and coaxial MX4N loudspeakers. Both systems were entirely tropicalised in order to withstand the heavy saline air.” Marine environments are the worst, suggests Funktion-One’s Tony Andrews, whose loudspeakers have been utilised in extreme environments from the Nevada desert to the ski slopes of Russia. “Conditions on a beach present the perfect storm,” says Andrews. “You’ve got salt spray and plenty of oxygen, plus high temperatures – it all accelerates the chemistry of corrosion. It can really rip in to the magnet structure – you start to get a build up of oxides. “With the marine environment, we use an oil-based protection. Even if the magnets are zinc-plated, corrosion will eventually eat through that. You get a mixture of white salts and rust that can build up in the magnetic gap and start to compromise the way the coil can work. The oxides produced during corrosion tend to be a lot more bulky. When you’re talking about clearances of a 15,000th of an inch, if you get your magnetic gap corroding it will cause trouble.” At Dubai’s 360°, a nightclub perched at the end of a pier in the middle of the Arabian Gulf in the heart of the immense Jumeirah Beach Hotel, Funktion-One loudspeakers are at the sharp end. “We’ve got some equipment there that has been in place for three or four years,” explains Andrews. “It’s extremely exposed to the humidity, heat and salt in that part of the world. At 360º, we oiled the magnets and put silicone spray on the cones and used yacht paint for the enclosures. You have to be careful when waterproofing the cone so as not to spoil the fidelity. We also used stainless steel grills and fittings.” “Sunny environments can bleach out the colour of the speaker, for one thing,” continues Andrews. “Obviously, there are paints that will resist this. Another consideration is if you have amplifiers at an ambient temperature that is high, the threshold of overheat stays the same but you’re an awful lot closer to that threshold before you even start.” 30
January 2015
The LA Coliseum opted for a Meyer Sound system during its first major refurb since 1984
Float Your Boat is the warm-up boat party for two of Space Ibiza’s most famous nights: Carl Cox and We Love. The biggest boat party on the island, in season, it takes guests on a stunning three-hour cruise with music from world-famous DJs. It needed a club-quality sound system that could be quickly and easily installed in port before each event. There were a number of challenges, ranging from corrosive sea air to
“General build quality is essential for these kinds of environments,” he adds. “We use birch ply – you can’t beat it, other than with glass fibre, which tends to be totally waterproof and doesn’t degrade. If we had plastic boxes, I’d be concerned about them in a UV-intense environment because UV tends to make plastic go brittle, whereas with birch ply, regardless of whether the paint stays on or not, it just seems to soldier on. “We’ve made covers that are completely water- and sun-proof, which we can put over enclosures like the Resolution 2 SH. It’s a mid/high device, which is moulded out of polyurethane foam and would ordinarily suffer from sun damage. It’s a water and UV-proof jacket with a mesh front that lets the sound out. It goes over the whole thing and completely protects it.” At the opposite end of the temperature scale from the Arabian Gulf, Funktion-One was closely involved with installations in Sochi for the last Winter Olympics. “When it’s cold it’s also usually damp so you construct equipment accordingly,” says Andrews. “The structure of the MST speakers, which we used at Sochi, is all based on glass and resin, which is very waterproof and doesn’t seem to get upset by UV either.”
power supply issues, and the team commissioned Pioneer Pro Audio and The Shop – Ibiza to design and install a system that would rise to the occasion. The new speakers had to be lightweight and compact without compromising on sound pressure level or audio quality. And the speakers had to be built to withstand frequent handling and the corrosive sea air. The Shop’s owner Simon Friend had worked with Pioneer Pro Audio on a
Andrey Kremenchugskiy and his company Edelweiss Audio worked on the Sochi projects. “Essentially, it’s all about good sealing and other protection measures,” says Kremenchugskiy. “A different type of connector hidden in the IP-rated box is used. Paint that could withstand both precipitation and moisture as well as abrupt temperature changes is also applied. During installation, when the sun was above the mountain top it was hot enough to work in shirtsleeves. At dusk, the temperature dropped to freezing point in just half an hour. “Also, as we were firing up the mountain and had to point horns a bit upwards – special mesh was used for horn mouth protection against small stones and nesting birds. Some products, such as MST10s, are made of composite material, which is practically immune to weather conditions. All metal hardware is made of stainless steel and imbedded into horns during manufacturing.” Looking to future business prospects, Kremenchugskiy notes that Russia is to host the next football World Cup in 2018. “The demand for products which combine quality, efficiency and good weather protection should be high. But the competition is getting keener. We have won
number of installations, and identified the XY Series as the ideal match for the boat’s requirements. Boat supplier Ibiza Boat Parties opted for white speakers to complement the open-air environment and blue skies. The white Warnex paint was treated with a UV chemical to stop the sun turning the paint yellow. Plus, the XY Series speakers feature water-resistant drivers to protect against corrosion.
the tender to provide the sound system for a soccer arena just recently. We had to take part in face-to-face listening test with 10 other competitors. Now, for sports venues, that’s something I had never heard in 18 years of being an installation engineer.” Back in warmer climes, amid more than a little controversy, Qatar is gearing up for the 2022 World Cup, with stadium builds continuing apace. Qatar’s bid organisers say that the nine stadiums involved will be zero-carbon emitting and climate controlled. The stadiums will take measures to reduce solar radiation and warm winds, and provide soft air conditioning to provide adequate climatic conditions (these measures have not before been deployed on stadiums of this size). The authorities promise “innovative cooling technology to ensure an optimal playing temperature of 26ºC”. The airconditioned stadium? Watch this space. uk.apg.tm.fr www.communitypro.com www.funktion-one.com www.meyersound.com www.optocore.com www.pioneerproaudio.com www.qsc.com www.sommercable.com www.technomad.com
TECHNOLOGY
HOW TO
ASSEMBLE A DOLBY ATMOS MIX
Adam Daniel, a re-recording mixer based at Point1Post in Elstree, UK, provides his tips on working with the much talked about technology.
I
t has been eight months since we completed our upgrade to Dolby Atmos at Point1Post. I wanted to share some of the approaches we use to create Atmos mixes and to discuss how the system enhances the viewing experience. We use three main approaches when creating Atmos mixes. These are mixing from existing stems, premixing in Atmos, and a hybrid where we use a combination of existing stems and original source elements. The amount of available time and access to sound elements dictate which method we use. The most limited approach is to use existing 5.1 stems as source material. The stems usually consist of dialogue, music and FX (separate BG’s, hard FX, sound design and Foley). The ability to choose which elements remain in the traditional channel-based beds and those that can be turned into audio objects is vital. This method is most commonly used on shorter form projects such as trailers and commercials. More complicated projects require greater flexibility. It is quite common for us to host Dolby Atmos mixes for films that have already been mixed in other studios – the original mixers and sound supervisor often attend these. We use a combination of existing stems and original source sessions, and we like to recreate outboard setups if possible. Having access to original automation really helps. With so much premixing occurring within Pro Tools this is usually a very simple process. If extensive automation has been used on a large-format console for the FX then I would advise using a similarly equipped Atmos studio. In my experience it is less of an issue to transfer dialogue and music because the pre-dubs or stems are often easier to adapt to Dolby Atmos than the FX. Using this hybrid approach you can carry the original stems but swap back to the 32
January 2015
Burak Topalacki (front) and Adam Daniel mixing in Atmos at Point1Post
original source sessions for areas that will benefit from the additional features of Atmos. Our preferred approach is to premix in Atmos and have control of every element. Native Atmos mixes are now becoming more commonplace. Sadly, not every production has the luxury of both premixing and final mixing on an Atmos stage. Dolby realises that modern workflows often involve setting up and preparing mix sessions in smaller mix rooms or edit suites. For this purpose, the company has created the Local Renderer. The plug-in allows you to use Atmos tools but without the Rendering and Mastering Unit hardware. It is a software solution for monitoring Atmos content using Pro Tools, and supports up to 16 audio outputs. In its most common configuration you can mix using the Atmos tools, but monitor the Sound Objects and 9.1 Bed in 7.1/5.1. When you arrive on the Atmos stage you simply open it up and it’s like lifting a blanket – all of the preparation and mix decisions are revealed. You already know that it works in 7.1/5.1 and now you are adjusting to taste rather than starting from scratch. It is a really neat and efficient way of working.
“Working in Atmos has really made me appreciate how much it enhances the viewing experience.” Adam Daniel
Working in Atmos has made me appreciate how much it enhances the viewing experience. The surround speakers are now full frequency range and calibrated to the same level as the screen speakers, while bass management helps to ensure that the timbre of the sound is maintained throughout the room. This makes a huge difference and creates a fuller sound. The ability to individually feed the speakers means that you can position sound objects with incredible accuracy. The Dolby Atmos Panner allows you to follow the trajectory of elements in the x, y and z axes. It sounds so natural because you are not panning into an array and the elements have the same weight off screen. I love using the 2.0 stereo overhead bed for BG atmospheres. In recent mixes I have used sends to fill the ceiling with airs and winds. Creating a contrast between
the ceiling and walls is very effective at building a natural and immersive feel. It is also handy for more specific sounds like rain on a tin roof. The rest of the 9.1 bed is a conventional 7.1. If there is any chance that your project is going to have an Atmos version then I would thoroughly recommend that you complete your tracklay and any mixing in 7.1. This isn’t to say that you need a 7.1 setup. You can simply down mix your output back to a 5.1. However, if the internal mix busses are 7.1 then you will save a lot of time when you arrive on the Atmos stage. So far every project we have mixed from other studios has been delivered in 5.1. It has always been a non-creative and time-consuming process to up mix the 5.1 to 7.1. Any panning that you do in 7.1 will create a far more interesting bed that complements Atmos. Atmos is the most significant advance in film sound that I have experienced; it feels like I’m just scratching the surface. I’m so excited that more and more of our clients are choosing to work in this format. www.point1post.co.uk
TECHNOLOGY FOCUS: POWER AMPS
Expert Witness It can be easy to forget the importance of the ampliďŹ er in your audio setup, but as Ashley Smith, live sound expert at UK pro-audio and MI dealer Gear4music explains, making the right amp choice is crucial.
T
he humble power ampliďŹ er can be the unsung hero of any audio setup, despite being such a fundamental component. Commanding not only volume but bearing hugely on the colour and musicality of a system’s sound, the ampliďŹ er can be often overlooked as a simple utilitarian device. High standards of circuit design have led to an expectation of accurate, low noise sonic reproduction, even with basic and entry-level models. Clarity, coupled with an ever-increasing demand for rocksolid reliability, may well contribute to allowing the power ampliďŹ er to become overshadowed by more obviously audible components of a sound system; many engineers will have a favourite speaker box or mixing console, but far fewer may have formed an opinion of what their go-to ampliďŹ er may be. For many smaller studio monitoring and live sound reinforcement applications, the rack-mounted power ampliďŹ er has lost the battle of convenience. By removing the amp rack, active speakers featuring builtin ampliďŹ ers have become a much more attractive and streamlined proposition in any situation where space, weight and ease of transportation are among the primary considerations. However, rack-mountable ampliďŹ er technology now oers so much more than Watts alone. Becoming a nearunrecognisable beast from the valvedriven days of its early beginnings, the modern amp unit not only provides power, but also oers serious reliability and total control.
With the advent of stable and eďŹƒcient switch mode power supplies and the gradual retirement of bulky transformer technology, ampliďŹ ers not only became signiďŹ cantly lighter in weight, they realised the space to incorporate multiple high Wattage channels into a single unit. More channels, more power and less weight make for an incredibly tour-friendly amp rack, allowing much more exibility while providing greater redundancy. 34
January 2015
Since its release in 2006, the Lab.gruppen FP+ Series has proved to be a shining example of this modern thoroughbred in the live sound arena. Demonstrating dependable workhorse qualities combined with clear and accurate audio reproduction, the FP+ range provides both two- and four-channel options, with the agship FP10000Q model oering an impressive 4 x 2,500W at two ohms. For the same reliability, but with the addition of Lake signal processing and Audinate’s Dante networking technology, the new Lab.gruppen PLM+ Series sets high standards in ampliďŹ er management, allowing extremely precise control and monitoring not only of audio settings, but Lab.gruppen’s CAFÉ software allows precise mains and thermal management to ensure optimum performance, whatever the operating demands.
With the integration of digital signal processing (DSP) and network capabilities the ampliďŹ er has evolved into what is often known as a ‘powered loudspeaker management system’. With software allowing the management of multiple networked ampliďŹ er units through a single interface, setup and tuning of large audio systems has become, in conjunction with analysis software, a much more measured aair. The ability to remotely access and monitor the performance of an ampliďŹ er system also carries beneďŹ ts for complex multi-zone installations, or for any system that does not require a technician permanently on site. Harman’s HiQnet Audio Architect software oers this level of complete venue control, allowing the user to mapout each room. AmpliďŹ ers from the Crown digital ranges can then be dropped into the layout to match the physical installation, and, once connected, fully programmed within the software. With such a visual system, the setup of more complex audio layouts can become a much more intuitive process. With the ability to store and archive the ‘software
schematic’ alongside processing settings, the audio layout of an entire building can be accurately mapped and tweaked. Included in the comprehensive list of Audio Architect-compatible units is the Crown XTi Series. Once combined with HiQnet Audio Architect, these ampliďŹ ers oer a huge amount of control for an incredibly accessible price. For those who do not have the budget or requirement for networking, built-in digital signal processing technology has ďŹ ltered down to some entry-level amp models. The ability to program and store crossover, EQ and dynamic information is certainly a useful tool and can again remove the need for a separate processing unit, saving both weight and space. The Behringer iNuke DSP range features all of the parameters expected from a standard crossover unit with the addition of dynamic processing and the option to edit with an enhanced interface, once connected to a PC with the Editor Software installed. As with audio mixing consoles, digital has become a real driving force behind
ampliďŹ er design. Oering features that have become standard requirements for many touring and installed audio systems, the increased possibilities brought by these recent advances are virtually endless. The power ampliďŹ er has become much more of an audio multitool, and you no longer have to wait for it to warm up.
Expert Witness Established in 2003, Gear4music now has over 300,000 registered customers. Alongside musical instruments, including the company’s own brand of beginner gear, Gear4music retails a large selection of pro-audio, live sound and recording equipment. Working with more than 400 manufacturers, Gear4music has developed a choice of over 18,000 products to cover the vast majority of audio applications. www.gear4music.com
TECHNOLOGY FOCUS
www.audiomediainternational.com
POWER AMPS
With there being such a wide range of applications, it’s important to identify the right amplifier for the job. This round-up of available options will help you do just that.
Powerso oft X4
Dynaco ord H5000
Integrating functionality generally only found in outboard units, the X4 supports AES3, two redundant Dante digital streams and analogue inputs for up to four selectable input sources per channel. The digital audio signal management system, based on the ARM Cortex A-8 processor and TI C6000 DSP platform, provides non-boolean routing and mixing, multi-stage equalisation with raised-cosine and IIR and FIR filters. Other features include delay up to 4s in input processing and 200m/s for time alignment, gain and polarity adjustment, crossover, peak limiters, TruePower limiters and Active Damping Control. Also featuring a three-phase power supply with worldwide AC acceptance, the X4 condenses four channels into 1RU and delivers up to 5,000W at two ohms per channel.
A member of Dynacord’s PowerH series, the H5000 amplifier is designed for driving professional touring, high-end concert sound and pro-sound applications. The three-stage Grounded Bridge Class H topology with ‘floating’ switching power supply unit promises efficiency, reliability and high-quality audio performance. Multi-stage ATP (Advanced Thermal Protection) system prevents the power amplifier from switching off when the temperature exceeds a critical level Multi-stage concept and Class H enable eco-friendly operation of lead-free amp through reduction of power losses MCS (Mains Current Supervision) system prevents power amplifier breakdown caused by activation of automatic circuit breaker Information about status of power amplifier and its internal protections provided on an LC-display Compatible with IRIS-Net through optionally available remote control module RCM-28 for comprehensive remote monitoring/control
Part of the Powersoft X Series (X8 = 2RU eight channels, X4 = 1RU four channels) Sixth generation fixed frequency switch mode output stage for high grade sound accuracy All in one box (channel routing, power supply, full feature DSP) Automatic selection for single phase, bi-phase or three-phase Extreme power density: 5,000W at two ohms per channel WiFi remote management via smartphone and tablet custom interface Modular construction allowing for rear panel customisation
www.powersoft-audio.com
www.dynacord.com
Studiomasster SX2 Series The SX2 series of amps are lightweight and built to be capable of producing high-quality sound at all power levels up to 3,600W. Three 2U-sized models offer best price/performance capability in a lightweight power amplifier, with the highest power SX245 weighing 16.4kg (36lbs). Features include stereo, mono or bridged operation, +/-3dB adjustable input sensitivity, robust steel construction and forced cooling via a thermally controlled variable fan. Inputs use XLR /jack combination connectors with a separate link socket to feed additional amplifiers. Outputs are industry-standard four-pole connectors with binding posts. Front panel LEDs provide signal level, Bridged mode and Power indication.
Output circuit type: Class AB + Class H two-step high efficiency output Protection: full short circuit, open circuit, thermal, RF SX225 2 x 800W (4 ohms RMS)/1,600W Bridged (8 ohms RMS) SX235 2 x 1,000W (4 ohms RMS)/2,000W Bridged (8 ohms RMS) SX245 2 x 1,800W (4 ohms RMS)/3,600W Bridged (8 ohms RMS) Distortion THD (1kHz @ rated power) 0.03% Frequency response (+0/-1dB) SX225: 10-31kHz, SX235: 10-31kHz, SX245: 10-45kHz Signal to noise ratio (unweighted) SX225: 95dB, SX235: 95dB, SX245: 100dB
www.studiomaster.com
Electro-Vo oice CP4000S
According to Electro-Voice, its Compact Precision amplifiers combine audio performance with reliability and safety to create a high-power solution for touring and rentals. Incorporating a new switch mode power supply into Class H technology, CP series amps such as the CP4000S deliver clean headroom that is above stated nominal output.
2,100W per channel (two ohms) XLR pass-though input connections Easy connection to biamped loudspeakers Built-in dynamic limiters Complete protection: thermal, overload, shorts, HF, DC, back-EMF, inrush current Three-stage front-to-rear fans
www.electrovoice.com
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TECHNOLOGY FOCUS
QSC
Yamah ha
PLD Series
TXn Range Designed for portable and live production applications, PLD amps offer robust, high fidelity power output to drive multiple channels and configurations of loudspeakers while simultaneously deploying digital processing. These amplifiers provide system performance with the flexibility for future system growth. The units feature Flexible Amplifier Summing Technology (FAST), advanced DSP and loudspeaker management and next-generation Class D amplification with Power Factor Correction (PFC). Total power up to 8,000W Flexible Amplifier Summing Technology drives almost any loudspeaker and configuration by distributing total amplifier power across one, two, three or all four channels Independent full-function onboard loudspeaker DSP with Crossover and Parametric EQ Filters, Limiting and Alignment Delay on every channel Powerful Intrinsic Correction processing maximises the sonic performance of QSC loudspeakers Twenty factory presets that can be modified and stored in one of the 50 user presets
Yamaha’s flagship TXn range comprises three high power output compact 2U rackmount models, which drive load impedances as low as two ohms, making them ideal for touring. Featuring a 24-bit A/D-D/A 96kHz DSP engine that delivers amplifier control, status monitoring and extensive speaker processing capabilities, TXn delivers efficiency and quality, Yamaha says.
www.qsc.com
TX4n delivers 2,200W (two ohms/channel), TX5n provides 2,500W (two ohms/channel), TX6n offers 3,000W (four ohms/channel) Original Yamaha EEEngine amp drive technology achieves efficiency that matches Class D amplifiers Onboard Mini-YGDAI card slot, fitted with an AES/EBU I/O card for digital input and throughput, and can also be equipped with alternative cards Analogue and digital inputs can be used independently, or signals input to both and mixed or switched automatically Ethernet port for connection to a computer running Yamaha’s amplifier control software, for comprehensive remote control and monitoring of individual amplifiers or groups
www.yamahaproaudio.com
Bosse PowerMatch PM8500 Manufactured to provide concert-quality sound with scalability and configurability for fixed installation sound reinforcement systems. Ethernetequipped versions enable network configuration, control and monitoring, and an expansion slot supports input from optional digital audio accessory cards. PowerMatch amplifiers promise a combination of performance, efficiency and ease of installation in a reliable, proprietary design.
QuadBridge Technology enables Mono, V-Bridge, I-Share or Quad modes Bose ControlSpace Designer software offers full configurability and additional features Dual voltage and current feedback loop combines widest possible dynamic range, frequency response and lowest possible distortion PeakBank power supply delivers sustainable and repeatable low frequency response Fast-tracking power factor correction (PFC) allows amplifier to drive loudspeakers to maximum output for longer without power fluctuation
www.bose.co.uk
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Alcon ns
Sentinel10
The proprietary developed Sentinel four-channel Amplified Loudspeaker Controllers are the ‘engine’ behind every Alcons pro-ribbon sound system. A Linux-based micro-computer controls all processes: on-board equaliser, delay, factory system-presets, matrix routing, event logging and extensive system feedback. The modular design makes for easy ‘in-the-field’ servicing and future upgrades; individual amp stages, double (redundant) power supply and future-upgradable DSP chips.
10kW high-end Hi-Fi amplifier stages Four-in/four-out matrix routing 192kHz capable AES3 inputs Large 480 x 272 pixel colour touchscreen and RGB LED encoder SIS dynamic loudspeaker cable compensation
www.alconsaudio.com
TECHNOLOGY FOCUS
www.audiomediainternational.com
Lab.grupp pen PLM+
Crow wn DriveCore Install Series The Crown DriveCore Install (DCi) Series includes high-performance installation amplifiers based on the proprietary DriveCore technology. Versatile, compact and energy-efficient, DCi Series amplifiers are said to provide system integrators with the advanced features and flexibility required for challenging applications.
The PLM+ has been designed with total integration at the core of the system, allowing complete control and monitoring of the whole platform ecosystem – including networking, audio I/O, signal processing, amplifiers, power supply and connected mains supply. It delivers operational benefits and improved system control via Lake Controller, CAFÉ and Third Party Protocol integration. The range combines a true four-in/four-out configuration for audio I/O as well as four modules of Lake Processing, and sports a host of features designed to deliver real-world benefits and streamline the life cycle of any production from system design and operating to the final load out.
4 x 3,000W output power, total 12,000W (12K44) or 4 x 5,000W output power, total 20,000W (20K44) Rational Power Management (RPM) means any channel is capable of delivering up to 5,900W power output from total available power CAFÉ software makes system design and monitoring easier and more efficient Flexible power output allocation across channels of the 12K44 model to match requirements, enabling more efficient use of amplifier inventory Class TD power stage, featuring Universal Power Supply design for unrivalled power factor correction and low peak mains current draw to power output ratio Eight dual-redundant Dante network audio inputs and outputs Digitally controlled and recallable ‘amplifier gain’ adjustable in 0.1dB steps
www.labgruppen.com
Hoellstern Delta 20.4 (-DSP)
The Delta 20.4 (-DSP) is a two-ohm load stable four-in/four-out amplifier with an optional built-in DSP. Each output delivers 8,000W into two ohms, while at four ohms the amplifiers deliver 4 x 4,400W. Also includes the universal Konfigurator2 loudspeaker library.
Delivers 8,000W into two ohms, or 4 x 4,400 at four ohms Weighs 12kg (26.5lbs) Features an installation depth of 30cm (11.8 in) in a 2RU 19in housing
DriveCore tech combines hundreds of parts into one chip the size of your fingertip, resulting in more efficiencies and reliability True Rack Density: power points of 300W or 600W in 2/4/8 channel configurations and 1,250W in 2/4-channel configurations, with bridgable outputs of 300-2,500W, all in a 2U form factor Direct Drive Constant Voltage: save money by using smaller gauge wiring to drive the speakers using either 70Vrms or 100Vrms. With no need for a step-up transformer at the output, the DCi produces higher audio quality much more efficiently Channel Independent High-Z/Low-Z Selection: drive either one or two speakers in low-Z mode, or hundreds of speakers in high-Z mode (70Vrms or100Vrms)
www.crownaudio.com
Full Fat Aud dio FFA FourChannel DSP Amplifier Series Full Fat Audios’s four-channel DSP amplifiers, FFA-6004 DSP and FFA-4004 DSP, offer high power output with onboard DSP. The DSP has six channels – four used for the four-channel amplifier and a pair used as auxiliary XLR outputs on the rear of the amplifier. These auxiliary outputs can be used to connect signals to other amplifiers for sub bass or peripheral loudspeakers, allowing for very flexible system design. The control software can be accessed by PC or Mac with Ethernet as network control, and the high-performance Class D amplifiers feature switch-mode power supplies, making them mains-power efficient.
Powerful DSP features PEQ, crossover filters, limiting, dynamics, up to two seconds delay AES and analogue signal input UK designed and manufactured with a five-year warranty Continuous power output ratings: FFA-6004 DSP 4 x 1,500W ref: 4 ohms, FFA-4004 DSP 4 x 1000 ref: 4 ohms Burst power ratings: FFA-6004 DSP 4 x 1,800W ref: 4 ohms FFA-4004 DSP 4 x 1,300W ref: 4 ohms Pairs of channels can be bridged for high power mono bass and stereo full range cabinets The 2RU rigid aluminium chassis is compact and weighs 12kg
www.fullfataudio.com
www.hoellstern.com
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TECHNOLOGY REVIEW
SENNHEISER ESFERA SURROUND MICROPHONE SYSTEM
Sennheiser’s Esfera surround sound system has certainly generated interest in the pro-audio industry, and won an IABM Design & Innovation Award at this year’s IBC too. Iain Betson immerses himself in its sound-field to hear what everyone has been talking about.
A
while ago I attended a training session on a much-respected broadcast industry audio desk and met others from different disciplines within the industry. An attendee from the OB sector remarked to me how pleased he was that one of his clients didn’t want surround sound in their sports coverage, since it would make his rigging of the venue much less complicated. Well, the new Esfera product from Sennheiser may change his mind. Rather than five mics, the Esfera achieves 5.1 surround sound with only two microphones and associated cables. Surround sound with rigging ease then? Perhaps this may be true. I do know it is most definitely a case of getting more for less.
What You Can’t See How does the Esfera create 5.1 from just two microphones? In short, I am not entirely sure really! Both from searching the net and questioning Sennheiser when I saw a pre38
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production model at IBC 2013, I received a range of answers, from “it’s in the DSP” to “smoke and mirrors”. The Esfera SPB 8000 processor is designed to work with two speciallymatched MKH microphones, arranged in a conventional X-Y pattern, thereby acting as a single point source from which to capture sound. The mics are housed in a basket windshield blimp (a fluffy comes as a supplied accessory too) and a couple of short XLR terminated cables thread their way through the pistol grip handle. This whole arrangement is called an SPM 8000. The X-Y arranged microphone pair plugs into the Esfera processor via two XLR connectors and this is where all the smoke and mirrors stuff happens. The algorithms within the processor’s DSP recognise the physical and electrical responses of the MKH mics and how they are positioned relative to each other. Armed with this information, it is able to create a 5.1 surround sound-field and output this as
three discrete AES signals. AES output one has the FL and FR signals, output two the centre and LFE, and number three the two surrounds, Ls and Rs.
What You Can See The front and back panels of the processor are both simple in layout. On the front, from left to right, you will find a single rotary switch to adjust the two mic preamp gains, and three buttons for activating: 1. 48V phantom power; 2. the input signals as either analogue or digital format; and 3. a compressor. In the centre of the front panel are eight meters that are useful for seeing what the Esfera is up to as they show the two input and six output levels. To the right of the meters you will find a series of LEDs indicating the selected sample rate – 44.1, 48, 88.2 and 96kHz – how the Esfera is synced – either from AES or word clock – and finally an LED telling you that the unit is powered.
Four push buttons on the right-hand side work in conjunction with the control software (more on that later) and allow direct access to the four surround configuration presets that can be set up and stored. The back end is largely XLR based, with connections for the analogue inputs and three AES outputs. There are two BNC connectors that handle word clock input and loop-thru. The Ethernet connection uses a Neutrik Ethercon connector, which is good to see. I have a personal gripe with manufacturers producing equipment aimed at the professional but using the cheap and horrible panel-mount version of this data connector, commonly found on IT kit. While the Ethercon still uses the RJ45 as its basis, at least the external shell offers it protection, a decent locking action and a more rugged quality. Finally, there is a fused IEC mains inlet, rather than an external PSU.
TECHNOLOGY REVIEW
www.audiomediainternational.com
The whole 1U-high package comes in a well-put-together, brushed aluminium fronted box; well, it is Sennheiser after all.
Surround Control With so few front-panel functions, control of the Esfera is done via a downloadable piece of software available on the Sennheiser website. If you want to see what it looks like, it can be downloaded from the following link: http://en-uk. sennheiser.com/spb-8000. I usually have a mental large pinch of salt handy whenever a manual glibly says “connect the device to a router and enter this IP address” as, more commonly, doing this results in a “no devices found” error message being displayed. However, in this case, doing as the manual instructed resulted in the connection working first time, and perfectly too. There are only two simple screens in the config software: a connection setup page and a compression/surround sound settings page. The screenshot below shows the surround settings page in more detail.
Joanne Ruddock speaks to Kai Lange, Esfera product manager for professional wired microphones at Sennheiser, about the many uses for the system. The Esfera system takes an innovative approach to capturing sound. How did the idea come about? Actually it was a case of everything falling into place at the right time. Michael Nunan of Canadian broadcaster CTV approached us because he was looking for a microphone solution that would make doing 5.1 sound easier. At the same time, we were in contact with Illusonic who had a new algorithm that was able to convert stereo into 5.1 sound. We found that this was a great match with our high-quality broadcast microphones and seized the opportunity. We discussed the concept with various broadcast customers of ours, and included their feedback and wishes in our system design. How long did it take to design Esfera? It was about two years from the first idea to product availability. This included an
extensive period of field tests, and special software optimisation to ideally match our microphones. Other than the technology, what other considerations went into the design? The Esfera design has been optimised for the main user group – broadcasters. Therefore, the system uses a rack-mount processing unit for the conversion to 5.1 – and not a plug-in, for example. The 19in unit easily integrates into a broadcaster’s workflow and infrastructure. Esfera is a tool that makes 5.1 as easy as possible for them. How has it been received in the market? We have received very positive feedback both at trade fairs and from the field, especially from sports broadcasting, be it ball games such as soccer or individual sports such as tennis. We’ve also had Of the Esfera processor itself, John felt that for maximum connection flexibility it would have been ideal to have analogue outputs as well as AES. To rig the Esfera in the studio he used a RedNet 3, the product in the Focusrite range that supports up to eight AES inputs and a word clock feed. Although all worked perfectly, having balanced audio outputs would have eased connection to the studio desk. That said, I can see that trying to fit six XLR connectors onto the rear panel would be impossible, meaning a breakout lead from a multi-pin connector would be the only alternative. The result would then be increased complexity and, I guess, price.
“Testing, testing, one to ten” A University Examination In order to give the Esfera a real-world test, I enlisted the help of John Crossley, senior lecturer in music production at the University of Derby’s Department of Performing Arts. I have known John since I wrote a piece on the Dante-based Focusrite RedNet system. The department was the recipient of the first RedNet system sold in the UK and, upon visiting John to see it, I was struck by the quality of the studio facilities at the university. So, I was aware that if the Esfera was going to be put through its paces, this was the place to do it. As well as spending time testing the Esfera, John very kindly put his thoughts
about it, and the findings of the tests he conducted, to paper. Regarding the build quality, he concurred with me in that it was impressive but, regarding the software, his experience echoed my earlier comment about easy configuration and pinches of salt. Although the software was easy to use, he did encounter connectivity issues with the PC on which he was running it and had issues persuading it to connect to the Esfera. When the network switch in between was reconfigured, everything worked. So, although it was no fault of the software, this minor niggle meant the ‘plug and play’ setup was not as smooth as it could be.
The tests John and his students conducted were quite expansive. The initial test was akin to, if you recall, Track One on that Hi-Fi News audio test CD from a good few years back, in that one of the students walked around the array, counting from one to ten. The impression gained from this test was of ‘rear-ness’ as he walked around the back. This seems at odds with the fact that, as the MKH microphones possess a cardioid pickup pattern, you would think that they would be biased more towards sounds from coming from the front. A case of the processor ‘smoke and mirrors’ working a little too much perhaps? In the next test, a drum kit was set up in the facility’s live room and the SPM 8000 array was rigged on a stand about two
requests from completely different user groups, such as theatres that wanted to do a production recording with 5.1 sound, and from film-makers for nature documentaries. They wanted to use the compact stereo mic for on-site recordings and then do the conversion into 5.1 sound back home in their studio. Another spectacular use was a 3D sound recording done by Sennheiser’s international recording applications manager, Gregor Zielinsky. He used two Esfera mics to create a 9.1 immersive sound experience. metres away, and set to point at the middle of the kit. Playing the kit produced a nice natural sound from the Esfera, coupled with a good sense of space from the recording room. I agreed with John when he said he could “sense” as well as hear the surround reflections from the Esfera. Perhaps you know that feeling too? You just can’t define what it is, but sometimes you can ‘feel’ a sound more than you hear it. The next two tests conducted were to evaluate how well the system coped with a moving sound. To achieve this, while the kit was played, the SPM array was first rotated 360º on its horizontal axis and then, hand-held, walked 360º around the drum kit. John said: “In both cases there was a clear sense of movement. The left to right space was very clear although, as the signal moved to the ‘rear’, it was slightly less identifiable as being behind the listener, but you did get a real sense of a shift in balance from front to rear. “I wouldn’t say there were any ‘holes’ as the sound-field was quite uniform; it was more a case of a change in the definition of the sound as it moved to the rear. “At times I definitely felt I was hearing something travelling around me which, considering the sound has been captured from a simple X-Y arrangement, is quite remarkable. “Overall I was pretty impressed.” In conclusion, John added: “To be able to generate a realistic 5.1 sound-field from a January 2015
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TECHNOLOGY REVIEW two-channel system so convincingly means I think the product definitely has potential. Being honest, in many cases, people listening in 5.1 just want to be able to hear a sense of ‘space’ and the Esfera easily achieves this too. “Obviously, if you wanted to record a concert in 5.1 you would use multiple mics, but if rigging time/equipment etc was tight or if facilities wouldn’t allow, this would be a really useful tool.” John’s last answer illustrates the perceptions of two sectors of the proaudio industry when it comes to equipment cost. At a combined sum of around £10K for both the Esfera control unit and the SPM 8000 microphone array, I asked John if he felt this represented value for money when compared to a ‘conventional’ 5.1 microphone setup. His feeling was that it was pricey for the sector he knows well – the recording industry – but, interestingly, added “…but then again in the broadcast market this probably isn’t the case”. With my professional experience being largely in the broadcast sector I can say that, while £10K for an audio-based piece of kit could be considered as being on the high side, when compared against video-based
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equipment it’s a drop in the sea (perhaps ‘ocean’ would be stretching it a little) But, when this price is offset against the costs incurred through the repeated rigging of a surround-sound system, using dedicated microphones in, say, a sports venue, and the fact that you could also put the two channels of the mic array down existing camera located microphone feeds, I think its price looks to be more acceptable. I am sure my observations, along with John’s, would appeal to those industry colleagues I met on the training course. If the client’s remit changed and surround sound was demanded as part of the contract, they would be wise to consider the Sennheiser Esfera and its associated SPM 8000 microphone array as an
The Reviewer Iain Betson runs technical services company AV Resilience – “The AV & Broadcast Experience Specialist” www.avresilience.co.uk
Key Features
acceptable counter to the extra rigging that would otherwise be required. Sometimes, just sometimes, less is more. Thanks must go to John Crossley, subject leader, popular music production, department of performing arts, University of Derby. www.derby.ac.uk/arts
Can be used as a high-quality stereo microphone or – with the SPB 8000 – a compact 5.1 microphone Weather-proof and rugged Low inherent self-noise prevents masking of delicate sound structures Symmetrical transducer technology ensures low distortion Supplied with basket windshield, suspension with pistol grip, a fluffy and stereo cable (XLR-5 to 2x XLR-3) List Prices: Esfera SPB processing unit: £6,500 Esfera SPM 8000 microphone array: £3,500 www.sennheiser.com
TECHNOLOGY REVIEW
RØDE STEREO VIDEOMIC X ON-CAMERA MICROPHONE
R
ØDE has made somewhat of a name for itself in the broadcast world with its range of microphones aimed at video and on-camera use, and the company’s latest product under review, the Stereo VideoMic X (SVMX) joins this increasingly illustrious family. Designed and manufactured in Australia, the SVMX is shipped in a sturdy Apple-like cardboard box, along with a range of essential accessories, including a furry windshield and RØDE’s buckyball-like pop shield. I would have preferred the microphone to be supplied in some kind of flight case, but I assume that RØDE is expecting potential purchasers of this microphone to already have some kind of protective carrying cases for cameras that they can drop the SVMX into. The microphone features two acoustically matched, externally biased, 0.5in pressure gradient cardioid condenser capsules, fixed in an X/Y configuration. The transducers are coupled with the compact electronics, an in-built Rycote Lyre on-board shock mounting system and a standard hot shoe for connecting to booms or video and DSLR cameras. The microphone itself is compact at 118 x 102 x 100mm and feels sturdy in construction – RØDE is obviously confident in the quality of its product, as the company offers a 10-year warranty. Constructed from aluminium – which RØDE claims ensures an extremely high level of radio frequency rejection – the microphone’s 300g weight means that it sits securely on top of all but the most flimsy cameras and booms. RØDE says that critical body components, such as the capsule and shoe mounts, are precision machined to ensure the tightest possible tolerances, which helps to minimise any acoustic resonance and I have no reason to doubt these claims when testing the microphone in real-world situations. Power to the microphone is provided via a 9V battery and an LED display informs the user of low power levels. RØDE recommends lithium or alkaline 42
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Stephen Bennett puts this broadcast-grade stereo mic through its paces.
for the full 30-hour quoted lifespan, but you can also utilise 48V phantom power to energise the microphone. Audio is transferred to attached cameras or recorders either via a standard unbalanced stereo 3.5mm jack or onboard mini XLR connectors – so optional adapters or cables will be required to use the microphone with suitably equipped video or audio recording devices. This does mean you’ll have to carry around yet another adapter, but, as the microphone has such a small footprint, it’s hard to see how else RØDE could have offered balanced outputs and phantom powering. It would have been nice, however, for the company to supply these essential adapters with the microphone. The controls on the rear of the microphone are digitally controlled for improved reliability, protection against accidental change and suppression of switching noises. The SVMX sports a three-way high pass filter with 0, 75Hz and 150Hz settings alongside a three position level control that ranges from -10dB, 0dB and +20dB. There’s a novel high-frequency boost setting that provides +6dB of shelving equalisation from 3kHz upwards, designed to be used in conjunction with the furry. The capsules cover a frequency range of 40Hz to 20kHz and, while RØDE doesn’t supply gain specifications over this range, it does provide both frequency and polar pattern graphs for the microphone. Maximum SPL is quoted as a useful 143dB with a reported sensitivity of -32dB re 1V/Pa (25mV at 94dB SPL) ± 2dB at 1kHz and 82dBA signal-to-noise ratio. All in all, the SVMX has a very respectable specification for a microphone that is likely to be used connected to potentially noisy equipment and set a fair distance from the source to be recorded. A nice feature that derives from digital control is that the microphone retains its settings at switch off, something I find really useful in these days of recorders and cameras with extensive – and often complicated – multifunctional capabilities.
In use I used the microphone directly on a Canon XF100 digital video camera to capture impromptu interviews and conversations and an unamplified trio in a small venue blessed with reasonable acoustics. Results were impressive, with an excellent stereo image being captured alongside the video recording from approximately three metres – but you need to bear in mind that the microphone is not a shotgun type, so it won’t be suitable in situations where the sources are very distant or ambient noise might be an issue. Using the RØDE as part of a surround recording project alongside a similar setup of Neumann KM 84’s demonstrated that the SVMX is no slouch in the audio quality department, holding its own in situations where recording dynamic classical music is required. I popped the RØDE onto a microphone stand and compared the audio quality to my usual X/Y setup for recording acoustic music, with both setups connected via XLR connections to a Tascam DR-680 digital multi-track recorder. Although the results from the RØDE were sonically different from my usual AKG 414 XLS microphones set to cardioid polar patterns, I wouldn’t be embarrassed by having to use the results obtained from the SVMX in a professional environment. The RØDE also has the advantage of being physically small and the black finish makes it less visible in situations where the audience ends up dictating microphone positions. The high frequency boost won’t work miracles in challenging environments, but could save the day if re-recording is
never going to be an option and I found it especially useful when recording interviews in cafés, and to bring back some of the brightness lost when using the excellent wind and pop shields. RØDE now produces an impressive range of low to mid-price microphones for use in various recording applications. The Stereo VideoMic X is a welcome addition to the range providing a compact yet technically competent performer for both audio only and audiovisual applications.
Key Features Acoustically matched true condenser capsules Rycote Lyre onboard shock mounting Balanced professional XLR output 9V or Phantom Power (P48 – via miniXLR) Includes SC2 TRS cable, pop shield and wind shield RRP: £649 www.rodemic.com
The Reviewer Stephen Bennett has been involved in music production for over 30 years. Based in Norwich he splits his time between writing books and articles on music technology, recording and touring, and lecturing at the University of East Anglia.
TECHNOLOGY REVIEW
METERPLUGS PERCEPTION LOUDNESS MATCHING PLUG-IN
The new tool designed by mastering engineers for mastering engineers has Alan Branch all ears.
E
very now and again a new plug-in comes along that makes you think ‘How did I work without this?’ Perception is such a plug-in. It accurately matches the loudness and sync when you’re comparing your master audio to its source in real time, helping to remove the loudness deception when applying a mastering process such as EQ, compression or limiting. So why is this important? Our brains perceive frequencies and volume in a very complex way and certainly not linear; even subtle changes in gain can make frequencies appear more prominent and tonality less obvious, while causing balance shifts between instruments. The result can be an easy trap to fall into, but by adding a limiter that increases overall volume to a mix, you can be quickly fooled into thinking this is helping the song sound better, but not necessarily for its extra dynamic control. Using Perception as a level controller will help eliminate this problem, so your ears get the best chance at hearing when EQ or dynamic processing is lifting the mix into magic or misery.
In Use Perception is available in AU, AAX, VST, and Mac and Windows 32/64-bitcompatible versions. Registration is done via the web – email and a serial number – so installation was simple. I tested Perception on a DAW master bus when mixing and when mastering separate stereo mixes. Perception comprises two separate plug-ins – Perception Source and Perception Controller. The Source plug-in slots in at the top of the mastering chain and Controller slots in at the end. The Controller UI is really simple and quick to use – once both plug-ins are in place, the two can talk to each other, calculating timing and loudness differences caused by any processing in between. 44
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Measurement is done by playing a few seconds of the track then hitting the Balance & Sync buttons. Perception Controller enables you to evaluate all master processing by simply toggling the FX Bypass button. All the processing level changes and latency is quickly eliminated as Perception matches levels and timing to be exactly the same as the source audio. Now any adjustment of any processing can be quickly heard before and afterwards – comparison couldn’t be any simpler. Using this simple method is very quick to adapt to and, even as an experienced engineer, Perception helped my workflow massively as it was so much quicker and easier to hear the changes I wanted. Placing the Source plug-in on multiple tracks can be done to master separate stereo tracks – Perception controller knows when each source is being played, which was very useful for quickly adjusting listening mixes I needed to send to the artist and record company. Loudness is measured by LKFS (Loudness, K-weighted, relative to Full Scale) an agreed standard ITU-R BS.1770. This means the spectral content of the audio is taken into account; basically it’s tuned and filtered to fit how our ears hear things, not just measuring the RMS level. Perception Controller only takes a few seconds to analyse the incoming level during which time the Balance button is disabled. Once the level is found it is displayed as LU Difference (loudness units) between pre- and post-FX. Balance is continuously monitored and if the difference grows too large the difference error will turn red, meaning it’s time to take a new balance calculation. Perception is a plug-in designed by a real mastering engineer – Ian Shepherd in collaboration with programmer Ian Kerr of MeterPlugs, which makes the excellent mastering K-Meter and LCAST plug-ins. Both men are passionate about
changing the loudness problem caused by overcooked mastering. Because of their background it’s easy to see the thought that has gone into the workflow of Perception. For example, a Source Gain and Snapshots feature enables you to have different input gain settings, resulting in any dynamics processing being pushed a little harder, making comparisons of different source gains instant. There is also a peak to loudness ratio display, a helpful guide to see how much dynamic range is being used up by any processing. This simple-to-see pre- and post-readout makes a brilliant addition to hold your hand (or ears) when applying that master compression. Genius little touches like these make all the difference. Ian Shepherd obviously knows what it’s like to go back and forth between too many screens while trying to keep the focus on hearing. If you’re still not sure how to avoid the Loudness problem, there are some useful videos on the MeterPlugs website that walk you through the different uses of Perception and explain how to ‘Find the Loudness Sweet Spot’, as well as many examples in which you can easily hear how tracks that have been mastered louder have lost the magic to their dynamics.
Summary Making decisions to a final master can make or break a lot of hard work that’s gone into the writing, recording and mixing of an amazing record, so you need to be careful when applying additional mastering EQ or compression. The Perception plug-in system is without doubt one of the best tools I’ve used to help hear accurate changes when dealing with a master mix. Although Perception was developed and is optimised for mastering, I found it works
fine within a DAW but I did get the hint that something specific for mixing is being developed. Simple to use and operate, Perception eliminates our brain trickery of increased loudness sounding like an improvement – especially important when you’re making vital last-minute changes. If you ever wanted a useful tool to help you become a better engineer, Perception is a must have.
Key Features Bypass entire FX chains Fast A/B testing Loudness matching Plug-in delay compensation Peak to loudness ratio display Dynamic range tweaking Snapshots www.meterplugs.com
The Reviewer Alan Branch is a freelance engineer/producer and ex-member of the On U Sound Crew. His list of credits includes Jamiroquai, Beverley Knight, M People, Simply Red, Depeche Mode, Shed 7, Sinead O’Connor, Bjork and Sade. He also recently mixed Jeff Beck’s new Live in Tokyo 2014 Blu-ray. www.alanbranch.com
TECHNOLOGY REVIEW
PRISM SOUND SADIE 6.1
Alistair McGhee takes a look at the various useful tools on offer in the latest version of Prism’s SADiE 6 software.
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here are some things that are better left uncounted, like the number of computers under my desk. Five last time I looked. It’s not quite as bad as that – two are on the mend pile and one of the others is a single task machine. It runs SADiE 4 under Windows 2000, and that’s all it does. Why? Well, editing for one; SADiE’s trim window (even back in the days of V4) is a thing of luminous beauty. Powerhouse PQ editing for a second, SADiE’s PQ editing is industrial strength. And it is mastering updates that push SADiE to version 6.1, with some additional features that we’ll come to momentarily. SADiE 6.1 is really a software family (or better maybe a core application with a range of task-focused enhancements) that runs natively on Windows in 32- and 64-bit versions. It’s also a hardware family. If you want what Prism Sound calls ‘high reliability’, you can have DSP and I/O on PCIe cards or the LRX2 portable mixing and recording option, or you can enjoy the undoubted goodness of the Prism Sound range of external USB boxes – a range which seems to grow every time you log back into Prism Sound’s web page. And, joy of joys, not only has there just been a bit of a price cut, but if you buy a Lyra, Titan or Atlas, you get the SADiE multi-track recording application thrown in.
For this review I was running SADiE native under Windows 7 64-bit, mostly using Antelope’s heavy-hitting Zen Studio to talk to the outside world. SADiE install is straightforward and there’s a free 30-day trial of the software on www.sadie.com. The glory of native is that you can record your material on your high-spec H64, Orpheus or even Zen Studio hardware, but then happily cut away on a laptop on the train, should circumstances require. Maybe not surprisingly one of SADiE’s great strengths is in the field of mastering. Given the quality of the audio editing, the sophistication of the PQ implementation and the solidity of the DDP facilities, SADiE is a no brainer for a lot of mastering houses. But with file-based delivery carving an ever-bigger slice of the pie what we really need is mastering for WAVs. However, one of the great challenges of the digital world has been file identification in the face of the almost unlimited power of 46
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duplication. When you have multiple copies of closely related files, many with similar or even the same file name, ‘have I got the right file?’ is a question we all need to take very seriously. In a file-based mastering context it’s the sort of thing that wakes you up in a cold sweat. Did I really master the file with the guide vocals, or is the singer really that bad? What we need to do is leverage the ISRC (International Standard Recording Code) data that are embedded in our DDP files for a WAV-based process. Cue SADiE 6.1 and WAV Master. The idea is simple – use the same production process for your WAVs that you would use for a DDP master. Your PQ metadata will define your WAVs and if you are mastering for glass and file and want identical results, then the same EDL can be used to generate your DDP files and your WAV master files. In SADiE 6.1 the output stage for DDP is the ‘Read/Write PQ Data’ function. With an EDL fully loaded with audio and PQ metadata this now gives the option of writing a ‘WAV Master’ alongside the DDP and direct to burner options. The WAV files at the output have a flexible set of naming options including the ISRC code. And the same ISRC code that you would use for your DDP output is burnt into the BWAVs in an XML chunk that is EBU compliant. The standard has been pushed by the Music Producers Guild and hopefully will enable not just better housekeeping but also a more robust rights tracking and payment environment. The idea is that the right people get paid when the right metadata is locked to the right files.
Given that life is not always straightforward and you may not have all the codes you require when you need them, SADiE offers an edit option that allows you to edit the XML ISRC code for any audio clip in your project with a right click on the file. Also new in SADiE 6.1 world is an addition to the sample rate conversion options, labeled ‘Best’. I suppose with Prism Sound’s reputation for very high-end conversion it’s nice to get a slice of that expertise flowing into the SADiE software. And in this world of multiple sample rates you can’t have too many options in SRC. Any process that does SRC in the ‘background’ in SADiE 6.1 now uses the ‘Best’ quality option by default. I would like a simpler methodology for SRC before we load a clip into the EDL – an option in the clipstore would suit me fine. But I’m a lazy so and so. Talking of things I would like, the ‘new’ colour scheme is remarkably soothing but, as my eyesight wanes, light blue on grey is a little too much soothe. Can I have an old guys’ skin? And if I can have a final request – you know the bug you so efficiently squashed, the one that flattened automation to the end of the clip after a cut and glue? Could you put that back in as a feature, as some people liked it! SADiE continues to offer a distinctive workflow that sets it apart from most other DAWs. The power and sophistication of the software is not presented in a way that overwhelms you on boot up, but is elegantly embedded and smooth in
operation. With class-leading editing and mastering functionality, an ever-growing family of hardware options and some video enhancements round the corner, the Prism Sound team has an ear-catching product.
Key Features WAV Master feature allows users to create WAV files for an entire album, using PQ marks to define the start and end of the WAV file for each album track ISRC in BWF has been incorporated into SADiE’s WAV Master option Extension to SADiE’s WAV Master functionality with support for reading and writing a WAV file’s LIST-INFO chunk, and for Track Name and Artist metadata Incudes SADiE MTR (Multi-Track Recorder) software in the SADiE 6 installer RRP: Free as an upgrade or from £445 (+VAT) www.prismsound.com
The Reviewer Alistair McGhee began audio life in Hi-Fi before joining the BBC as an audio engineer. After 10 years in radio and TV, he moved to production. When BBC Choice started, he pioneered personal digital production in television. Most recently, Alistair was assistant editor, BBC Radio Wales and has been helping the UN with broadcast operations in Juba.
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TECHNOLOGY REVIEW
ELECTRO-VOICE ETX POWERED LOUDSPEAKERS
This high-end powered loudspeaker family delivers on both functionality and sound quality, writes Strother Bullins.
“After an hour of setup and listening, the band members and I agreed that the ETX could be the most user-friendly, great-sounding PA we’d ever used together – and that’s covering a lot of products and locations.” Strother Bullins
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y favourite ‘workhorse’ portable PA line of the last few years would have to be the ZLX Series by Electro-Voice. At $349 street, the ZLX-12P powered two-way speaker is a true bargain that works incredibly well as a main, monitor or auxiliary speaker; especially handy is its two-channel built-in mixer and eighthinch input for playback, making it ideal for singer-songwriter jobs. The ETX is a marked step up from the ZLX in build, component and cabinetry materials, DSP functionality and more. Enclosures are relatively compact and made of 18mm, 13-ply birch plywood with eight mounting points, custom die-case aluminium pole cups, handles and hardware, all finished in EVCoat texturised paint. It borrows many traits from EV’s touring speakers and are built in the USA. Features include a variety of proprietary EV technologies including FIR-Drive (Finite Impulse Response) filters and the Signal Synchronized Transducer (SST) waveguide design. A single-knob DSP control via a relatively large LCD screen provides EQ, limiter, input level controls/metering and master volume adjustments. The ETX line offers 1.25in titanium compression HF drivers and power is provided via Class D amplification at 1,000W and 900W (continuous) for full-range and subwoofer enclosures, respectively. The entire ETX line is well matched maximum SPL-wise, with all specs falling between 134-136dB peak. The ETX rig that Electro-Voice delivered for review included two ETX-10P full-range and one ETX-15SP subwoofer enclosures. These solid cabinets are weighty; the ETX-10P is 44.8lbs and the handily castered ETX-15SP is 91.9lbs. A nice touch are EV’s canvas speaker bags for ETX, which slide over the top of each cabinet to 48
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Key Features keep them looking like new, complete with side pocket for storing XLR and IEC power cables, etc. Full range enclosure I/O includes two XLR/TRS combo jacks and one XLR link output. This is one powerful, efficient, sonically sculpted portable PA rig with very useful DSP parameters. Build quality is top-notch and the cabinets are obviously serviceable, allowing years of pro-grade use and maintenance, if necessary.
Besides using the ETX-10P pair in a variety of simple ‘speaker on a stick’ applications and as some very powerful, great-sounding stage monitors, I employed the full three-piece ETX rig in an old local theatre for a classic R&B performance – three harmonising vocalists and rhythm section. Here, ETX’s well-conceived EQ presets were very useful in compensating for
the venue’s lack of acoustic treatment (it was basically a large wooden box). After an hour of set-up and listening, the band members and I agreed that the ETX could be the most user-friendly, great-sounding PA we’d ever used together – and that’s covering a lot of products and locations. The ETX rig was especially impressive in vocal/midrange intelligibility – smooth with pinpoint-accurate details, all clean as a whistle. ETX Series performance doesn’t come cheap, however. The smallest ETX, the ETX10P, is $1,099 street, each; the ETX-15SP is $1,399. Naturally, a $3,500 portable PA isn’t for everyone. But if you’re a working musician, engineer or local/regional sound provider looking to make a value-holding investment in today’s most innovative portable PA system that can deliver professional results, the ETX should be a top consideration.
Offering EV’s FIR filter technology to optimise transducer linearity Complete full-function DSP control via a single-knob interface LCD screen for easy system set-up and monitoring Lightweight, durable and compact 18mm, 13-ply birch plywood enclosures finished with EVCoat texturised paint Eight mounting points for permanent installations (full-range models) www.electrovoice.com
The Reviewer Strother Bullins is reviews editor across NewBay Media’s AV/Pro Audio division. He was also editor of sister title Pro Audio Review. www.prosoundnetwork.com
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INTERVIEW
LEADING LIGHT
A lighting specialist for more than 40 years, London’s White Light is opening its new sound department this month, with Lee Dennison in charge of the operation. Adam Savage finds out what he has in store for the UK trade.
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ne of the most interesting industry news stories to come out of PLASA 2014 was White Light’s announcement that it was expanding its presence in the audio market with a new dedicated sound department, and appointing ex-Delta Sound and Autograph Sound Recording man Lee Dennison to run it as head of audio. The London-based lighting supplier, which has always had an audio offering, but only on a relatively small scale, has reported an increase in audio-related enquiries from customers lately, and saw it as a sign to position itself as a complete solution provider for clients such as these. And now that this new arm of White Light is all set for launch, it seemed the ideal time to ask Dennison about his plans for the business. So how is the new division structured, and what services does it offer? “It’s kind of like a triangle – we’ve got sales, projects (installations) and events, and I sit in the middle ,” explains Dennison. “We’ve put product managers into each area, and we’ve got a warehouse team to manage all the sound equipment. “We’re starting from scratch, with a blank canvas and new hire store, and it’s a very nice position to be in to be able to go and buy the kit that you want to buy, as opposed to inheriting equipment. That gives us a nice starting point when dealing with new customers.” Although he might be “starting from scratch” in some ways, Dennison and his new team at White Light are not having to do that with their audio client base thanks to its numerous existing relationships. “A lot of people I used to work with before already use White Light for lighting, so now they can go ‘well hang on a minute, I can still use Lee and get both the audio and lighting kit,’” Dennison says. “From an installation perspective we can specify audio and lighting, and have in-house support for clients rather than sub-contracting that out, and from a sales perspective we’ve employed an audio salesman to work alongside the sales team and support them as well.” Dennison will remember his time with both former employers with fondness, but he knew this was an opportunity that was too good to miss. 50
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“I was fortunate enough to work with, in my mind, two of the best audio companies there are. I was with Autograph for seven years in the theatre market and then with Delta for almost eight,” Dennison recalls. “I was projects director at Delta, so I ran all the projects team and managed all the events, whereas I’ve taken on a head of department role here. “They are cracking companies, but when you’re offered the chance to start an audio department from scratch, you’ve got to go for it, haven’t you?” As for its initial audio brand portfolio, White Light has already got a number of big names on board, which it will surely add to in the very near future. “We were given Pro Dealer status by Shure, which is cracking, and then there’s Yamaha, Sennheiser, Full Fat Audio and EM Acoustics,” reports Dennison. “Those are the ones I wanted first. “I’m very happy that the manufacturers I’ve had relationships with in the past have got behind the idea and they understand the servicing of all three departments –
how they all benefit each other – so from that perspective it’s very good. “Shure, Yamaha and Sennheiser speak for themselves really, and they’re good brands to have on board when you’re approaching this market.” Being based in London – Wimbledon, to be precise – the firm can probably expect to have a lot of local work potentially coming its way, but that’s not all – Dennison knows there will be install projects happening across the UK that it will need to target as well. “White Light’s existing client base is London and beyond, so there’s a lot of London venues, conference work and live events, but the installation market is everywhere and anywhere and sales are always happening all around the country,” states Dennison. “Certainly we’ll be targeting the UK, but a lot of production companies are going abroad and take kit with them, so we’ll be targeting those as well from a higher point of view.” White Light might have significantly strengthened its service offering with this
new move, however there’s one commonly used description that Dennison doesn’t want to be labelled with. “I’m very keen to state that what White Light is doing is not becoming a one-stop shop, because there are companies out there who class themselves as onestop shops and I don’t believe in that. A one-stop shop to me is they’ve got four speakers, four lights and four projectors, and no matter what the job is, that’s what you get. Whereas what I’m doing is creating a good inventory that can fulfil all the briefs, so we are a specialist department within White Light. “There’s a lot of investment going in and the right people have been brought on board. I’ve got very high standards of how I want things done, and White Light, who I’ve known for years and have always respected the way they do things, have put their faith in me, and got the financial backing to go ahead and do it.”
www.whitelight.ltd.uk