REPORT
REVIEWS
REVEALED
/ Microphone Focus: vocals / Ambisonic: the latest options / Livestreaming: simple setups
/ Scope Labs Periscope: metal machine music / Bettermaker EQ232D: mastering magic / Leapwing's Al Schmitt Signature plugin
/ Mike Elizondo: from Aftermath to Nashville / Colin Newman: engineering Wire's third act / Matthew Herbert: on Sound of the Year
V21.2 | April/May 2021 | £5.50
The The Interview Interview
Michelle Couttolenc Xxxxx Xxxxxxxx & Jaime Baksht Xxx
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4466 CORE Omnidirectional Headset Microphone 4488 CORE Directional Headset Microphone
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/ Contents
24 V21.2 | April/May 2021
News & Analysis 5 6 11
Leader News News, studios, appointments New Products Featuring Lawo, DPA, SSL, L-Acoustics and more
Columns
16 Crosstalk — Rob Speight Rob talks to musician Matthew Herbert about his role in the Sound of The Year awards, and how important sound is to our physical and mental wellbeing 50 Playlist At the end of April, we lost the legendary engineer and producer Al Schmitt at the age of 91. So, in a special Playlist, we pay tribute to Al with a few personal memories of the man from our own Jeff Turner, and our picks from his absolutely stellar list of credits
Craft
24 Michelle Couttolenc and Jaime Baksht The mix team behind Sound of Metal talk to John Moore about sculpting the film’s unique soundscapes, being given creative freedom, and making sure the film sounded its best however it was going to be shown 28 Colin Newman Colin Newman of art-rock survivors Wire, talks to David Davies about the band's highly productive third act, and how gaining control of the means of musical production has allowed them to constantly find new leases of life 43 Mike Elizondo From classical studies to studio sessions for Dr Dre, songwriting, production credits, and then a move to his own studio in Nashville. Mike Elizondo’s career trajectory has never been predictable, but has always been upwards. George Shilling charts his rise
Michelle Couttolenc & Jaime Baksht
28
33
40
43
Cover image: Matt Petit / A.M.P.A.S.
Technology
33 Vocal and Voiceover mics We take an overview of the market with a look at some classics and new contenders 40 Ambisonic mics Jon Thorton explores an old technology that’s seen a new lease of life, and a market that’s offered up a whole range of new options in the last few years 46 Electro-acoustic Livestreams Andrew Levine takes us through his planning and execution of a skeleton-crewed improvised performance livestream, that featured an interesting array of unusual instruments.
46
REVIEWS 18 20 22 23
Scope Labs Periscope PreSonus PD-70 Bettermaker EQ232D Leapwing Al Schmitt Signature
April/May 2021 / 3
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/ Welcome
Leader
John Moore
Editor/Content Manager John Moore john@resolutionmag.com
Contributors Mike Aiton, Dennis Baxter, John Broomhall, Simon Clark, Ian Cookson, Russell Cottier, Jay Dean, Kevin Hilton, Tim Oliver, George Shilling, Rob Speight, Jon Thornton, Danny Turner, Phil Ward
Chief Executive Officer Stuart Allen +44 (0)7999 847715 stuart@resolutionmag.com
Chief Operating Officer — Publishing, Sales & Marketing Jeff Turner UK/Europe: +44 (0)117 318 5041 USA: +1 415 307 7337 jturner@resolutionmag.com
Director of Production Dean Cook The Magazine Production Company +44 (0)1273 911730 dean@resolutionmag.com
Finance & Accounts Manager Judith Clegg +44 (0)7977 104648 judith@resolutionmag.com
Printing Gemini Print Southern Ltd, Unit A1 Dolphin Road, Shoreham-by-Sea, West Sussex. BN43 6NZ Published by S2 Publications Ltd info@resolutionmag.com c/o 221 Commercial, 71-75 Shelton Street, Covent Gardens, London, WC2H 9JQ ©2021 S2 Publications Ltd. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the prior written consent of the publisher. Great care is taken to ensure accuracy in the preparation of this publication, but neither S2 Publications Ltd or the editor can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publisher. S2 Publications Ltd. Registered in England and Wales. REGISTERED OFFICE Gowran House, 56 Broad Street, Chipping Sodbury, Bristol, BS37 6AG Company number: 4375084
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Living la vida louder
A
s a person who’s spent a fair amount of their adult life in front and behind speaker systems of varying sizes and volumes — on stage, at gigs, in clubs, in studios, using headphones, at home and at work, the film Sound of Metal hit me with the kind of creeping menace I’d expect a horror movie. Ever since I first came home from a concert exhilarated, and with my ears ringing (seeing as you didn’t ask: a long-gone band called Catherine Wheel at the much-missed Princess Charlotte in Leicester, England in 1991), I’ve been somewhat fascinated by volume, and the effect it can have on your physical being. It was a phenomenon I pursued in my own music from my teens onwards, and in the music I sought out. Life was as loud as we could get away with, and it was a vibe I and my friends revelled in for the best part of two decades. That was until I finally encountered the now legendary/ infamous My Bloody Valentine live experience, and two shows from them over two nights punched that particular obsession right out of me like Tilda Swinton’s Marvel character might. They, somehow (and finally), made me see it for the dead-end it was and move on… While that didn’t make for a great show, it was a very real lesson that tales of frontman Kevin Shields’ own hearing problems, of which I had known for years, had failed to impart. 20 years is a long... stupidly long... time to revel in loud music, and I know my hearing has taken a battering over that time despite my latter-day attempts to treat myself with more respect — both for professional and personal reasons. So, to watch the progression of Sound of Metal’s main character, Ruben, as he loses his hearing and battles his own demons in the aftermath was a jarring thing. However, Sound of Metal is affecting for more than just its story’s shock value to those of us prone to
self-inflicted aural harm. Knowing people who wear cochlear implants and who suffer from varying degrees of hereditary and late-onset hearing loss, the movie’s sound design offers an emotional insight into their world. Reading about the preparation, research and dedicated recording work that went into realising the transition between the film’s three distinct soundscapes is what led me to seek out the film’s re-recording mixers, Jaime Baksht and Michelle Couttolenc — who have subsequently been, rightly may I say, rewarded with an Oscar as part of the sound team led by Nicolas Becker — as their work on the film is an object lesson in how creative and meticulous thinking about sound design can elevate a movie-watching experience. I’m pretty sure you’ll never have heard anything quite like Sound of Metal, and in some ways, that’s a good thing. I hope you enjoy Jaime and Michelle’s excellent insight, and feel the intense pride they obviously take in their work together. One of the film’s most emotional scenes for me was watching Ruben undergo a hearing test; I can tell you that sitting and hearing tones in the room that the participant in a test cannot hear through the headphones they’re bleeding from, can be a sickening feeling. Rightly, Sound of Metal makes pains to stress that people with hearing issues are not ‘lesser’ per se than those who can hear more, that they can live an alternative — but in no way lacking — life without their full faculty. However, those who have a career based around sound, who have built a life based on the function of their hearing, will possibly feel some of the anxiety of that central character in a very visceral way — and experience the movie from a somewhat more intense perspective. Rightly so. Be safe.
John
April/May 2021 / 5
News
Avid and Dolby team-up for Atmos certification Avid and Dolby have announced the first Pro Tools-centric Dolby Atmos training and certification. Accessed through the Avid Learning Partners program, the self-paced course will cover the integration of the Dolby Atmos Renderer with Avid’s flagship audio software. Comprised of 40 hours of self-learning and 18 hours of instructor-led training, held over three days, the course concludes with a professional certification exam. Upon completion of the coursework and passing the exam, candidates will earn the Avid Certified Professional: Pro Tools | Dolby Atmos certification credential. It serves to allow Pro Tools mixers to recognise the components of a Dolby Atmos content creation studio, and outline workflows for creating immersive audio in Pro Tools. Students will also learn techniques for working with Dolby Atmos beds and objects, Pro Tools session management, Dolby Atmos Renderer configurations, and final delivery formats. The training course, PT210D Pro Tools Dolby Atmos Production, is available from www.avid.com/courses.
Axelsson opts for maximum Genelec Maxe Axelsson has selected more Genelec monitoring to equip the mastering facilities at Sweden's PAMA Records. The upgrade sees the studio add the firm's 8351B coaxial three-way monitor and the W371A adaptive woofer system. “We originally had the Genelec 1038ACs as mains," Axelsson says, "We loved the sound of these three-way centre speakers in a stereo setup... but then we had a problem with the bass that we couldn’t fix, so we decided to get in the W371s not really thinking it would be the final solution."
However, after the system was calibrated, he was more than happy with the change. "We had never seen that type of installation work before," he added. "We are not disappointed, we love the system!” PAMA also uses the GLM loudspeaker software for configuration and day-to-day operation. “It’s more than a good speaker calibration system," Axelsson says, "it’s great for comparing levels while we’re mastering as well as finalising little details. We also use it as a monitor controller.” www.genelec.com
Diversified builds custom IP solution with TSL Diversified faced a challenge at BerkleeNYC's campus-based recording facility formerly known as Avatar Studios. In the process of building an IP network for the school’s Power Station studio, Diversified turned to broadcast workflow experts TSL Products to provide an IP routing interface that marries its GTP-V1 controller and Virtual Panels into a solution known as ‘IP-Cross Connect.’ Diversified then hired DNF Controls to create software and a flexible matrix that allows any of BerkleeNYC’s four recording studios to operate separately or share audio and video resources. Thanks to the custom design, Power Station’s IP network supports three floors of audio studios with nearly two dozen 4K-ready PTZ cameras as well a basement live-performance space. The software control layer acts to ensure that all the individual pieces of audio and video gear can easily be found. diversifiedus.com 6 / April/May 2021
Calrec Apollo for Dome's Gateway Canada-based Dome Productions has unveiled a new all-IP SMPTE 2110 OB mobile unit replete with a Calrec Apollo digital audio console. Called Gateway, the truck is Dome’s first large-scale, all IP, UHD/HDR unit and is currently being used for TSN and Rogers SportsNet on their hockey broadcasts. The Apollo was commissioned and managed by Calrec’s Canadian partner SC Media. The decision to go with the Apollo came down to several features, says Al Karloff, Manager of Engineering Services, Dome
Productions: “It’s important for our clients to have the power of the Apollo’s 1020 DSP paths, as well as the double layer of faders for direct access on the control surface. There’s also a large A1 operator base that makes for better and more consistent productions.” Gateway is part of a drive by Dome to broaden its offerings: “We’re excited to take advantage of optimised and new workflows, Karloff added, "Now, virtual paths can be dynamically connected to change workflows depending on the show." www.calrec.com
APPOINTMENTS
Audio Suite moves and hires The Birmingham, UK-based Audio Suite facility has made a move to a historic building in the City's Jewellery quarter and appointed engineer, mixer and producer Marcus Byrne as director of UK audio post-production. Byrne's CV includes recording and playing on albums with acts such as The Sugarbabes, One Republic, Mika, The Saturdays, and Annie Lennox; as well as live performances with Take That. Managing Director, Dr. Neil Hillman, says "We are obviously delighted to welcome Marcus on board. His almost-25 years of studio engineering and mixing experience is an amazing fit; and the fact that our
long-term relationship with each other has always been as collaborators, rather than rivals, makes this a logical and easy next step on both The Audio Suite’s and our own personal journeys." The move sees a master control room upgrade with Avid HDX2 running Pro Tools Ultimate through an Avid D-Command ES console, coupled to the Avid MTRX Studio audio interface, NLA Video Slave 4 ADR hardware and software, SSL and Focusrite pre-amps, with Neumann and PMC monitoring. ADR sessions will also benefit from a larger workspace of 4.2 x 2.5m, with sufficient space for boom recording. www.theaudiosuite.com
CEDAR Audio Approves Dante Virtual Soundcard After "extensive testing", CEDAR Audio has announced its approval of the Dante Virtual Soundcard for CEDAR Cambridge, providing a way to connect its flagship system to installed Dante networks. Tony Webster, senior engineer for CEDAR Cambridge explained, "Virtual Soundcard [is] a robust way for connected systems to communicate, and it's especially beneficial for customers with larger, distributed audio networks. They will now be able to patch other Dante equipped systems to CEDAR Cambridge's Ethernet port with no special cables or converters, and no more moving of equipment." Dante Virtual Soundcard is an inexpensive software hub for Audinate's AoIP protocol, and allows a PC or Mac to connect with Dante audio devices on the same network. www.cedar-audio.com
Producer Perry picks DPA after Alicia Keys session Following a New York session with Alicia Keys, producer Linda Perry asked her own engineer Luis Flores to add the 4015C Wide Cardioid and 4011A Cardioid to their collection. “Ann Mincieli [Keys' engineer] had DPA 4015s on the piano and Linda fell in love with them. It was the first time she had ever specifically requested a mic for the studio.” Flores now employs a pair of 4015Cs on piano, but also has a pair of 4011As for hi-hats and cymbals. "We were always on a rotation of microphones for the piano. Ever since I started using the DPA 4015s I have not removed them. There is no noise whatsoever." www.dpamicrophones.com
PMC has made staff and structural changes in the last month, the most fundamental being the decision to appoint a board for the first time in its history. Owner and founder Peter Thomas now acts as chairman, with Jeff Willcocks as CEO. Also central to the running of the family concern is Pete's son Oliver Thomas, who is now commercial director — having previously overseen new product design — and Tom Loader, son of PMC’s co-founder Adrian Loader, who is now operations director. “PMC is expanding fast," say Thomas, "and it is not feasible to expect one person to have knowledge of every aspect of the business.” The younger Thomas, has also been a driving force behind PMC Studio, the company’s recently opened Dolby Atmos music mixing suite, and demo facility. That development has also seen the appointment of engineer Heff Moraes in the role of UK business development manager. “Heff’s credentials are second to none," says CEO Jeff Willcocks, "He thoroughly understands modern recording techniques, he has excellent contacts with artists, producers and record labels, and he has hands-on experience of PMC’s products." Moraes started at Sarm Studios in 1984, and went on to work with artists like Frankie Goes To Hollywood, Grace Jones, Paul McCartney, Simple Minds, Annie Lennox and Whitney Houston. More recently, he oversaw the building and management of the studio based at Tape, a private members club in London. At PMC Studio, he will demonstrate the company’s full pro audio product range, including a monitoring system for Dolby Atmos music mixing. “I hope we can encourage current and well-known artists to mix in Atmos," he says, "because content that young people want to buy is what will drive the format,” Finally, Dan Zimbelman has joined the company as senior export business development manager, a US-based position that will see the former Neve-era Focusrite and API man — a near-50-year music industry veteran — utilise his experience and contacts to work with new and key clients and provide specialist advice on all aspects of studio monitoring.
April/May 2021 / 7
/ News
APPOINTMENTS Elements, provider of innovative, highperformance media storage and server systems for post-production and broadcast, is welcoming Thomas Grønning Knudsen to the team as head of integration and security. Knudsen joins from M2 Film in Denmark, where he has implemented Elements technology into its production. Knudsen is also tasked with strengthening IT security within the Elements ecosystem, as well as taking responsibility for the third-party storage qualification programme, which allows users to choose the right qualified storage structure for their requirements while running the Elements tools and features on top. Working from Aarhus, Denmark, he will divide his time between supporting clients worldwide and taking an active role in development and strategy at the company headquarters in Düsseldorf, Germany. DPA microphones has decided to establish its own sales force in France, meaning that as of May 1st, 2021, DPA Microphones France has taken over responsibility for all sales in the territory from Audio2. DPA Microphones France will be headed from Denmark by Martin Møller Park, DPA’s VP of Sales for France, while members of Audio2's sales force will join DPA Microphones France from the date of the transition. As well as handling sales and support, they will also play a key role in providing customer feedback. “On behalf of the French team, we are very happy and proud to join the DPA Family”, says Christophe Bonneau, Regional Sales Manager, DPA Microphones France. “We have worked together for many years and built up a strong team. We know the customers and DPA well. Being part of DPA was the logical outcome as we had acted for years like we were the brand itself. The French team will be familiar for most customers with Antoine Renard and myself working with sales and Alex Bonnie-Tholon working with Customer Care and handling orders from customers. And finally, Nicolas Miljeu and his brother Guillaume Miljeu working with marketing and IT.” DPA’s Kalle Hvidt Nielsen believes it has “a strong, loyal customer base… Together with our dealer network, we want to grow the DPA presence in France. With this change, we hope to make the DPA brand more accessible.”
8 / April/May 2021
Lawo helps wrangle indie broadcasters Cologne's 674FM has varied set of demands put upon its studio facilities, as an independent Internet radio station that puts out more than 100 live programs from the in-house studio, festivals and public events every month - driven by 130 independent "program makers". As part of an upgrade plan, and with a continuously growing number of broadcasts, the non-profit decided on radio solutions from Lawo. It chose Lawo’s ruby radio console, with adjacent touchscreen for its ability to control various features using Lawo VisTool,
a GUI that gives access to mixing, EQ & dynamics controls, and other software features - including console 'snapshots' for each user. The mixer and software controls a Power Core 1U DSP mixing engine with the ability to handle analogue, digital and AES67 networked audio sources. The station’s server and playout PCs are integrated into a RAVENNA/ AES67 network using Lawo’s R3LAY VSC virtual sound card software, and controlled with R3LAY Virtual Patch Bay. www.lawo.com
Blue West upgrades with an API 2448 Los Angeles studio Blue West, run by producer/musician Bill Jabr and head engineer James Kang, has now installed an API 2448 recording console to upgrade the facility. With previous clientele including Andre 3000, Dwayne “the Rock” Johnson, Kiko Cibrian, Wale, Ne-Yo, Pi’erre Bourne and the late Juice Wrld, Blue West wanted to move to a mid-format console for its control room that combined analogue character with a modern workflow. The 2248’s front-end tracking, monitor section and ease of use were
standout features for Jabr, who says the API gives Blue West “a solidly built, quality analogue body that stands on its own.” Jabr started his first Studio in 2009, with Kang joining as the very first intern. Five years later, the pair branched out to LA — bringing with them the ethos of putting their setup in the best room they could afford. Having established a good reputation for their work at both sites, they now say they’re “excited to be able to buy a classic recording console like the API 2448.” www.apiaudio.com
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/ News
SSL SBi16 goes on location for HEAR
Lostboy links up studio with Flock Audio's Patch Rising pop producer Pete Rycroft (aka Lostboy) has seen chart-topping success in the UK during lockdown thanks to his private studio, which is built around a Patch software-driven analogue routing system. "I am drawn to the science behind the tools I use, but it is a constant battle to not let the technology overtake the creativity.” Which is what drew him to Flock Audio's Patch as a way to blend his older gear into his computer-based workflow, and minimise the time spent setting up. “I am conscious of downtime in a creative environment. Downtime can affect everyone’s energy, and hitting a creative roadblock is not ideal. In my studio, vibe is everything. For someone who has used any DAW, it is obvious what you are doing [with Patch] straight away.” www.flockaudio.com
Broadcast music mixers John Harris and Jody Elff's new service enables them to apply their production skills remotely from their respective private studios. The partnership, HEAR (Harris-Elff Audio Resources), leans on AoIP and digital audio components, including multiple SSL SB i16 SuperAnalogue stageboxes, to remotely mix and record live music and other events for TV and other media. Their Pro Tools-based solution allows them to remotely control Dante-networked digital audio equipment positioned on site, including up to 128 mic preamps, and
generate a feed for live broadcast in stereo, 5.1 or Atmos — while also grabbing a multichannel recording for later remixing. For events that require only a limited number of audio inputs, HEAR sends an 8U rack to location, with Dante-enabled SSL SB i16 stagebox. That offers 16 channels of SSL's mic preamps and can be remotely controlled through SSL’s Network I/O Controller app, allowing Harris and Elff to adjust and monitor input levels and access features such as mic/ line switching, phantom power, pad and a limiter on every channel. www.solidstatelogic.com
Audio restoration for Good Time Records Abbey Road Institute brings Angel back to life Angel Studios, which closed last year after 40 years, has been leased as the new home for Abbey Road Studios’ education division, Abbey Road Institute. It was rumoured that the Islington site would be redeveloped as housing, but this intervention ensures that it persists as a bookable. commercial recording facility while also serving a second role as base for the Institute’s growing student population. Angel Studios will reopen in the Summer and stand as the flagship location for the school; one of seven separate sites across the globe. While the Institutes says demand has outgrown its current St. John’s Wood location, students will continue to use the school’s dedicated facility and the at Abbey Road. www.abbeyroadinstitute.co.uk 10 / April/May 2021
Specialist audio restorer Graham Joiner has begun a marathon project to convert 233 analogue master tapes to HD digital. The archive, now owned by Good Time Records, includes music by The Rockin’ Berries, Kenny Lynch, Frankie Vaughan, Marvin Gaye, Wilson Picket and Jackie Moore. “Some of the original boxes were mouldy and falling apart," say Joiner, "and all the tapes had to be baked to prevent the oxide from shedding.” Graham's Audio Restored studio has turntables, Studer cassette decks, Revox 1/4" tape decks and Steinberg’s Wavelab.
The latest addition to his equipment list are three Prism Sound Titan audio interfaces. “GTR wanted their tapes transferred at a high resolution sample rate so that they could be stored as Ultra HD WAV files. Prism Sound’s Managing Director Jody Thorne recommended Titan because the units could be linked over a Dante network.” Graham purchased three Titans with MDIO Dante cards and a Focusrite Rednet Dante PCIe card so that he could transfer 24-track audio directly into his computer and restore the material for possible new remixes, releases, and sample packs. www.prismsound.com
SHOWS FOR 2021 MPTS, London
Postponed until May '22
AES Show Spring [Digital] Midem Cannes ISE Live & Online Barcelona ISE Live & Online Munich
25-28 May
ISE Live & Online London
23-24 June
High End, Munich
9-12 Sept
1-4 June
Summer NAMM, Nashville
15-17 July
1-2 June
AES Education Conference, Nashville 22-24 July
8-9 June
PLASA, London
5-7 September
INFOCOM, Florida
12-18 June
IBC, Amsterdam
10-13 September
ISE Live & Online Amsterdam
15-16 June
NAB, Las Vegas
9-13 October
ESTELLE RUBIO ON USING THE MUSIC MISSION With amazing audio quality in the studio that transfers to live and streaming scenarios, thru or bypassing a DAW whilst still using its FX and keeping full control; what kind of magic is this? Ultra-low latency mixing gives unbeatable timing for singers and musicians; it is totally transforming my performances! estellerubio.com
merging.com/anubis Merging Technologies SA, Le Verney 4, CH-1070, Puidoux, Switzerland
T +41 21 946 0444
E anubis@merging.com
W merging.com
New Gear
New products A guide to the latest new hardware and software Lawo
HOME and MC236 48-Fader Home is Lawo’s new management platform for IP based media infrastructures, enabling users to connect, manage and secure networked production setups from the ground up. It provides a central point of access and control for all Lawo gear within a setup, and features automated discovery and registration of devices, connection management, flow control, and software/firmware management. The platform is based on open standards, such as ST2110, NMOS, IEEE802.1x and RADIUS and follows Lawo’s unified experience (LUX) design principles, so should feel intuitive to users of its products via a “simple and friendly” UI. Lawo says it offers “automatic plug-and-play discovery of IP audio and video devices, which are registered with their name, location, status and type”, and will deal with non-Lawo products via NMOS. Discovered devices are managed in a central inventory list, ready for access and configuration. It also provides a central ‘mission control device management processes and configuration, providing quick save and recall options and “fast and unified access to device parameters for easy tweaking, irrespective of the endpoint being controlled.” On the security front, Home will quarantine unknown devices joining a networked rig until they are authorised, it also uses an authentication strategy based on a centralised user management system, with dedicated user roles and groups.
Antelope Audio
Home is cloud-native, designed as self-contained ‘blocks’ that provide microservices, supply functionality to operators or other services. It can be scaled and expanded on demand. Following the recent launch of Lawo’s second-generation mc²36 console (Resolution V21.1) and new A__UHD Core Phase II, the company has now announced a new dual-fader operating bay for the desk, that allows 48 faders in the same footprint as the 32-fader board. The system is also available as a compact 16-fader option. www.lawo.com
Nembrini Audio
SSL
and the manufacturer’s Synergy Core effects platform, this compact system features a built-in preamp and 24-bit/192 kHz AD/ DA conversion. That feeds the ‘Core engine, which offers 18 thinly-disguised mic emulations — such as the ‘Berlin 47 TU’, ‘Berlin M251’, and ‘Vienna 414’, as well as other effects, which can be applied in realtime during recording or when mixing in a DAW. The mic enclosure provides physical volume and headphone volume controls, alongside a -10dB pad switch and a high-pass filter switch. Live streaming is also possible — making use of the two stereo playback channels, with effects strips, and the included loopback functionality. Effects available include its Auraverb, BAE-1073 EQ, BAE-1073MP preamp, FET-A76 compressor/ limiting amplifier, a de-esser and noise gate — while other effects from the Synergy Core range can also be purchased and added.
Nembrini Audio’s Shimmer Delay Ambient Machine combines reverb, pitch shifting, and feedback that, it says, draws on “creative techniques developed by early-Eighties studio engineers” and musicians such as Brian Eno. Emphasising user control and playability, the main delay algorithm is designed to allow huge delay sounds without straining CPUs — and it is designed to be tweaked in real-time with “no-nonsense controls” such as Swell, (volume modulation), Delay (main delay), Octave (manages a down octave); Shimmer (manages the shimmer effect) and the Dry/Wet blend. The plug-in is available as an iLok-protected AAX-, AU-, VST2-, and VST3-supporting for macOS 10.9 and Windows 7 (or newer), and also as an AuV3 format from the App Store.
SSL has added Ultraviolet Stereo Equaliser (UV-EQ) and SiX Channel (SiX CH) modules to its 500 Series offerings, alongside cosmetic updates to the G-Comp Bus Compressor, E-EQ and E-Dynamics processing modules. UV-EQ sees the transition of the Violet stereo EQ section from the SSL Fusion 2U rack unit to the 500 format, with the addition of two dedicated mid-bands, and a precision Focus mode. The SiX Channel performs a similar trick by transposing the features of SSL’s compact SiX consoles. This single-channel strip includes mic-pre, low- and high-frequency EQ, as well as the single-knob compressor from that system. It offers a simple way to add mic/line inputs to the line-level inputs of any audio device, and allows the creation of a modular mixer from a ‘summing’ 500 Series unit.
www.antelopeaudio.com
www.nembriniaudio.com
www.solidstatelogic.com
Axino Synergy Core Shimmer Delay Combining a cardioid condenser Ambient Machine modelling mic, a USB 2 interface
12 / April/May 2021
500 Series UV-EQ and SiX CH
Cranborne Audio
iZotope
Designed for tracking, mixing or mastering the N22H reference class headphone amp comes in a robust steel enclosure and can be connected via conventional analogue cable inputs or Cranborne’s own Cat5 Analogue Signal Transport system (C.A.S.T), which sends audio down ethernet-style cabling. Internally, it uses technology from the company’s 550R8 interface and provides switchable high- and lowpower modes for use with over-ear or in-ear monitoring systems. The N22H can be powered by 9V DC PSU, any guitar or, pedalboard PSU, or a 9V battery, and connection via C.A.S.T. allows it to be placed at a range of up to 330ft/100m. It can also act as a connectivity hub for mic/line sources using C.A.S.T, thanks to its 2x combi jacks, that can send phantom power from a pre-amp should it be required. The N22H is the second of Cranborne Audio’s C.A.S.T. expanders. The other, the N22, offers the same connections and feature set without the headphone amp functionality. Interestingly, two of these units can be connected, essentially replacing up to four XLR cables with one shielded Cat 5e, Cat 6, or Cat 7, which can be run for up to 100m.
An entry point to iZotope’s cloud-based ecosystem of production and collaboration tools, Spire Studio is billed as an easy way for musicians and producers to quickly capture inspiration. The updated package allows access to the Spire companion app for iOS and Android, and six free months of Spire Pro for iOS — which offers AI-powered features and effects. Spire Studio features its own onboard mic, and allows connection of instruments and mics-of-choice via two combo inputs that also provide phantom power. The recording capacity of the tabletop unit has also been upped to 8hrs+, with less battery drain. The software is built to allow collaboration via notes and text or email sharing, while on the sound side it leverages iZotope’s processing expertise with the facility to remove unwanted noise, pops, clipping, and plosives. The Spire Pro app also features ‘Personalised Soundcheck’, which can monitor changes in the recording environment to provide consistent results.
www.cranborne-audio.com
www.izotope.com
N22H Headphone Amplifier
Spire Studio Update
Empire Ears
The Mic Lock
Yamaha
The upgraded ESR (Empire Studio Reference) MKII in-ear monitoring system features an refined five driver hybrid configuration, consisting of three balanced armatures and dual electrostatics, alongside a completely re-engineered four-way ‘synX’ crossover. Aimed as a reference for mix and mastering engineers, Empire’s use of electrostatic drivers and its own Intelligent Variable Electrostatic Control (EIVEC) means these headphones can offer a frequency response of 10Hz all the way up to 100kHz, a sensitivity of 111dB SPL at 1kHz, and allow the makers to boast of their “true-torecording dynamics, ultra-fast transients, super-wide dispersion and the flattest response possible”. They connect via 2.5, 3.5 or 4.4mm jacks and Alpha-IV A4 25AWG UP-OCC Copper Litz cabling.
The MicLock is a patented mic clip solution for engineers and musicians using the Sennheiser MD421 mic, either in its newer ‘II iteration, or the original produced between 1960 and 1985. A simple design, it addresses a long-standing issue plaguing those mics’, er… ‘unique’ mounting system and its, er… ‘temperamental’ button release, using a single-piece clip-on design. The Mic Lock’s circular section is placed over the rear of the mic, while its protrusion provides a buttress that means the mic can’t slip forward should its button be pressed No screws or additional tools are needed for fitting, and the clips can be bought in single, uncoloured or colour-coded packs. There’s nothing like a tool that has one job, right?
An immersive audio system designed to change the acoustic response of a space, Active Field Control has been expanded to include AFC Enhance for ambience control and AFC Image for acoustic image control. AFC Enhance controls the reverberation of a space, while making use of the natural acoustic properties of the existing structure, and can be used to create acoustic spaces — in which acoustic images are positioned and moved around by AFC Image. AFC Image allows users to control the perceived positions of acoustic images within a space, utilising Immersive systems' capability to place and moved sources where they are needed, and features a space conversion algorithm that makes it possible to reproduce 5.1 channel content created using a DAW via a live sound system, easily matching playback to the venue and the audio system’s speaker layout.
www.empireears.com
www.themiclock.com
ESR MKII IEM
MD421 Mic Lock
Active Field Control
www.yamahaproaudio.com April/May 2021 / 13
Interview
Jaime Baksht and Michelle Couttolenc The recent Oscar-winners for Sound of Metal chat with JOHN MOORE about their work on Darius Marder’s breakthrough indie hit, and creating its uniquely disturbing soundscape
/ Michelle Couttolenc and Jaime Baksht at their SSL C300 desk at Astro LX, with there favoured TC Electronics reverb and delays ready to go
H
aving worked together for nigh-on 15 years, Jaime Baksht and Michelle Coutollenc first appear on a credits list together for 2006’s Mexican drama La última mirada — also Couttolenc’s first credit on IMDB. During the same year, they worked together on Guillermo Del Toro’s cult classic Pan’s Labyrinth, with Baksht as re-recording/ dubbing mixer and she as assistant. While Michelle leaned towards sound recording and ADR as well as mixing in her early career, latterly they have operated side-by-side on an impressive number of productions — forging an enviable reputation for their work in the process. Recently, their stars have truly shone as part of the team responsible for the striking, Sound of Metal, director Darius Marder’s self-penned tale of a musician that loses his hearing, and the effect that has on all aspects of his life, most 24 / April/May 2021
markedly his relationships and self-image. It’s that rarest of beasts in the highly visual world of the movies: a project that leans as much on its sonic qualities as its visual — and one that has rightly been heaped with praise for its impactful sound design. The film was mixed by the duo — along with Carlos Cortés — from raw materials provided by supervising sound editor Nicolas Becker, production sound mixer Phillip Bladh, and foley artist Heikki Kossi during the before-times of 2019. Though subsequent events have seen it largely distributed via streaming platforms, rather than through theatres — especially in Europe — that hasn’t lessened the impact of their collective work, or the impression it has left with viewers. While Baksht and Couttelenc are currently most closely associated with Mexico City’s Astro LX facility, Sound of Metal was largely
mixed to the south of the country’s metropolis at Cortés’ base, Splendor Omnia near Tepoztlán. Though, as we will find out, the pair couldn’t resist a quick trip back home to polish their work using their own, trusted equipment. Resolution spoke to them via Zoom from LA as they prepared for their big night at the Oscars… One that would turn out very well for them. At what point did you first hear about Sound of Metal? Who introduced you to it and how? Michelle Couttelenc: The first contact was because Nicolas Becker was when he was doing work with Mexican musicians in New York City, and there there was another musician Leonardo Heiblum [half of composing/ production team, Audioflot] who is Mexican and who he wanted to collaborate on this project.
Footage credit: Amazon Prime
Nicholas was telling him about the film, and that he needed a place and the people to mix the film. Because it was a non-conventional film in [terms of] sound, they didn't want to mix it in LA, they wanted to do a different approach. And that was when Leonardo said to Nicolas: ‘Well, you should go to Carlos Reygadas' studio, Speldor Omnia, in Mexico — and then call Jaime and Michelle to do the mix.’ That's when Nicolas called Jaime to ask if he wanted to be part of the project. How was Sound of Metal pitched to you? Was there already a very solid idea of how it was going to sound? Jaime Baksht: Well, the thing is, Darius Marder and Nicholas Becker, who is a sound artist in France, had been working on the project for a year before they even shot it. They were researching what is like to lose your hearing, so they interviewed a lot of people with hearing problems, and they also talked with a lot of doctors. I think what happened is that Nicolas suggested taking the main character of the film, Riz Ahmed [who plays Ruben], into an anechoic chamber at IRCAM in France — and they started to record the internal sounds of his body. So they were able to record the blood moving around his body, and obviously the heartbeat — which is something that is easier. But, it turns out if you get into a really quiet place, our bodies are really, really noisey. We are really noisy! Nicolas used a lot of different type of microphones — contact microphones, stethoscopes — they also took recordings inside a swimming pool. The backgrounds in the film, ambience and all that stuff, were recorded while already thinking about that ‘muffled sound’ idea. So we really didn't use a lot of filtering, we just combined a lot of different textures. MC: There were a lot of different textures: low,
/ The pair were given creative freedom to manipulate the sound of Ruben’s cochlear implants, based on treated audio supplied by sound designer Nicolas Becker
medium, and high [frequency], and some different things. IRCAM provided software made especially for Nicholas and for the film, where if you put in dialogue or sound you could adjust the level of distortion and separate different transients. So Nikolas gave us the different textures and things he wanted to use, and then in the mix, we combined all the textures and gave them the levels, the movements and all the things that happened. So were you interpreting what you thought was necessary by essentially playing the faders of the different elements? Were you automating in Pro Tools? JB: Nicolas and Darius, did a proposal for how things are supposed to sound to Ruben using Pro Tools. With some labels and some ideas... But the thing is, we had a theory about [how to approach] the mix, which was, for me, really important: Ruben wasn't born that way and doesn't lose his hearing until he is in his 30s. So that means he has a lot of 'sound memories', he
remembers how the sound of things used to be. So using that idea, we tried to use the examples that Nicolas and Darius gave us, but we said, 'well, it is going to be quite boring if the whole movie is muffled... We need to use the idea that he was able to hear. So let's try to make it that, when you're not really 'inside' the character. Let's try to use normal sounds. From the way the sound in the film's set up, dynamically, when you realise Ruben's hearing is gone, you don't miss the loudness of the concert, you miss the quieter sounds when they disappear, don’t you? JB: Well, in the case of the main concert, we wanted to make it as loud as possible… To the limit... We took it to the limit. How many how many times did we remix that concept? MC: I think we we remixed it 10 times! Darius was already happy. I don't know which version it was, but he told us 'I think it sounds pretty good right now’, but Jaime and myself, we're like, 'No, no, no, we should remix it again' because it needs to April/May 2021 / 25
Antelope
Aston
While the concept of mic modelling is far from new, Antelope has certainly fully committed to the concept in terms of the range of mics it offers to support it, and the way it has integrated the concept into its Synergy Core hardware/software marriage. The Edge Duo counts as the flagship option for vocals, a dual-diaphragm large condenser that outputs via a 5-pin XLR and splitter, thus requiring two input channels (the Edge Solo offers a single diaphragm option and the Quadro a stereo incarnation). Though at its most useful when paired with Antelope's own interfaces, when the Synergy Core processing engine reduces the latency times to levels that can allow for direct monitoring of the modelling effect during recording rather than just playback options — the Edge offers a highly configurable range of mic tones in all its forms. The Edge Go, a high-quality USB variation on the theme, is also an option for recording on the go or all-in-the-box setups.
A Resolution Awards nominee in 2019, the Aston Stealth is a mic that — while not at a cost that makes it strictly 'consumer' level — can be bought at a price that can raise the eyebrow of a podcaster, streamer in need of a quality spoken-word mic. It offers four preset 'voicings', two of which are dedicated to that task, with one for guitar and another 'dark' setting that mimics the character of a ribbon mic. It also provides the kind of off-axis nulls that you need when you're — for example — clattering away at a keyboard attached to a PC with its fans whirring while addressing your audience. Dynamic in design — but with its own pre-amp, that can be switched in and out for more gain when required — our review of March 2019 concluded that "As a £299 alternative to the SM7B, it would be more than up to the task with just a single voicing. The other three are bonuses." The musician-aimed cardioid condenser Origin model has gained similar praise across the board for punching above its price-point. That mic is itself the descendent of the switchable-pattern Spirit model, another Aston product that has been reviewed favourably on these pages.
www.antelopeaudio.com
www.astonmics.com
Audio-Technica
Audix
For a mic that punches above its price, it’s hard to argue with the AT2020. It’s been doing it, and doing it well, for years now — yeah, it can be considered a bit noisy but I still marvel at the price of a mic that has kick-started quite a few home studios, audio obsessions, and probably been used a lot more than you’d reckon in higher-end facilities too over the years. At under £100, it’s simply impossible to land any blows that can harm it, really. Of course, there are other models in the A-T range that will cost you significantly more, the AT5040 for example, with the unusual quad-diaphragm design of the ‘50’ range — or the ‘5047, which deals with some of the problems created by its predecessors unusually hot output. Only you can decide whether those mics, and their highly engineered custom shockmount system is worth 30-or-more AT2020s to you, and what your return on such an investment could be. However, it serves to show that the sheer range of AudioTechnica’s offering, including the extensive ‘40’ line of mid-range condenser mics and the RE20-alike BP40 broadcaster mic, make it an audio giant that’s covering all the bases.
A regular choice for live sound reinforcement, Audix brings the bombproof design sensibility that makes its drum kit and studio mic packs so popular to its studio mics as well. The new A133 — launched late in 2020 — now leads its large diaphragm condenser options for studio vocals, with a look that fits straight into the Audix family while also leaning a little towards resembling a compact ‘ninja’ variant on Neumann’s TLMs. It shares much with its sibling, the A131, but adds the common -10dB pad and 150Hz bass roll-off switches that extend its usefulness and utility. Talking of which, it does bear pointing out that neither is going to win any awards for its beauty, and perhaps lack the imposing presence that some will look for in a vocal mic, but that doesn’t mean they can’t do a job either on stage or in the studio. Their price points put them at a very competitive place in the market, and against some mics that have more considered cosmetics — so it’s this sturdiness and utilitarian demeanour that may well appeal if you want a mic that can do that as well.
www.audio-technica.com
www.audixusa.com
Edge Duo & Go
AT5040 and BP40
34 / April/May 2021
Stealth and Origin
A133
/ Microphone Supplement
DPA
4097 While, in its 2028 and d:facto 4018, DPA offers a pair of vocal microphones that could move between stage and studio applications with ease, for interviews and on-location sound the 4097 interview kit is worth pointing out as an option for capturing voices in challenging conditions. Its key selling point is the fact that it is — in the words of our own Simon Clark — "mindblowingly miniscule", with an enclosure measuring around 5mm in diameter and 4cm in length. In its 'interview kit' guise the tiny 4097 mic comes with a Manfrotto mini boom and "miniature" windshield, this all adds up to a kit that will "be a blessing for many journalists" and those tasked with carrying around such kit for capturing audio at events and shows. Capable of dealing with "ear mangling volumes", Simon saw the core 4097 design as a cert for discrete filming applications and documentary/reality use, and noted how it held its own respectably against DPA's own (and much larger) 4017 in terms of on-axis performance, but came with a design that couldn't compete in terms of that model's off-axis rejection characteristics. Nevertheless, if size matters, this one is a definite go-to. www.dpamicrophones.com
Earthworks Audio
SV33 and Icon Pro A rather unique end-address small diaphragm condenser mic, the SV33 is pro-priced but serves up an interesting option as a studio mic for a wide range of uses. Notable for the evenness of the frequency response as you move off-axis, it’s a feature of Earthworks’ design that makes the wide cardioid pattern mic easy to place, forgiving of limited movements, and capable of and pleasingly capturing the ambience of the recording space when placed at greater distances from its subject. None of this should be a surprise really, considering Earthwork’s reputation for stage-ready handheld condensers. For spoken word, its Icon Pro is unashamedly pitched as an SM7-beater, and certainly serves up a look that is well beyond that of the utilitarian Shure staple and slicker than the E-V RE20. This is testimony to its intended market of vodcasters, streamers and well-heeled Zoom-callers who are committed to sounding and looking good in those online meetings. By all accounts, it delivers on its promises, too — providing a slightly more present but equally listenable sound to that of the SM7B, making it a viable option, as long as you aren’t planning on emitting Wolfman Jack levels of volume. www.earthworksaudio.com April/May 2021 / 35
Playlist
Resolution Al Schmitt Tribute Something slightly different this issue, we’re sad to say, because we wanted to mark the passing of Al Schmitt on April 26th, aged 91.
O
ne of studio engineering’s great talents, Al Schmitt won more Grammys than anyone in his trade (20, not including his Latin Grammy wins and National Trustees Award), had over 150 Gold records with his name on the credits, was involved in the creation of great music for over sixty years, and has a star on the Hollywood Walk of Fame. They’re just the jaw-dropping stats, though. What that doesn’t get / Al, Jeff Turner, and Alan Parsons in Napa Valley, 1998 across is how much he was liked and loved. For that, we wanted to get an insight from someone who knew him. From Jeff Turner, Resolution’s COO Publishing: Having been in this industry for 40+ years, I’ve had the pleasure of meeting, working with, and rubbing shoulders with some pretty special people. Usually, it’s their artistry, turned into fame, that defines them. However, there is that rare person who manages to wrangle their stellar reputation — and all that comes with it — and continue to show almost infinite amounts of humanity… Les Paul comes to mind, or Steve Wonder — and definitely Al Schmitt. Al was a rock star to engineers, producers, and the musicians who admired his almost staggeringly long and engrossing CV. A craftsman in the studio who possessed an almost unrivalled skill for acquiring great recordings by choosing the perfect mic and placement for the frequency boost or cut that a track needed. That’s a talent he acquired by learning to use his ears in the limited recording facilities late '50s and '60s — where he learned his trade, and where quality spoke loudest. Hundreds upon thousands have admired Al’s talents, whether or not they knew the record they love had his signature sound all over it. But, those that really knew him loved his spirit, gentle nature towards everyone he met, and his extreme humility. Yes, he was a rock star, but you’d never know he knew it. While you may have missed meeting Al in person, he’s been connecting with you through his musical mixes for decades starting with Duke Ellington (his first ever recording session, because Tom Dowd was running late that day), to Ray Charles, Frank Sinatra, Jefferson Airplane, Steely Dan, Diana Krall, Bob Dylan, Jackson Brown, Madonna, Trisha Yearwood, Dolly Parton, Celine Dion, Johnny Cash, Vince Gill, Mary Blige, Nora Jones, Aerosmith, Paul McCartney, Michael Bublé, Katy Perry or one the other 1,080 recording sessions/artist projects... Lord only knows how many actual songs Al recorded and mixed — certainly more than 10,000. It makes you wonder when his wife Lisa ever got to see him. It’s kind of fitting that one of Al’s last sessions was for Willie Nelson’s 2021 album, That’s Life…and what a life it was! (for all of us). Al, thank you for your friendship, love and dedication to sonic excellence — mixing artists for more than six decades and demonstrating your true brilliance and effortless ability to create music that will forever stand the test of time.
Jeff
So, here’s some of our personal favourite Al Schmitt recordings — but you’ve got plenty of others to choose from! You can find these at tinyurl.com/ResolutionPlaylist
Henry Mancini: Moon River (engineer, 1961) Sam Cooke: Twistin’ The Night Away (engineer, 1961)
Hugh Montenegro: The Theme from Man From U.N.C.L.E (produced, 1963) Jefferson Airplane: Crown of Creation (produced, 1968) Barbara Streisand: The Way We Were (engineer, 1974)
Neil Young: On The Beach (produced, 1974)
George Benson: Breezin’ (recorded and mixed, 1976)
Steeley Dan: Peg (engineer, Aja LP, 1977)
George Benson: On Broadway (mixed, 1978)
Dr John: Keep That Music Simple (recorded by, 1979) Dionne Warwick: Betcha By Golly Wow (engineer, Friends in Love LP, 1982) Toto: Rosanna (engineer, Toto IV, 1982) Nat King Cole & Unforgettable Natalie Cole: (recorded, mixed, 1991)
Diana Krall: I Got The World on a String (recorded, mixed by, 1995)
James Darren: The Way You Look Tonight (recorded, mixed 1999)
Ray Charles and Here We Go Again Norah Jones: (mixed, 2004)
Elvis Costello and Watching The Detectives The Metropole (mixed, 2006) Orkest:
Willie Nelson: On The Street Where You Live (mixed, 2012) Paul McCartney: I’m Gonna Sit Right Down... (recorded, mixed, 2012) Bob Dylan: That Lucky Old Sun (recorded, mixed 2015)
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/ Tall Pine Records: API Legacy in Poland / Dean Street Studios: Atmos with PMC / Resolution Award nominations
/ PreSonus ioStation 24c: desktop control / Liquidsonics Cinematic Rooms: lush space / iZotope Neoverb
/ Source-Live Low Latency: remote heaven / Emika: solo piano to electronic symphony / Making Waves: The Art of Cinematic Sound
/ AI: sound engineering / Spotify: binaural commercials / Aloha’s in-sync remote musical collaboration
/ Grace m908: immersive control / Lectrosonics DCR822: receive & record / Genelec GLM 4 — calibrate your senses
/ Cole Whitecotton: battling deepfake audio / Studio tour: coping with COVID / Resolution Awards 2020 Winners!
/ AoIP: location recording / Virtual Audiences: laughter from the lounge / Deepfake voices: how they are helping
/ Merging+Anubis: Ravenna revelation / Josephson C705: clever compromises / PreSonus Analog Effects: vintage fun
/ Rupert Neve: a life in focus / Roger Quested: monitoring master / Kaitlyn Aurelia Smith: modular methods
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