REPORT
REVIEWS
REVEALED
/ Marshall Studios: retro Neve, modern outlook / Product Focus: consoles & summing mixers / Pro Tools: where next?
/ Flock Audio Patch: digital ease, analogue kit / Audio Digital Technology Olympic EQ & Pre / Inspired Acoustics Inspirata
/ Volker Bertelmann: abstract to soundtrack / Marc Sylvan: quiz show sting king / Resolution Awards 2021: all the nominees
V21.5 | September 2021 | £5.50
The
Interview
Guy Fletcher
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/ Welcome
Leader
John Moore
Editor/Content Manager John Moore john@resolutionmag.com
Editor-at-large Nigel Jopson
Contributors Mike Aiton, Dennis Baxter, John Broomhall, Simon Clark, Russell Cottier, Jay Dean, Gijs Friesen, Kevin Hilton, Tim Oliver, George Shilling, Rob Speight, Jon Thornton, Danny Turner, Phil Ward
Risks and rewards
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C
reative flair has always fared best when twinned with an entrepreneurial spirit. Taking risks, just getting yourself out there, and — let’s not deny — ‘faking it ‘til you make it’ have long been central to getting artistic careers off the ground in all areas of media. It’s also true on the technological side of things, especially in music. The history of recording is liberally sprinkled with stories of creative mavericks who parlayed their mix of technical expertise, insight and varying levels of business acumen into going-then-often-notgoing concerns that have shaped the business as we know it. The seed of each of these stories was an innovation or idea so good, and which appealed so strongly to a group of people, that they simply couldn’t resist putting their hearts, souls — and possibly houses — into making it a reality. We love to celebrate them, and rightly so. It’s a common refrain in the music scene, and life in general, that there simply aren’t as many ‘characters’ like that as there used to be. Some may bemoan the maturing of the music industry, and the dearth of mavericks in its newer corporate landscape, but there are still plenty of companies out there looking to take similar chances to those that got them started — every story in these pages, at some point, is
built on a leap of faith. Ours is not an industry that people tend to wander into, it generally takes commitment and perseverance to make it. The story of Jim Marshall is well known: drummer, to drum teacher, to music shop owner, to setting in motion a series of events that would end with him putting his name to an amp that he’d realised his shop’s customers — which, in the early 60s, included Pete Townshend and Ritchie Blackmore — were crying out for. It is a story of growth, growing expertise, underpinned by a leap of faith. In this month’s issue, we take a look at how the company Jim Marshall left behind is still looking to honour that way of doing business, by taking a leap of faith and opening a top-ofthe-line recording studio and facility close to the company’s home base. Those entrusted with developing the company now genuinely believe there is a need for such a facility both for it as a company, the artists which they represent as the owners of a record label, and those who depend on it for their products. In an industry that is still struggling postpandemic — to wit: we have received news this month that both the NAB, and NAMM shows dues to take place in the US have been punted further back in the calendar — it is a move we simply have to applaud and wish every success.
John
September 2021 / 5
New Gear
New products A guide to the latest new hardware and software PMC Loudspeaker
New mid/nearfield monitors and subss After five years of what the company describes as “intense development”, UK loudspeaker manufacturer PMC is now taking orders for a new line of compact and midfield monitors. The PMC6, PMC6-2, and PMC8-2 — along with their associated subwoofers, the PMC8 SUB and PMC8-2 SUB — will replace the company’s existing twotwo Series in its range. The company says they have “the same sound signature” as PMC’s main monitor products, and act as compliments to them. Among the innovations PMC has incorporated are all-new drivers, DSP and Class-D amplifiers, as well as “significant improvements” to the company’s proprietary ATL bass-loading internal porting and Laminair air flow technologies. The new range of models is all designed so that they can be used as elements in a scalable system that can easily grow to suit. For example, the active subs can be combined with a mid/nearfield monitor to create a unit akin to one of PMC’s twin-cabinet XBD systems. Alternatively, the subs can be used as stand-alone LF monitors for sub-channels. Every model will also feature an expansion card slot for planned future signal interfacing options as well as XLRs switchable to either analogue or AES digital inputs — an AES XLR out is also provided alongside RJ45 connection for the company’s Soundalign configuration software.
The new line will offer simple, menu-driven controls on the rear panel — or can be set up via Soundalign, which can be accessed through that RJ45 connection by any device on the same network via web-browser on PC, Mac or Tablet. www.pmc-speakers.com
Sessionwire
Focusrite
DPA and KLANG:technologies
Sessionwire 2.0 is an updated remote music and audio production environment that integrates with a wide range of popular DAWs using standard plug-in formats (AU, AAX, VST3). Available in a range of plans, including a free-trial, users can connect and collaborate musically (record/mix/overdub) via the peer-topeer connections created by the DAW plugins and Mac/Windows app, and an auto-mute Talkback feature can be accessed through Sessionwire Talkback plug-in. Others can listen-in and comment via audio/video chat from a invitation browser link. Additional collaborators can be found and invited to sessions using the Community Discover tab.
Clarett+ is Focusrite’s new range of USB audio interfaces. The Clarett+ 2Pre, 4Pre and 8Pre all feature the all-analogue pre-amps with ‘Air’ option, that can be switched either via Focusrite’s control software or from the front panel, and emulate the ISA 110 pre of classic Focusrite consoles to brighten the top-end. The largest unit on offer, the 8Pre, unsurprisingly, offers eight of these new mic/line pres (two front, six rear on combo XLRs), alongside ADAT optical I/O, SPDIF I/O, USB out to DAW, eight line outs, balanced monitor outs, MIDI I/O and wordclock. It also features dual headphone outputs on the front panel, with volume controls, and eight rotary gain controls.
DPA Microphones and KLANG:technologies have collaborated to create an immersive monitoring system. It integrates DPA’s 5100 Mobile Surround Mic and Klang’s Immersive Mixing Processor, negating the need for multiple microphones to capture environments. Inspired by high-profile live sound users, the system can be deployed in small clubs up to large arena tours. Dedicated presets can be integrated through the KLANG:app — a control application for all KLANG immersive in-ear systems The DPA 5100 has primarily been used to capture ambience in a live sound setting, as well as for communications and archiving during band rehearsals in the past.
www.sessionwire.com
www.focusrite.com
www.dpamicrophones.com
Sessionwire 2.0
12 / September 2021
Clarett+
Immersive monitoring
Louder Than Liftoff
Sound Particles
An analogue 2U stereo bus/line/mic amplifier, its creators describe the Silver Bullet as a ‘Tone-Amp’ for adding analogue flavour to DAW workflows. The mk2 builds on 2014’s original with twin topology (A or N) ‘Mojo’ amps, designed to colour the sound in the style of classic boards — with a third slot to accommodate either a different stereo Mojo amp or one of multiple ‘Colour’ module, dedicated expansion boards created by Louder Than Liftoff and third-party makers that can offer additional elements for the signal chain, such as alternative amps, filters or compressors that can offer additional elements for the signal chain, such as alternative amps, filters or compressors. Gain and Out knobs control signal level, while C-DRV and C-MIX control the amount of drive for the C slot, and blend the dry and processed signals. A rotary amp selector allows easy auditioning of the two amps, and cascade options. Mic, Track and Mix INPUTS feed separate Track and Mix Outputs. Each channel also features Insert, Send and Return jacks that can be switched into the signal path. There’s a three-band Baxandall EQ, as well as the Air HF-shaping circuit from the original. The original LF and HF frequency settings have been expanded to a total of four frequencies per band. A Tight filter tightens up the extreme bottom end with 25Hz and 50Hz settings. The switchable Vintage mode alters the high-end in a way inspired by 70s-vintage British consoles, while Aspect Ratio is a stereo Enhancer.
Sound Particles has a new solution for controlling sound movement, in the form of Space Controller - a phone app and DAW plug-in to allow you to locate a sound within a soundfield — from stereo to 7.1.2, from Ambisonics to binaural — by pointing your mobile phone. The app can operate in Cube or Sphere modes, and control sounds as a single mono sound source, using independent channels, by rotating the entire soundfield, or in symmetric-like approaches. Using the same phone, you can control multiple tracks or you can use multiple phones to control different channels. Two versions are available, standard (which handles formats from stereo up to 5.1 — including Ambisonic and binaural options) and Studio (all formats up to 7.1.2 for Atmos) utilising a plug-in that can be AAX Native, AU, AUv3, VST and VST3. The standard version allows connection to the phone app via Bluetooth, while the Studio version also allows connection via a wi-fi network, allowing for remote placement of the DAW's computer. Introductory pricing offers for Sound Controller are available via Sound Particles' site at time of going to press.
www.louderthanliftoff.com
www.soundparticles.com
Silver Bullet mk2
United Plugins/SounDevice
Space Controller
Black Lion Audio
Rockruepel
Designed as a one-knob tool to easily add punch to drum loops or percussive hits, Urban Puncher is a plug-in for DAWs that offers simple a ‘Punch’ control — which adds a customised mix of compression, EQ and spectral transient shaping effect behind the scenes — along with a Dry/Wet mix control (for parallel processing) and Saturation controls for tweaking the effect. These sit alongside a ‘Destroy’ button that triples the Saturation effect. A graphicalon/off button controls bypass to quickly A/B the effect against the original signal, and It’s all fronted by a jaunty GUI.
American readers may be interested to know about the PG-2, a 2U a 120V power conditioner with 14 outlets providing an average of 99.7% noise filtering, thanks to Black Lion’s PG-99 filtering technology. It also offers a suite of status and alert capabilities, along with duel front and back XLR lamp connections, as well as additional and front 5V 1A USB charger. It builds on Black Lion’s original PG-1 and features a bank of 12 switched, filtered, and surge-protected outlets on its back panel arranged as three groups. These are Digital Audio Outlets (x4), Analogue Audio outlets (x4), and High Current (x4), with the latter two being time delayed to ensure speakers and power amplifiers are the last to turn on and the first to turn off. While the original PG-1 also came in a Europlug variant, we have no word on whether the PG-2 will as well.
A German-made unit, the Sidechain.one is a mono VCA compressor with continuously variable high-pass and low-pass filters for the sidechain, switchable between ranges of 20Hz-200Hz, 150Hz-2.3kHz, 1.5kHz-20kHz and controllable via two faders. These filters serve to shape the frequencies that trigger the compression, which comes in ratios of 1:2 (soft), 1:4 (medium) and 1:10 (hard), with attack times ranging from 0.1ms to 120ms and release times range from 0.1ms to 1.2s. The 1U unit comes with an external switching power supply (110-240V) and a standard IEC cable. Two units can be stereo linked via a TRS cable for Mastering or stereo bus use. A Listen facility, that solos the sidechain frequencies, also means the unit can be used as a high-quality bandpass filter. The Sidechain.one now sits alongside the two other units in the Rockruepel range: the Comp.two Mastering-centric dual-mono variable -Mu compressor, and the Limit.one all-analogue brick-wall limiter.
www.unitedplugins.com
www.blacklionaudio.com
www.masteringworks.com
Urban Puncher
PG-2
sidechain.one
September 2021 / 13
The Interview
…when I met Mark [Knopfler] things changed a lot. I started learning a whole different set of skills, understanding more about the history of music, because that is Mark's obsession as much as anything else.
Producing Mark Knopfler, soundtracks and solo albums — NIGEL JOPSON interviews a multi-talented multi-instrumentalist
Photos: Ben Peter Catchpole
Guy Fletcher
/ With composer Stephen Baysted, working on the soundtrack for video game Project Cars 3
A
s an accomplished musician, recording engineer, mixer and producer, Fletcher seems like a prototype for the production pro of today. He's featured on stage and in the studio as keyboard player, arranger and MD with artists such as Cockney Rebel, Tina Turner, Randy Newman, Dire Straits, Mick Jagger, Roxy Music, Jimmy Nail and Mark Knopfler. In 1983, Fletcher was asked by Dire Straits' guitarist Knopfler to work on the music for the films Cal and Comfort and Joy. He subsequently joined Dire Straits in 1984, a year before the band recorded their most successful album, the 30m-selling Brothers in Arms. After Dire Straits disbanded in 1995, Fletcher continued his association with founder Knopfler in his solo career as a core member of his band, and more recently as producer. Fletcher has also taken the production chair for various bands and solo artists including Bill Wyman and Vicente Amigo. Fletcher's first self-recorded and mixed solo album, Inamorata, was released in 2008 with Knopfler guesting on guitar. Since then, Guy has released another three albums, Stone, Natural Selection, and High Roads, with work on a fourth album underway. Resolution sat down with Fletcher to discover how he co-wrote, recorded and mixed the music for Codemasters' video game, Project Cars 3.
Is this the first video game you've composed and mixed? It actually is the first game, and we've got some more planned. It wasn't written to picture, like a movie would be, it was very open musically, and I enjoyed the freedom. I love mixing-up genres. It was really a lot of fun working with composer Stephen Baysted on the project. Did you start making music as a musician or an engineer? Because I remember you used to work at DJM studios… I left school quite young and I just wanted to be in the music business. I had a bedroom studio — a couple of Revoxes and a mixing desk my Dad had built [Guy's father is Ted Fletcher — designer of Alice mixing consoles]. I wrote letters to everybody — all the studios, all the publishers. I got a job with ATV as a tea-boy/ runner. I did that for a year and then something opened up at DJM, and I just left within two days, which pissed-off Peter Phillips, who was the head of ATV. He said: "You're never going to work in this business again!" So, in your head — where did your future lie — engineer or musician? I was writing and dabbling with bands when I got the job at the studio. As usual, studio hours were getting intense, so I didn't have any time
to do the other thing I loved, which was play live with my band. It came to a crunch one day where I was doing too many long hours, and I actually asked my Dad what I should do. He said: "Just do what you really want to do." So at that time I gave up the studio job to go and play with the band, which turned out to be great. Because then we got spotted and I ended up joining Steve Harley & Cockney Rebel shortly after that. But I never forgot the year, plus training, at DJM — it set me up to feel at ease in a studio. I've changed a bit now, I love being in the studio every bit as much as I do playing live in a band! After you toured with Steve Harley & Cockney Rebel, you went on to play with Bryan Ferry… I got an audition through a recommendation by an engineer who was working at [Roxy Music guitarist] Phil Manzanera's studio. He'd been working with Brian and he'd heard that they were looking for a keyboard player. I went down there with my Jupiter 8 and Brian got me to play over all these tracks that he'd been working on, which turned out to be his solo album Boys and Girls — he just recorded everything I did. So Brian's album was my audition to Roxy Music, which was a bit sneaky of him! But it got me the gig, so I wasn't going to complain. September 2021 / 21
/ Interview
and I was pleasantly surprised as to how the orchestral stuff came back. I've always had tape around whenever I could. Working with Mark Knopfler, we use a lot of tape. I'm fortunate enough to have access to A800s whenever I need… so having one at home in my studio — but in fact I actually prefer the sound of the A80. So I've now got a tape machine in my machine room back there, squeezed in! it's just a great sound — plus it makes things easier to mix. Did you transfer all the digital recordings via the A80? We transferred pretty much all elements, so it wasn't just a case of putting the mix or stems through. I thought the hardcore D&B [Drum and Bass artists from RAM Records on the Project Cars 3 soundtrack] reacted really well with tape. Are instruments easier to mix off tape because of HF saturation, or because transients are slightly tamed? I think it's a combination of everything. If you're used to dealing in the digital domain where you can hear a quarter of a dB change in a balance, it can be a surprise. So if you've got something playing from tape that's a little bit too loud, it's not like — 'Oh my God, it's too loud!' It just has a pleasing imbalance. So I think you can take a lot more liberties when you're mixing from tape. Which DAW are you mixing with? I haven't switched from Pro Tools because it feels like it's part of my DNA, but I do a lot of work in PreSonus Studio One. Certainly for creative use, I find Studio One really quite inspiring. The speed of it. The fact that you can have as many sessions open as you want, the whole drag and drop thing. It's just very quick. I find myself, being more creative with it than I would with, say Cubase. I also have some PreSonus Quantum 4848 interfaces, which I like a lot. Which interface do you use with Pro Tools? I've got an HDX system for Pro Tools and I use the Quantum for Studio One, which I run in the same computer; when I link Pro Tools and Studio One, it's with the Mac IAC [Interapplication communication] bus, but most of the time I've been going through tape because the Quantum's 16 ins and outs are set up with the Studer A80 tape machine. So I'll go into and out of tape, create a new audio file and then drag that into Pro Tools. So actually, you're using a Studer A80 like a massive plug-in? I tend to do it quite early in the recording, I've used it on some of the tracks I've been working on for my own album, where I've got a sort of '70s (programmed) drum sound. Same with bass guitar, it's just very handy to have a tape machine that you can just turn on and record through! 24 / September 2021
/ Fletcher playing an ultra-rare Yamaha DX1 he used on the Brothers In Arms tour
What gave you the idea to take advantage of the Mac IAC bus? I first heard about it through Christian Hensen at Spitfire. I noticed he was using Logic with Pro Tools on the same computer. Previously when I've done that, I've linked to MIDI interfaces with time code, and I suddenly realised the IAC bus was a lot easier. You literally send MIDI time code to the IAC bus, and tell the other DAW to receive MIDI time code from the IAC bus and — lo and behold — they speak to each other. If you word clock-lock the interfaces as well, you've got a pretty robust system — I clock from an Avid Sync IO. So you have two DAWs on the same computer linked virtually with the Mac IAC bus, using separate interfaces, both interfaces clocked from a central master clock. Exactly right. In fact, the other day I was running Cubase and Studio One and Pro Tools and Ableton Live — all in the same computer
— a 2013 trashcan with 64GB of RAM. And I noticed that Cubase and Studio One were both connecting to the Quantum interface. They were using the same interface with absolutely no problem at all! I have the Studer connected to the PreSonus Quantum, so if I want to use it in Pro Tools, I just switch interfaces. What future projects have you got planned? I'm looking forward to doing more stuff with Stephen. This was the first thing we've done together and we're both hoping that it's going to be an interesting working relationship. I'm looking forward to doing more video game music, plus I have my own album that I'm hoping to finish within the next few months. I'm sure there are some things with Mark going to be happening soon — that's all I can say! He wants to get back in the studio, and that will involve me for sure. So I'm looking forward to recording at British Grove Studios [Resolution V16.2) once again as soon as we can.
Awards
AWARDS 2021 REWARDING QUALITY AND INNOVATION
Vote now for the Resolution Awards! The nominations for the Resolution Awards have been drawn from suggestions from our writers, all industry experts and practitioners. The nomination is our accolade — now it’s over to our thousands of readers to vote…
D
espite the ongoing challenges of global pandemic, 2021 has continued to see the development of new and innovative products. Our nominations include high-tech AoIP equipment, digital and analogue processing, artisanal custom-builds, and reinvigorated DAW and plug-in software — all of which reflects the (sometimes esoteric) recommendations of our writing team, trusted colleagues and peers. Since the 2019 Awards, we have opened the voting process to our digital community — audio pros who receive our email newsletter, issuu.com readers and our wider Facebook and social media community; this year, as last, we’re making it even simpler to have
your say, by offering an online voting portal through which to submit their choices. Simply navigate to the URL below, make your choices on the voting form, and click ‘Submit’. We maintain fairness by only allowing one vote per IP address (the numerical label assigned to each device connected to the internet) — the voting page can only be submitted once per reader — so be sure to register all your choices before clicking the submit button. Voting for our 12th annual Resolution Awards will close at the end of November, and the winners will be announced in a special digital Winners Supplement, and in the Winter edition of Resolution.
AWARDS 2021 NOMINEES DAW/SOFTWARE SUITE L'Acoustics L-ISA Studio Nuendo 11 Pro Tools 2021.6 UAD Luna
MIXER/CONTROLLER (ANALOGUE OR DIGITAL)
Calrec Brio Medley Lawo MC236 48-fader Rupert Neve Designs 5057 Orbit Solid State Logic UF-8
ANALOGUE OUTBOARD
API Select T25 Little Labs LL2A ADT Olympic 500 EQ Solid State Logic 500 UV EQ
INTERFACE (A-D/D-A)
Antelope Galaxy 32 AVID Pro Tools | Carbon Focusrite Red8Line Prism Sound Dream ADA-128
MICROPHONE
DPA 4097 CORE micro shotgun JZ BB29 Scope Periscope Telefunken TF11 FET
MONITORING
Focal Alpha 65 Evo Genelec GLM 4.1 Grace Designs m908 Trinnov D-Mon + La Remote
PREAMP
AMS Neve 1073OPX API Select T12 Cranborne Audio EC1 RME 12Mic
PROCESSOR
Flock Audio PATCH XT LAWO A_UHD CORE Lawo Home Studio Technologies 5422A
RECORDER
Lectrosonics SPDR TASCAM DR-10L iZotope Spire Studio Zoom PodTrak P8
PLUG-IN
Bettermaker EQ232D Leapwing Al Schmitt SynchroArts VocAlign UAD API Vision Console
TO VOTE: www.resolutionmag.com/awards-2021-vote September 2021 / 25
Craft
Volker Bertelmann Initially known for his experimental neo-classical releases, Volker Bertelmann talks to DANNY TURNER about his adaptation to film scoring.
A
t the turn of the century, Düsseldorf– based composer Volker Bertelmann drew from his classical background to release a slew of acclaimed experimental instrumental albums under the name Hauschka. Attempting to avoid traditional classical clichés, Bertelmann adopted an avant-garde approach to recording, primarily employing prepared piano techniques to create distinctive replications of rhythmic and electronic sound. Successfully established, Bertelmann broadened his scope to integrate electronic and instrumental overdubs while collaborating with artists from the electronic dance and classical music realms. In 2012, he wrote his first feature film score for Glück, followed by the Oscarnominated Lion with Dustin O’Halloran (also know for his work with Devics and A Winged Victory for the Sullen). Bertelmann has been lauded for his radical approach to film scoring, while his rapidly ascending career includes high-profile feature films such as the recent American crime drama Your Honor and Netflix sci-fi thriller Stowaway. Your soundtrack career has exploded over the past few years; do you find this more stimulating than recording as Hauschka the solo artist? Not at all. I made records every year since 2001 under the name Hauschka but needed a break and also wondered how else I could make a 26 / September 2021
/ Volker Bertelmann in his production studio, where he prefers to employ hardware synths to software
living. When I did the soundtrack for Lion with Dustin O’Halloran in 2016, I suddenly saw the chance to make more film music. Having an Oscar nomination was a great starting point but doesn’t guarantee that you’ll work in film forever, so I tried to find movies that would establish me as a solo film composer. How would you compare your film scoring to the abstract instrumental music you’re best known for as Hauschka? The film scores are much wider and more accessible than the Haushka music. Under that name, I could work on a piece with just whispers or play with very abstract components, but I couldn’t survive that approach to making music for a film score comedy like Downhill with Will Ferrell. I would rather see Hauschka as music for dance or theatre — a more cultural approach. It’s very seldom that somebody asks me to use prepared piano in a score. You’re known for experimentation, but where do you find room to do that in film? People who know my solo work also know that I’m not making conventional film music and often ask me to be experimental. Downhill, for example, was quite a commercial film but because it played out in the Alps the first draft had a lot of yodelling. I was completely amazed by the idea of working with a singer who’s not a traditional yodeler and trying to transform her vocal by employing abstract looping techniques, so I got the chance to push the boundaries of abstract sound more than I would on your usual thriller or comedy.
Photo credit: Nina Ditscheid
In this domain, are you able to fight strongly for something that you feel should be implemented into a score? With Your Honor we used a lot of dark, scratchy breathing sounds but the producers were a little insecure about the soundtrack’s lack of melody. When producers come to a screening they might get some wind against them, but if you want to invent something new you have to venture into these risky areas. Sometimes their comments are coming so late that it’s impossible to change anything, which is an advantage to the risk-taker but there are always ways of firing and replacing you as the composer. That’s only happened to me once, when a whole film went in a different direction after a screening, but there’s never a safety net until the movie is released. What effect do deadlines have on your ability to be creative under pressure? In most cases, before the picture is locked I’ll have an average of 8-10 weeks to finish the music, but whenever scenes are changed or revisions made I have assistants to help me speed up the process. If a cue I’ve written is beautiful but needs to start a little later, I’ll have people help me to edit certain things or change the music to a new cut, but if a composition is so affected that you might have to cut out three-quarters of a progression or create a
I do try to keep sounds out of the box and no score I’ve worked on since 2016 has been done solely with MIDI instruments different ending, I’d never give something like that away. It’s more about making practical, time-consuming changes, while I concentrate on writing and finishing the music. How many people are in your team? I have a location with four studios, one of which is used for orchestration, and my assistants can do everything including orchestrate, play instruments and all the Pro Tools stuff. They attain all the knowledge I need from a university here in Düsseldorf and all have their own careers and ambitions.
Has your studio been adapted towards working in the box as a result of your increased participation in soundtracks? That depends on the turnaround. For a series, it’s much easier to work with MIDI because things are changing very quickly and you have a huge amount of music that needs to be turned around. Sometimes you might only have two weeks to write everything for an episode, so you have to be very aware of that, but I do try to keep sounds out of the box and no score I’ve worked on since 2016 has been done solely with MIDI instruments. I might compromise if a September 2021 / 27
Craft
I was listening to a lot of different music and knew absolutely that, for me, the adrenalin and excitement came from recording. (Arcade Fire), Pauline Taylor and many others. But he also been involved in whole-album projects, including Kevin Simm’s Recover LP and a forthcoming release from 2019 Montreux Jazz festival winner Afra Kane and UK-based funk ensemble Soul Grenades. Resolution’s conversation with Lepori touched on all aspects of his work and love of music, but we began with his earliest recording revelations in his own small studio space in Italy.
Andrea Lepori The U2 and Jack Savoretti mixer, engineer and producer tells DAVID DAVIES about his very first studio space in Italy, spending time in LA, and his current studio in London.
G
rowing up in Italy as a keen music fan with a burgeoning passion for technology, Andrea Lepori went on to study sound engineering in Milan and London. Having spent a hugely informative few years in Los Angeles, where he worked with an array of established classic rock acts, he has 30 / September 2021
subsequently explored a broader musical palette from his own studio base in East London. Lepori’s commitment to realising the vision of the artist and producer has earned him a particularly high-profile as a mixer, working with U2, The Rolling Stones, Jack Savoretti, George the Poet, Bobby Bazzini, Régine Chassagne
At what point in your early life did your love of music begin to translate into a desire to find out more about recording and production? By my mid-teens, I was playing a lot of guitar and it felt great. But, at a certain point, I realised I could get more out of the guitar sound with MIDI pickups. So my parents bought me a Fender Stratocaster with a MIDI pickup in the amp instead of a single coil. Together with an old Alesis keyboard that I had, I started working out harmonies and arrangements — basic stuff and very rough, but it was intriguing to me. I also loved working out how to create and recreate particular sounds. So at some point, I asked if I could build a little studio — if that is the right word — in my granddad’s shed, which was situated next to my parents’ house. Over time I added different bits of equipment, such as an Akai S1000 sampler and a Tascam eight-track recorder. That studio, which I called ML, is still there and is now a fully pro studio. It’s full of memories and I still use it when I am in Italy. A few years later you went on to study at the School of Audio Engineering, first in Milan then in London. What are your memories of that time? I made some of my best friends then — and they still are now. Some of them also helped me to get my first big gigs in the business. [In terms of my ideas about recording] I was still exploring at that point, but I did know I wanted to take aspects of electronic music into more of a classic rock type of thing. I definitely liked some of the [production details] that I heard in music by The Cure and U2 — for example, the echo on The Edge’s guitar.
/ Craft
Producers like Daniel Lanois and Brian Eno had a big role in developing the sound of bands such as U2, so were you listening to their work? Totally — to the point where in some cases I would go on to buy the deluxe or special editions of some albums because I wanted to get more insight into them. But yes, I was listening to a lot of different music and knew absolutely that, for me, the adrenalin and excitement came from recording. So I absorbed as much knowledge as I could and learned how to do important tasks such as how to sync tape machines — analogue or digital. Because by this point [late ‘90s/early ‘00s] digital recording was really coming in and there was a big shift away from tape. Not long into your career you moved to LA and began working at a number of prominent studios. How important was this period to you? Very important — it gave me so much great experience working at studios such as NRG, Paramount and East West. I had the chance to record some sessions with musicians from Guns & Roses and Slash’s Snakepit, as well as Billy Idol, Keith Richards and Soul Asylum. Amanda Shires [singer/violinist, solo artist and now a member of country supergroup The Highwomen] is one session I remember very well. She was in the early part of her career, but we managed to do two songs in one day — to the point of almost having final mixes. That was a really defining moment.
Over time you have concentrated more on mixing than recording — was that a conscious decision? It just happened gradually. One factor was that I had not had the chance to finalise many of my own projects in LA. So when I moved back to London and [producers/songwriters and long-time Andrea’s friends] Matty Benbrook and PNUT started giving me other artists to mix. I was so happy. It also underlined the fact that whatever ideas you have as the mixer, they should always be in the service of someone else’s vision. If you let your own vision overtake that of the artist and
producer, you are lost. But, although I am doing a lot of mixing, it’s still great to have the chance to see a project through from beginning to end. Just before the pandemic I was working with a band called Soul Grenades, which was 11 people in a room — including horn players — all playing together. That is the vibe of the record, which I have just been mixing recently. I would love to do more of that live in the studio recording – it’s so enjoyable. I think [my ideal] from this point would be to do at least 2/3 complete album projects (full production) per year, alongside the mixing work.
EQ232D Bettermaker EQ232D is a faithful plugin recreation of one of the most respected analog mastering EQs of the new millennium
The Bettermaker EQ232D is the Pultec of the 21st Century. Matt Schaeffer - Recording Engineer (Kendrick Lamar, Bakar, A$AP Rocky) I can use my Bettermaker on a plane, I can use it on a train, I will use it on a bus, I will use it everywhere man oh man. - Jimmy Douglass (Aaliyah, Missy Elliott, Ginuwine, Jay-Z.) The Bettermaker certainly lives up to its name, it's a wonderful sounding EQ that's simple enough to get results quickly, but with enough features to address any problem areas in your audio. The P EQ section allows for great tone-shaping, while EQ 1/2 and the HPF let you address the fine details. A great addition to anyone's EQ arsenal. - Paul "Willie Green" Womack (The Roots, Wiz Khalifa, ScHoolboy Q) The analog version of the Bettermaker EQ has been my final top-end and bottom-end for final touches on almost every single mix for the past five years. The plugin version is a winner! Sounds, looks and feels fantastic. - Luca Pretolesi - Producer/Mixing/Mastering Engineer (Diplo/Major Lazer, Snoop Lion, Steve Aoki)
/ Andrea learned his trade at SAE in London
September 2021 / 31
Focus: Consoles
Focus: Consoles It’s undeniable that the role of the mixer as the centrepiece of the studio has been diminished considerably in the 2000s. What was once the monolithic slab of technology that could make or break the reputation of a recording facility became something of a dinosaur for a while as DAW technology ascended — and it often found itself sidelined in favour of control surfaces or simply a mouse and a keyboard as more an more of us work solely in the box. It never has, and probably never will, completely go away, though — kept alive by the need for tactile interaction and the wish to keep some of the analogue sound listeners find so pleasing. Here are some options — large, small, and somewhere in between — that can fit with a wide range of workflows, traditional and modern.
API
Audient
Heart-warmingly traditional in appearance and operation, the 2448 offers 24 ins, each with API 212L mic pre and 550 EQ, 24 faders plus eight aux and eight summing buses, four returns and a stereo bus — which can be further augmented with API’s final touch automation system. It can be beefed up even further via the eight 500 Series module slots or optional 529 stereo bus compressor. It provides full analogue VU metering, in a classic black/red scale to complete the classic look and feel. We could talk forever about this desk, we think, but you perhaps already know if it’s for you. By contrast, API’s The Box seeks to bring API’s sonic template to a stripped-back workflow (and at a price that makes brings it down to very serious project/smaller commercial studio levels), offering eight input channels with mic pre, line-in and HP filter alongside its eight 500 Series slots with LED metering for each of its 24 summing channels (with 0dB bypass switches). There’s also an on-board stereo bus compressor that can be assigned to the stereo out bus or input channels 1-4, instrument DIs on channels 1-4, a stereo and two mono aux sends — and all the cue, headphone and talkback functionality you would expect. All that and it has a nice API look to it as well. Which, y’know... we’re not too aloof to say we like.
Perhaps known by most musicians for its pre-amps and interfaces these days, for studio heads the Audient name will be synonymous with the 8024 large format console. That has been around for nigh-on two decades now, and popular enough to have earned itself a Heritage Edition iteration (8024HE) to bring the original design of the company’s co-founder (and famed behind the scenes tech for John Lennon’s Ascot Sound Studios, and console builder for George Harrison and Ringo Starr among others) David Dearden (Resolution 4.8) up-to-date. While that’s been Audient’s top-of-the-line console for five years now, its compact smaller sibling the 4816 fills that currently pre-eminent ‘modern workflow’ product slot for the company. It offers 16 of the company’s signature mic pres among its 48 inputs, 4-band switchable EQ, eight subgroups/inserts, 16 record buses, six auxes and a mix bus compressor as the core of its functionality, within a footprint of 109cm (43”) by 99.5cm (40”). It utilises both long and short faders, in an in-line architecture, to create monitor and record balances using a single channel strip, while the EQ can be split to allow the parametric or shelving EQ functionality to be assigned to the short fader channel instead, allowing EQ to be applied to record and mix channels simultaneously.
www.apiaudio.com
www.audient.com
2448 & The Box
38 / September 2021
ASP4816
AMS Neve
Calrec
The 8424 is geared toward DAW-based production studios and offers flexibility rather than an excess of circuitry. This serves to keep dimensions and costs down but, given the company that created it, makes it tempting to focus on what it doesn’t offer rather than what it does. The prime example of this is its assignable 1073 mic preamps, of which there are two as part of its core design — the other live recording option being two front-located DI inputs (the rest of the desk utilises the Virtual Earth Bus system seen on the Genesys and 88R). Those four input channels can be further augmented with either or both of two 500 Series slots that can also be assigned as Inserts to the mix bus, and groups, but users who require extra capacity will need to leverage the versatility of the network-controllable Neve 1073OPX units — or, of course, any pre-amp of their choice — to expand when needed. The addition of the motorised fader option allows the 8424 system to control multiple DAW platforms (and the 1073OPX) via a direct or networked ethernet connection, again adding to its modern workflow credentials and making it a great option for someone looking to get a bit of the 80-series sonic colour from their modern rig.
While the Apollo and Artemis models sit on high as the large format gods of Calrec’s range, the Brio is its broadcast-focused compact solution. With up to 96 channels and 36 main and group busses, fully integrated I/O (24 mic/line ins + eight AES3 / 16 analogue outs + eight AES3), and 96 DSP paths the Brio is a ready-to-go solution for space-restrained applications mixing in up-to 5.1 at 96kHz. The addition of expansion modules can add MADI, SDI, Dante or Calrec’s Hydra2 system for additional I/O routing audio between consoles. For example, the Br.IO Hydra2 unit will double the number of inputs and outputs that are standard in the Brio 36 outlined above. Moving things forward even further in the compact space is its AoIP Type R solutions for Radio and TV. The mixing system uses networking hardware, ‘soft panel’ touchscreens and ethernet-connected fader units with operations tailored to need. Its three hardware panels can create a variety of systems, and tie in with Calrec’s Assist system for mixing in the cloud. It provides capacity for up to three independent mixers to hang off one system core, with expandable DSP licenses to suit.
www.ams-neve.com
www.calrec.com
Cranbourne Audio
Korg
The idea of creating a 500 Series unit with ADAT I/O is a clever one, that will utilise an oft-unused aspect of many an audio interface’s connectivity. Utilising ADAT optical connection, the 500 ADAT can take eight ins and outs from an interface and feed them to the eight corresponding channel slots in the rack. In terms of this product focus, it means the potential to create an eight-channel mixer utilising 500 series strips such as SSL’s SiX Channel. Or a hybrid of whatever you feel like using, via the unit’s internal signal routing. Even without 500 units installed the 500ADAT (or its ‘RB, USB-connectable audio interface cousin), can work as an 8-channel line mixer, that can interface with Cranbourne’s CAST Cat-5/6 audio cabling system — to route audio to its headphone amp or breakout boxes — and provide headphone monitoring itself. However, when you start adding in modules it becomes a much more interesting proposition, of course. The options are pretty mind-boggling for a small scale studio that doesn’t need a massive amount of processing. No, it’s not a ‘proper’ mix console, but it’s an innovative way to access extra probably dormant feature of your interface to add the kind of processing that a high-end tracking and mixing desk can provide — such as master bus compression, for example — at a relatively low cost.
Korg’s foray into the mixer market is, in a similar vein to the examples herein from PreSonus and Tascam, a hybrid system designed to appeal to live and recording musicians and engineers. Designed by Peter Watts and Greg Mackie — the former a veteran of R&D at Trident, and then the latter’s eponymous company that built on his success with Tapco in the 70s and 80s — the 24:8:2 is first and foremost designed to make live mixing easier, but also has features that will appeal beyond that arena (pardon the pun). The pair have collaborated in the wake of the Mackie’s sale in the early 2000s as consultants under M&W Pro Audio moniker, the most high-profile of their projects being the QSC Touchmix line of Wireless digital mixers. This is a more traditional offering, however, providing a desk with 16 mic preamps with 3-band EQ and a Watts-designed ‘one knob’ compression control on each channel as well as mute groups that will be a boon for presentation and church users. The eight bus configuration and routing make it flexible for recording — it is also DAW connectable via USB — and these sit alongside additional features specifically tailored for live applications. That includes a feedback suppressor, spectrum analyser and all-XLR speaker outputs. As you would perhaps expect, it also includes internalised Korg digital effects taken from the Kronos workstation. Much like Tascam’s model below, this is very much aimed and suited to the recording of live events with the addition of a DAW, or performers who need value for money from their kit and would appreciate its dual uses and competitive pricing.
www.cranborne-audio.com
www.korg.com
8424
500 ADAT
Brio & Type R
MW2408
September 2021 / 39
Facility
Marshall Studios NIGEL JOPSON finds the iconic amp brand have turned the dial to 11 with a new recording facility
W
hen you’re recording rock music, there's one classic amp topping the list: Marshall! The British backline mainstay is unusual as an MI manufacturer in that practically every process — from woodcutting and metalbending through circuit assembly — is completed on-site at their factory in Bletchley, Milton Keynes. In recent years Marshall has added wi-fi speakers and headphones to the product line, acquired drum-maker Natal, and in 2017 started a record label — now the legendary amp-maker has built a fantastic recording studio. Arriving to view the new studio, we were taken aback at the scale of the project. “This has been a passion project for the Marshall team,” said commercial director Alex Coombes, “our ambition was to build a versatile and flexible commercial multimedia facility to serve the modern entertainment market, and at the same time to promote young talent and give something back to the artist and producer community.” 46 / September 2021
The facility is constructed on the site of an old hall behind the factory, with private car park adjacent. This is not just a recording or ampdemo room — this is a full-blown multimedia facility, with a live room capable of accommodating an audience of up to 250.
The layout
The entrance to the single-story building gives onto a spacious reception area, with video screens, a bar (complete with Marshall branded beer taps) and a reception area. It’s easy to imagine this space being used to welcome guests before a showcase performance or album launch event. A corridor links to the control room and huge recording space, capable of accommodating an orchestral ensemble or audience, with a stage at one end and a loading bay behind the stage. Adjacent to the stage is an artist green room, with the live area in front of the green room having a slightly lower ceiling height giving a more damped acoustic. The ceiling in front of the stage holds
/ View of live area, from control room window (entrance to green room to right of stage).
four lighting trusses, with sufficient space to accommodate film crews and cameras if required. The loading bay behind the stage has a large through-wall cable flap, enabling an OB or video truck to be positioned in the car park. “I think we can do everything here,” says studio manager Adam Beer. “We've got a world-class recording studio, it's a showcase venue and we can do video recording — for product reviews, podcasts, live streams — you name it! We've set up a place that can allow creative people to fulfil their potential, whatever they want to do. I think it's a massive vote of confidence in the creative industry from Marshall themselves. I'm incredibly grateful for the opportunity to run this studio — this is a ‘limitless’ building.” Beer arrived at Marshall after a decade of experience in both recording and live sound, and has specified equipment with an eye on flexibility and connectivity. “Every part of the building has a mic tie line, a speaker output, and an instrument output for guitar amps, plus you've got data via RJ45 for monitoring or remote connection via six Focusrite RedNet AM2,” explains Beer. “We can take any Dante mic preamp, put it anywhere in the building, it will come into our main network and we can record it directly. It means that the whole building is effectively the studio, even the office at the top!” With an eye to the detail, we like the little Marshall logo on all the custom mic boxes — and the black elephant grain Tolex wrap on the panels.
Neve will rock you
Stepping into the control room, a massive vintage Neve 8048 40-channel console, with a separate custom analogue patchbay installed to the left side, confirms Marshall’s serious ambition with the facility. Making some final adjustments is Blake Devitt, vintage-expert par excellence, well known for his work in repairing
/ Producer Chris Sheldon at the controls of the Neve.
/ George Drewry of Bad Touch recording drums.
Our ambition was to give something back to the artist and producer community and reconstructing all things Neve, and responsible for many classic re-builds including Paul Epworth’s console at The Church studios (Resolution V13.8), ICP studios in Belgium, and Miloco’s Pool studio. The Marshall console frame came from EMI Pathé-Marconi studio in Paris, and is populated by a selection of Devitt’s hand-tweaked modules. To the left are 24 channels with 1093 modules, whilst the right 16 channels include an
additional mix of 1065, 1066 and 2065 modules. “The patchbay would normally be at the end, making these consoles in their original form incredibly hard to move,” explains Devitt, “but I have re-positioned it to be free-standing to the left side of the desk in this control room. I had the remains of a BBC console, and I changed the shape of it to house the patchbay. I decided that what was needed was a ‘co-pilot seat’; vintage desks would always have two positions,
/ Neve 8048 with Pro Tools screen in the centre.
September 2021 / 47
Playlist
Richard H. Kirk JOHN MOORE marks the passing of Cabaret Voltaire and electronic music pioneer Richard H. Kirk, a stalwart of alternative music in the UK from the mid-70s onwards, with a pick of tracks from his catalogue
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hen I was first paying attention to music that wasn’t classed as pop, it was around the explosion of the UK acid house scene at the end of the 80s and Cabaret Voltaire’s Groovy, Laidback and Nasty became a staple of my listening rotation. It was one of their less abrasive LPs, and while dance music of the late 80s, was very US-centric, Cabaret Voltaire seemed to do a little of what Kraftwerk had done — to graft a European sensibility on to electronica — for the UK, and I loved it. I began digging a little deeper and discovering that Richard H. Kirk and Stephen Mallinder were far from just faceless guys with banks of synthesisers; that they had a history that took them back to the DIY punk scene and beyond, and a whole host of interesting projects behind them. Sometimes together, and sometimes separately, they continued to be fascinating. Sadly, Richard H. Kirk passed away at on September 19th this year, but here is a selection of his music by way of a tribute from us.
Cabaret Voltaire YASHAR (1983)
Cabaret Voltaire NAG NAG NAG (1979) Kicking-off with a swathe of delay and feedback, this beatbox-led noisefest was influential enough to end up with a London club night named after it — and continued to inspire the more distorted strains of electronica into the new millennium and well beyond. . Cabaret Voltaire KEEP ON (I GOT THIS FEELING) Another slice of pop from the early nineties that is as close as Cabaret Voltaire ever got to the slick house sound of exponents like Kevin Saunderson’s Inner City. Pure joy for me.
Cabaret Voltaire HYPNOTISED (1989)
The tape loop experiments of early Cabaret Voltaire merge with detuned synthsiser oscillators and thudding percussive patterns in a wonderfully discordant, more than vaguely middle-eastern slab of electronica. Cabaret Voltaire SENSORIA (1984)
The massive gated drum tracks, post-punk scratching and chorused guitars, along with glitchy samples of this 1984 track adheres to - and warps a template followed by so much club music of the time. Creative delays keep the groove bouncing and propel a very British take on US house.
Starting off with a classic Linn drum line, this track morphs into what is probably Cabaret Voltaire’s poppiest moment. More classic late 80s delay, with glitches, big synth stabs, a bit of Italo-house piano thrown in, and a heavily effected vocal combine to create a great track. Cabaret Voltaire THEME FROM EARTHSHAKER (1984) A track with soaring synthscapes and clattering industrial percussion that never quite finds a groove, this is an instantly ear-catching piece of proto-synthpop that is definitely not pop.
It’s got a touch of Jarre and Vangelis, but has definitely had a few late nights out in the North of England too. It comes from the LP MicroPhonies, which generally showcases the band very cannily balancing its art-rock and electronic influences; not here though. Cabaret Voltaire EASY LIFE (1990)
Another Groovy, Laidback and Nasty LP cut, this one is unashamedly percussive and leans back on a 303 pattern and synth vibraphone to keep it moving forward in as loose a way as is possible in that format. Plenty of cowbell, too. Richard H. Kirk I WANT MORE
Just a basic 303 and drum machine, twinned with a breathy vocal, but this unreleased track from an anthology LP covering 74-89 — being a cover of the Can song from 1976’s Flow Motion — says pretty much all you need to know about where Richard H. Kirk saw his sound as coming from, and heading. Richard H. Kirk THE FEELING OF WARMTH AND BEAUTY (1995) In contrast to the abrasive edge of Cabaret Voltaire, Kirk’s solo LP Virtual State deals in a much warmer, deeper, sound, with almost Reich-like interest in repetition. Here. a looping filtered synth line, underpinned by propulsive bass, keeps this track centred while fizzing percussion comes in and out but never really kicks it off.
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