The Imaginarium of Doctor Parnassus PLASA & IBC - Audio Media

ecording newsstreaming news @ www.audiomedia.comNEW PRODUCTJZ MicrophonesA new addition to the Black Holeseries of microphones has beenmade by Latvia-based JZMicrophones. The BH-1shas two large diaphragmcapsules and three directionalpatterns – omni,cardioid, and figure-ofeight.The diaphragmcapsules are back-tobackand use JZ’s patented GoldenDrops technology. “The BH-1s isthe most complete microphone inour range,” said the Designer, JurisZarins. “We decided to produce it toprovide a full range of applicationsfor professional recording.”www.jzmic.com. . . . . . . . . . . . . . . . . . . . .NEW PRODUCTMackieMackie has launched theOnyx-i FireWire series of mixers.The analogue mixers can be usedwith all major DAWs and Pro ToolsM-Powered 8, and feature Onyxmic pre-amps and Perkins EQ.The FireWire interface is nowbuilt into the mixer, unlike theolder Onyx Compact series whereFireWire came as an additionalpaid-for option. James Woodburn,Mackie Product Manager, said:“There are real benefits when usingan analogue mixer as a frontend to your favourite DAW.”www.mackie.com. . . . . . . . . . . . . . . . . . . . .PRODUCT UPDATEApogeeApogee Electronics has announcedthat several of its products are nowcompatible with Apple’s SnowLeopard. Duet, ONE,Mini-FW, USB, andX-Firewire interfaceshaveall been updated.A single version ofMaestro is now compatiblewith all Apogee products, andSymphony Mobile systems nowsupport SBus connection.www.apogeedigital.comFACILITY REFURBPool Makes A SplashMiloco Studios has unveiled the results of a summer refurbishment at itsLondon premises. The blue-floored Pool has a brand new control roomand isolationbooth, based at thefront of the studioon what used tobe the loadingbay. Control roomkit includes anEMT 30-channelconsole, a range ofmonitors includingGenelec 1031s,Yamaha NS10s,and Tannoy LittleGolds; plus lotsof Producer BenHillier’s vintage analogue gear. Underneath is the live room, which hasbrand new lighting and acoustic enhancements. The Pool has been redesignedso that it can be used in its original open-plan layout, or with acontrol room behind closed doors.The Engine Room’s live room has been changed so that it now containsthree recording areas; a main live room, and two booths, and renamedThe Bridge. The Engine Room and The Bridge can be used separately ortogether, as a secondary wall has been built to increase isolation.Miloco Studios+44 (0) 207 232 0008www.miloco.co.ukPRODUCT UPDATEMore Sounds From Native InstrumentsNative Instruments has announced some product updates. First up is GuitarRig 4 Pro, which introduces advanced cabinet and microphone modelling.The advanced speakeremulation is the basisfor a new module,Control Room, whichallows users to mixand match up to eightphase-aligned studiomicrophones for eachcabinet. Also includedare two new tube ampmodels and two newdelay units.Absynth 5 – a newversion of NI’s semimodularsoftware synthesiser – includes special sound shaping features, andintroduces The Aetheriser, an algorithm that breaksup and rearranges sound.Kontakt 4 has also been released, featuring Authentic ExpressionTechnology that replicates the dynamic tonal behaviour of originalinstruments. The new version of the software sampler also introduces theNCW compression format, which reduces sample size by up to 50 percent.As well as being available individually, all three of these updates areincluded in Komplete 6. The package also incorporates Battery 3, FM8,Massive, and Reaktor 5.Native Instrumentswww.native-instruments.comPRODUCT UPDATEAlterMediaAlterMedia has released the latestversion of Studio Suite, its studiomanagement software. StudioSuite 9 tracks and managescontacts, scheduling, project,invoicing, library and labels,media assets, equipment, andmedia inventories, communicationsand maintenance.The package is available in fourversions and is networkableacross Mac and PC platforms.www.studiosuite.com. . . . . . . . . . . . . . . . . . . . .NEW PRODUCTBrainworxBrainworx has unveiled the bx_digital V2, with re-designed filtersand improved frequency range.It has a new six-knob centre sectionwith individual pan for midand side signals, and new autosoloand auto-listen modes forTDM and Native. The model offersthree modes and 11-band EQ.www.brainworx-music.de. . . . . . . . . . . . . . . . . . . . .NEW PRODUCTARXAustralian pro-audio manufacturerARX has added the USBI/O Universal Transformer IsolatedUSB interface to its AudiBoxrange of precision audio tools.The USB I/O has transformer isolatedaudio inputs and outputs,and also incorporates USB analogueto digital and digital to analogueconverter chipsets, whichallow maximum headroom.www.arx.com.auAUDIO MEDIA OCTOBER 2009 9

post newsstreaming news @ www.audiomedia.comPRODUCT UPGRADEBIAS has releasedSoundSoap Pro2, amajor upgrade tothe original audionoise reduction andrestoration softwaresuite for Macand Windows.The advanced algorithms ofthe software can be used toautomatically extract a noise profile.www.bias-inc.com. . . . . . . . . . . . . . . . . . . . . . . . . . . .NEW USERThe new Coldplay single, StrawberrySwing from the album Viva La Vidadebuted recently at London’s WestEnd Odeon, having been mixed atNew York’s Electric Lady Studiosby MichaelH. Brauer,using theDangerousMusicMonitor ST-SRsurroundmonitor controller.www.dangerousmusic.com. . . . . . . . . . . . . . . . . . . . . . . . . . . .NEW PRODUCTA new catalogue of modern musichas been launched to supplymusic to film studios, televisionnetworks, trailer houses, advertisingagencies, game companies, andcorporate producers. Pacifica Musicis a joint venture between RipTideMusic and pigFACTORY.www.pacificamusic.comFACILITY REFURBWalloon Facility UpgradesBrussels-based Studio L’Equipe, one of Belgium’s leading post production facilities,has opened a second facility in nearby Bierges. The studio has relocated its EuphonixSystem 5 digital audio mixing systemto the new facility, and carried outsignificant console upgrades.The new sister company– calledStudio L’Equipe Wallonie – will servicethe fledgling film industry in theWalloon region, and features a newDolby Digital theatre.Before re-installing the 64-faderSystem 5, originally installed in 2002,the console underwent a full surfaceupgrade to Euphonix’s very latest touch-sensitive channel modules with hi-res TFTs.The studio also upgraded to the new Euphonix DF70 DSP SuperCore, which was thefirst European installation of the new processor engine. The Df70 will provide morethan 400 fully resourced channels with up to 64 mix busses at 48kHz.Euphonix+1 (650) 855 0400www.euphonix.comPRODUCT UPDATEMinnetonka Audio has announced plug-ins for Dolby and DTS. Version 1.3 ofSurCode for Dolby E has several improvements, including better compatibilityacross all decoder platforms and user interface developments.For Digidesign users, the decoder version automaticallydefines where the Dolby E stream is located within the ProTools 5.1 or 7.1 bus architecture, and optionally configuresPro Tools channels to decode a Dolby E stereo programme,a 5.1 programme, or all eight channels at once.The DTS plug-ins are the SurCode Encoder for DTS-HD for Compressor and SurCode Decoder for DSTS-HDfor QuickTime. The encoder produces encoded streamsdirectly from Apple Final Cut Studio and Logic Studio.The decoder offers the ability to play back DTS streams forquality control prior to disc authoring.Minnetonkawww.minnetonkaaudio.comFACILITY REFURBTV and film facilities companyMolinarehas refittedits audiosuites withGenelecmonitors,supplied by the specialist postdivision of HHB, Scrub. The editsuites are now equipped with 8030and 8040-based systems, whileaudio suites have been upgradedto 8240 and 8250-based GenelecDSP surround systems. MolinareCTO Scott Holmgren explained:“With Genelec DSP-series monitoringas our house standard, we’re ableto ensure consistent, accuratemonitoring, which we can recreate inany room with total precision.”www.hhb.co.uk. . . . . . . . . . . . . . . . . . . . . . . . . . . .NEW FACILITYA newmixstage,hopingtoattracthighendfeature films from around theworld, has opened in Mexico City.Astro LX features a Solid State LogicC300 Console.“The flexibility of this console istruly unique, and offered a new wayto approach mixing a film,” said ChiefEngineer Jaime Baksht. “The C300 HDallows us to configure the consoletopology to the exact working needsof any engineer or project, allowingthat engineer to come in andimmediately start mixing.”www.solid-state-logic.com10AUDIO MEDIA OCTOBER 2009

“I was gobsmacked when I saw the Euphonix.I was blown away by the quality and thefunctionality. The Euphonix sounds fantasticand has the ability to behave precisely howyou want; it can be tailored to exactly fitour needs.”Johnnie Burn,co-owner Wave Amsterdamwho controls Nuendo via histwo System 5-MC’sWave AmsterdamThe System 5-MC is a DAW Controller with a difference - a big difference.Thanks to its EuCon control protocol, the System 5-MC tightly integrates withDAWs such as Pro Tools, Nuendo, Logic Pro, Digital Performer and Pyramix. world of networked equipment, only Euphonix can provide true hands-oncontrol over your favorite applications.198821YEARS OFYEARSEXCXINNOVATIONELLENCE & DESIGN2009www.euphonix.com© 2 0 0 9 E u p h o n i x , Inc. All Rights Reserved. I Newport Road, Hayes I UB4 8JX, UK I Phone: +44 (0)20 8561 2566 I Fax: +44 (0)20 8589 0766

oadcast newsstreaming news @ www.audiomedia.comNEW PRODUCTZaxcomZaxcom has launched Zax-Net,a 2.4GHz RF network for thedistribution of remote controlsignals, time code, IFB audio, andmetadata forproductionsound. Thewirelessnetworklinks Zaxcom’s Deva/Fusion digitalrecording wireless encrypted IFBreceivers and compatible digitalslates into a single system for audiorecording and metadata distribution.It features the ability to synchroniseany number of Zaxcom wirelesstransmitters for time code-referencedplayback, which means a take can bere-recorded by a Deva or Fusion unit.www.zaxcom.com. . . . . . . . . . . . . . . . . . . . . . . . . . . .NEW PRODUCTNeumannNeumann has expanded itsrange of digital microphones foruse in broadcastapplications. Twoof the newestproducts were thenew KMR 81 D digitalshotgun microphone, and the KK120 – a figure-of-eight capsule forthe comapny's miniature digitalmic series. By combining thesetwo products, digital MS stereorecordings can be made with anintegrated digital workflow. Thereis also a range of accessories for arange of applications. On the cardsfor 2010 is a portable version of the DPAdigital microphone interface DmI-2. +45 4814 2828www.neumann.com www.dpamicrophones.comNEW PRODUCTNew Ranges From SonifexSonifex has launched five new product ranges. The S1 Digital/Analague radio broadcastmixer is a compact, low-cost, fixed-format mixing console for on-air radio use.The new Reference monitor meters are a rangeof three freestanding and five 1U rack-mountprecision meters, and the Reference monitorcontrollers are a range of four 1U rack-mountaudio production control units, for providingsource selection, volume, DIM and CUT controls forexternal analogue monitors.The Redbox video embedders and de-embedders offer embedding andde-embedding for analogue and digital audio signals into and out of all 3G, HD, andSD-SDI video signals.The final new product is the openGear 8-output digital audio distribution amplifier,which provides a standard rack-based platform with control via TCP/IP connectivityusing a free application called Dashboard.Sonifex+44 (0) 1933 650 700www.sonifex.co.ukNEW PRODUCTRycote And DPA Shotgun WeddingDPA and Rycote have teamed up to create the new DPA 4017-R shotgunmicrophone with Rycote windshield. The new strong suspension and windshieldsolution has been designed specifically for the DPA 4017’s small size. The wholepackage consists of the 4017 shotgun mic with XLR cable and DPA windscreen; theRycote Windshield 2, which measures 330mm; the Rycotefur windjammer; Rycote suspension mount in vibrant red,and Rycote XLR holder.Rycote has also been showing its universal camera kit,known as RUCK (Rycote Universal Camera Kit). The InVisionVideo Mount assembly accepts microphones from 19 to 25millimetres in diameter, and can be rotated freely through360 degrees. The kit also comes with a variety of adaptorsthat allow the mount to be used in different physical configurations, and two layersof Rycote wind protection.Rycotewww.rycote.comNEW PRODUCTWohlerThe Wohler 3G 16-channel audiomonitors have been unveiled.The AMP1-16-3Gand the AMP1-E16-3G featurethree OLEDscreens, that candisplay up to 16channels of audio, video, and Dolbymetadata.www.hhb.co.uk. . . . . . . . . . . . . . . . . . . . . . . . . . . .FACILITY REFURBFountain StudiosFountainStudios,claimed tobe the largestpurpose-builtTV studioin the UK,has installed a brand new 5.1 studiosound gallery, featuring Harbethprofessional monitors. The Wembleybasedstudio mixes and recordsprogrammes such as ITV’s The X-Factor.www.harbeth.co.uk. . . . . . . . . . . . . . . . . . . . . . . . . . . .NEW USERTSLVisilink News and Entertainment hasdecided to standardise on TSL’s AMUrange for monitoring. Visilink recentlypurchased TSL’s AVMU-BHD+,destined for use in a new ADVENTsatellite uplink system.www.tsl.co.uk

what’s upUKwhatsupuk@audiomedia.comFeeling The BurnKEVIN HILTON visits De Lane Lea post-fire, to see how the studio has been dealing with this hard twist of fatein a marketplace that is already under strain.There are enough pitfalls in the post-productionbusiness for facility bosses to worry aboutthese days – the state of the global economy,high rents, keeping up to date with technology, andlosing key staff to competitors – without frettingabout other variables. But there’s always somethinglurking in Fate’s back pocket, and for Soho audiohouse De Lane Lea it was that age-old threat, fire.On July 10 this year at approximately 1.45pmthe facility was evacuated as a blaze spread from aneighbouring building on Dean Street. One hundredfire fighters arrived to tackle the fire, which hadalready caught hold of over ten percent of the officesof finance company Future Capital Partners. Not onlywas Dean Street sealed off, but Oxford Street wasclosed to all traffic and pedestrians.The incident made the TV news headlines, withdramatic pictures of black smoke rising aboveSoho. Two fire fighters were injured whilecontrolling the fire, which is rumoured to havestarted in an air conditioning duct of the building,previously home to film production company FutureFilms. The London Fire Brigade is still investigatingthe Dean Street blaze so no cause has beenidentified officially.De Lane Lea was founded in 1947 and has beena Soho fixture since the 1970s. On the face of it,the company’s premises at 75 Dean Street escapedunscathed compared to its neighbour. The storyinside is very different. “The whole building hasbeen affected and there’s smoke damage to thestudios and common areas, as well as fire damageto the roof,” says De Lane Lea’s Chief Executive, HuwPenallt Jones.The company’s priority has been deciding howbest to move forward and resolve the situation. In thedays after the fire De Lane Lea rented an office fromfellow facility Goldcrest, but now the managementstaff is operating from a building on BroadwickStreet. Penallt Jones is working in a basement room,which he refers to as his ’bunker’ in a typically stoicBritish manner.New homes had to be found for projects thatwere underway at the time: Fantastic Mr Fox wentto Pepper Sound and Goldcrest took some otherwork, but since then De Lane Lea has been on hiatus.“We had say to our clients that we couldn’t get intothe building, at least for the first eight weeks afterthe fire,” says Penallt Jones. “That’s because the partywall had to be shown to be safe, and after that therewas a barrier around the building and two largecranes to bring in steel girders to shore it up.”Since access to the building was regained, DeLane Lea has been working with surveyors andinsurance companies to assess the amount ofdamage, with the aim of getting the facility runningagain. “Currently we are planning a refurbishmentof the building, or a process of putting everythingright,” explains Penallt Jones. A schedule of workshas been compiled, and although the time-scalecould change if contractors find any more damageas work progresses, December 18 is the target forhaving everything finished.After that the hope is to begin trading again inJanuary. Work continues and the stud walls andacoustic treatments have been removed to giveaccess to the brickwork to ensure it is sound.“A problem has been that we haven’t been able toassess the condition of the equipment because theair conditioning isn’t on, so we haven’t, for want ofa better term, been able to fire up the equipment,”says Penallt Jones.The AMS Neve DFCII desk in Studio 1, the GeminiDFCII from Studio 3, and Studio 2’s Harrison series12 were due to be returned to the respectivemanufacturers for testing. The remaining equipmentis also being checked, some of it by De Lane Lea’sin-house technical team, other items by the originalmanufacturers. In all cases the facility is awaitingreports to determine what has been damaged andif replacements or upgrades are necessary.If equipment has to be replaced it will be on alike-for-like basis. New linings will go into studios1, 3, 4, and 6 for the simple reason that they cannotbe cleaned, and no one wants the smell of smokelingering in the air.De Lane Lea has developed over the years,building its reputation on the sound of the roomsand skills of its dubbing mixers. While Penallt Jonesand Paul Jarvis do not want to turn their backs onhistory, they do see this as an opportunity to create anew facility. “I think we need to bring everything intothe 22nd century and modernise where possible,”says Jarvis. Penallt Jones adds: “We are recreating thestudios as they were, but this has given us the chanceto look at what we do and how we do it.”After a difficult couple of years for the postproductionmarket there is some frustration fromPenallt Jones and Jarvis that before the fire, De LaneLea had been picking up more business for the lastpart of this year and into 2010. There is the hopethat the studios will be operating again in time towork on Tim Burton’s Alice in Wonderland, but HuwPenallt Jones reflects that not every company has thechance to take “a couple of months to review theirsituation”. Paul Jarvis agrees, saying the ‘new’ De LaneLea will be “as good if not better than before”.Audio Media will be back to see if that aim hasbeen achieved.

Something for just abouteveryone, JERRY IBBOTSONmuses of Native Instruments’Absynth update, as he stepsaway impressed withwhat he’s heard.Afew years ago, at some trade show or other, I was onmy usual hunt for freebies and give-aways when Ipicked up a demo disc for Absynth 3. I was soimpressed with this software synth that I bought the fullversion. It was so simple to use but produced excellentresults; we used it for long ambient loops of sounds that fitin the borderland between sound effects and music.There have also been a few projects, mostly audio for gametrailers, where short bursts of atmospheric music have beenneeded. Again, Absynth helped saved the day. Version 5.0 isnow out and I’ve reacquainted myself with the software tosee what’s new.The danger is that it would be easy to lose a brilliantsound simply by moving on to another random mutationbefore realising you’ve gone a step too far. Fear not, asa history is kept of all the different versions. You can goback to previous setups and save them off as brand newpresets. I can imagine calling up names like ‘Dark DemonicWind Howl’, or maybe ‘Angelic Choir Echo’.This is one of Absynth’s great strengths. I’m farfrom being an audio idiot, though software synthsaren’t something I spend a lot of time working on.But I could fire up this software and produce crackingresults very, very quickly and easily. And yet, there’sanother side to it…NATIVE INSTRUMENTS ABSYNTH 5Synth SoftwareTHE REVIEWERJERRY IBBOTSON runs Media Mill,a York-based audio productioncompany started in 2000 thatspecialises in sound for videogames. Prior to this, Jerry wasa BBC journalist for ten years,ending his spell with the Beeb as areporter and newsreader at RadioOne Newsbeat.A Perfect InstallInstallation is perfectly straightforward and I went fromSetup to hearing ‘something’ in a matter of minutes.That’s the beauty of Absynth: I’m a sound designer ratherthan a musician, but I was able to get it up and runningbefore my tea had a chance to go cold.The main screen givesyou access to the vastarray of presets. Thereare too many to countby hand, but reading theNative Instruments blurbsuggests there are 1,800.That’s a lot. You can simplyscroll down through the(very long) list, marvelingat titles like ‘Scream Ladder’or ‘Vacuum Packed’ (I wanta job on the Absynth PresetNaming Committee), andpick one. Or you can usethe Browser to help younarrow down the selection.This also helps avoid thescenario of only ever usingthe presets that sit at the top or bottom of the scrolling list.There are columns labelled ‘Instrument’, ‘Source’, ‘Timbre’,and ‘Genre’, and the variations on offer help to trimdown the search results. These are shown in a panel onthe right.Here’s one example: I ticked the Vocal box in theInstruments column and the Acoustic box in the Sourceone. This threw up two choices: Absynth Extraction andWater Pad. There’s a drop down virtual keyboard at thebottom of the screen and simply holding down a singlekey is enough to trigger a complex, constantly evolvingsoundscape. Abysnth Extraction caught my ear: someonesaying the word ‘Absynth’ but generally morphed,stretched, and mashed up. I could hold the key down allday and the sound would change.But Wait… There’s More!But you can go way further than that. A new featureof Absynth 5.0 is called Mutate. Hit this button and thesoundscape changes, while still maintaining the samebasic setup. Hit it again and another mutation takes place.And another, and another. You can alter how much itmutates by, and how randomly it works. The variationson one preset seem endless. It works by randomisingall the parameters of the patch; all the effects and filtersthat are running in the signal path. Though, to be honest,you really don’t have to know what the mechanics are.It’s there to take care of that for you.The Other SideOn the top of the screen is a panel that lets you edit thesounds being produced. Patch lets you change the corecreation of the audio, adding or removing oscillatorsand effects and plugging and unplugging them fromthe overall sequence. Envelope gives access to the ADSRenvelopes for the current sounds. Wave allows editing ofthe waveforms types that are being created. Altering anyor all of these produces dramatic results and again, theycan be saved for later use.Among the new effects within Absynth 5.0 are the CloudFilter, which makes the synth sound more aggressive,Filter Feedback, which lets you add distortion, and theAetherizer. This last tool breaks the sound down into tinyparticles or grains, which can then be reassembled andmanipulated. Like all the other effects, this can be appliedto external audio signals being fed into the software.I have to mention one thing in Absynth that I reallylike. It has a built in recorder. Whilst it interfaces withDAWs in a variety of ways, including VSTi, it’s great tobe able to run it on its own and capture the resultsthere and then. Some programs do this, others don’t.It’s nothing earth shattering, but if it makes life easier, I’mall for it. That said, when it is loaded into a DAW as a VSTi,you can play Absynth in full surround and automate it.One review can only ever scratch the surface ofa tool like Absynth, but its strength lies in being ableto work with a wide range of users. Sound designerswho need to dip in and grab some atmospheric audiocan use the presets. If they need more variation, theycan stab the ‘Mutate’ button. Those more interestedand experienced in the world of synths can lift the lidand get to work in the Editor sections, precisely shapingand moulding their own sounds. For one singlebit of software to offer so much to so many is a realaccomplishment. ...................................INFORMATION Available at Native Instruments web store for €179,or as part of Komplete 6 from UK retailers at approx.£399.00 Native Instruments GmbH, Schlesische Straße 28,D-10997 Berlin, Germany +49 30 61 10 350 +49 30 61 10 35 2600 www.native-instruments.com info@native-instruments.de26AUDIO MEDIA OCTOBER 2009

geo focus SwitzerlandBroadcasters Invest in Studer OnAirMEDIA MATTERSBroadcasting is dominated by thepublic Swiss Broadcasting Corporation(SRG/SSR), which operates sevenTV networks and 18 radio stations.Most of its funding comes from licencefee revenues; a smaller proportioncomes from TV advertising. Private radioand TV stations operate at a regionallevel. Television stations from France,Germany, and Italy are widely available,thanks in part to the very high take-upof multi-channel cable and satellite TV.Some German commercial broadcastersprovide tailored versions of theirchannels for the Swiss market.VITAL STATISTICSFULL NAMEPOPULATIONCAPITALLARGEST CITYSwissConfederation7.5 million(UN, 2008)BernZurichMAJOR LANGUAGES German, French,Italian,RomanschMONETARY UNIT 1 Swiss Franc= 100 RappenMAIN EXPORTS Machinery andelectronics,chemicals,precisioninstruments,watchesGNI PER CAPITA US $59,880(World Bank,2007)INTERNET DOMAIN .chINTERNATIONAL +41DIALLING CODETele Südostschweiz, located inSouth East Switzerland, hasrecently installed a StuderOnAir 3000 console supplied byStuder distributor Dr. W.A.GüntherAudioSystems, into their broadcastcontrol room.The installation of the StuderOnAir 3000 consoles into the newstudios emphasises the necessity forclear workflows, and an infrastructurethat supports the productionof daily newscasts and the administrationof purchased programmes asefficiently as possible. The VJs of TeleSüdostschweiz have a total of nineHD cameras available, which allowsthem to directly record reports ontoFlash data carriers for additionalbroadcast versatility.The Studer OnAir 3000 operateswith 12 faders in the main controlroom at Tele Sudostschweiz studios,and is responsible for broadcastingSwiss newscasts, weather reports, andtalk shows. The programmes are thenproduced and provided by affiliate TVstations and are efficiently transcodedvia satellite or file-exchange.Three production centres withtwelve editing workstations at availableto the VJs at the main studio inBonaduz. There are also three workspacesin the regional studio in Glarusfor extended versatility. At theGlarus facility, the material is received,edited, set to music, and then filedfor production, where the finalisedfeatures are distributed to the playoutsystem in MPEG-2 format.Finalised programmesarethen filed into thebroadcast system,fed to the cableprovider Cablecom,located in Chur,and distributed tothe cable networksthroughout theentire Southeastcorner of Switzerland.Having obtained two licences forRadio 105 and Radio Monte Carlo,the Music First Network is one of themost important private radio organisationsin the Zurich area and the all-Swiss Exchange in Zurich Selects AKGThe SWX Stock Exchange inZurich selected AKG’s GN 30 E5PIN gooseneck microphones,CK 31 Capsules and H 600 shockmountsfor deployment. The installationused several differentloudspeaker systemsstrategically positionedto optimise the acousticsin the glass-walled conferenceroom known asthe ‘crystal palace’.The system was completedby Erwin Herzogof Kilchenmann, and used 33 AKG GN30 E 5PIN gooseneck microphones,33 AKG CK 31 microphone capsules,new production and broadcaststudios, located in the WorldTrade Centre in Zurich, haverecently become operational.The main on-air studios areequipped with two StuderOnAir 2500 module digitalconsoles and the operating surfaceis integrated into the studiofurniture for a functional design.The D21m I/O units are locatedin the master control room, andeach studio boasts two seats forthe DJs with 12 and six faderunits. All mixing desks are connectedvia the Studer ReLink I/Osharing system, which provideshigh efficiency in accessing theshared I/O capacities.Each of the studios isequipped with colour LEDs to indicatethe programme that is currently on air.For example, yellow for Radio 105,blue for Radio Monte Carlo, and red forRock Nation. Also, when microphonesare open, the studios are bathed ina red light for additional security.Separate monitors alsodisplay the 3D-logo ofthe current program,which enables theengineers to accuratelyrecognise the song currentlyrunning.The engineers controlthe peripheraldevices, which includetwo CD players anda breakout panel, for additionalconvenience and efficiency.The rooms on the fourth floor ofthe World Trade Centre are dominatedby classical architecture, includingcurving studio wing houses, two33 AKG H 600 shock mounts, and aretractable column with a 360-degreeloudspeaker in the centre ofthe room.Although the Swiss Exchange isfirmly rooted in Switzerland’sfinancialcentre, the SWXpursues a strategyfocused on internationalactivities.The seven-year-oldsystem they hadbefore the installationwas inadequate from the startand in need of a complete upgrade,from the microphones to the con-broadcast and two layout studios, aswell as management and marketingoffices. Across the corridor are therectangular offices for the editorialdepartment, moderation and musiceditors, as well as sales, administration,accounting, and technical staff.Being close to the airport was ofprime importance because of themany musicians visiting, especiallywhen being engaged to perform inthe studios of Swiss TV next door tothe Hallenstadion.One set of infrastructure servesthe production of three nation-widecable radio programmes, two FMstations, and four web-radios.The DigiMedia5 broadcast systemhandles all processes and provides areliable and user-friendly operationfor live and recorded programmes.Studios are not assigned to oneprogramme, as any of them can bebroadcast from any studio.trol system. An AMX touch panel wasadded for controls, and new loudspeakerswere put in for multimediapresentations. With the new systemin place, orders can be executed,cleared, settled, and confirmed witha single click.“The multimedia conference roomthey have now gives them the capabilityto do everything they need todo and more,” says Erwin Herzog.“The combination of speakers withthe AKG microphones optimizes thesound for every presentation, andthe AWX control system links everythingtogether perfectly.”16AUDIO MEDIA OCTOBER 2009

AustriaElectro-Voice ReinforcesTriathlonOne of the eight venues selectedto host the 2009 ITU TriathlonWorld Championships, Kitzbühelplayed host to devotees of thesport from 9-12 July. And in additionto the men’s and women’s elite competitions,the four-day event offered adiverse programme of entertainmentthat included music, shows, and sportingchallenges for both young (theChildren’s Triathlon) and old (the Triathlonfor ‘Everyman’).Kitzbühel-based rental companyMurdock Music Entertainment Event &Multimedia was given the job of providingpro audio support for the event, andits team of specialists led by ProductionManager Charles Wienand opted for anXLC system from Electro-Voice.The challenges faced by the team fromMurdock Music Entertainment Event &Multimedia were complex: providinghomogeneous coverage throughout aWireless at The Golden Halllarge, deeply ridgedviewing area capableof accommodating severalthousand spectators.While the sportingaction was interlacedwith musical interludesprovided by a rosterof top DJs, the mostimportant objective was intelligibility.In a complex event such as the triathloncommentary is crucial.For this reason, Wienand optedfor an Electro-Voice XLC system.Two hangs comprising 16 XLC127 enclosuresformed the main PA, with twoElectro-Voice XLC215 flown bass units andfour Xsubs providing added pressure in thelow bass region during musical interludes.The system was driven by 16 EV CP3000and CP2200 series power amplifiers.“As one of the venues hostingthe Triathlon world cup, Kitzbühelhad to shape up againstcities like London, Washington D.C., andYokohama,” says Alexandria Gieringer-Fabi, Marketing and Event ManagementDirector for Murdock Music Entertainment.“The importance of the eventwas underscored by the throng ofspectators attending the event and theenormous interest it generated worldwide.Expectations were exceedinglyhigh, and under such circumstances,there was only one plausible option:Electro-Voice XLC.”MEDIA MATTERSAustria’s public broadcaster,Oesterreichischer Rundfunk (ORF)has faced competition from privatebroadcasters, particularly in Vienna.Private broadcasting in Austria is arecent development. Local commercialradio was given the green light in the1990s. A national TV licence was grantedto commercial station ATV – whichopened in 2000 – and local TV stationshave sprung up.FULL NAMEPOPULATIONCAPITALAREAMAJOR LANGUAGEMONETARY UNITRepublic of Austria8.4 million(UN, 2008)Vienna83,871 sq km(32,383 sqmiles)German1 euro = 100 centsGNI PER CAPITA US $42,700(World Bank,2007)INTERNET DOMAIN.atINTERNATIONAL +43DIALLING CODEThe Großer Musikvereinssaal, knownto many as the Golden Hall, is hometo Vienna’s Philharmonic Orchestraand the Orchestra’s famed annualNew Year’s Day Concert. The GoldenHall is more than just a concert venue;it also hosts numerous lectures andpublic readings.As it handles so many types ofpublic events, there is a need for ahigh-quality sound system that is metwith four channels of the AKG WMS 400wireless system. A mobile lectern hasbeen equipped with a CK 33 capsuleon a modified GN 50 gooseneck thatcan also be connected to a bodypacktransmitter to eliminate unnecessaryextra microphone cables, which allowsfor optimal sound as well as good spaceconservation. All of the microphonesare controlled by an AKG AS 8 automaticmixer and monitored by AKGheadphones using the K 207 reference.“The Golden Hall is simply thefinest and most beautiful concerthall in the world,” said Alfred Reinprecht,AKG’s Vice President of Marketingand Product Management.“The acoustics are impeccable, the soundsystem is extraordinary, and the venueis designed beautifully. I couldn’timagine a better musical experience.The acoustics of the building are alreadyunbeatable. But when you add the soundsystem that is in place, it providesan up-front sound that is simplybeyond words.”

Special ReportOut, Damn’d Pop...Super-Sonnox to the rescue with a restoration marvel.Audio restoration is one ofthose things that doesn’toften get talked about inprimary lines of enquiry, but it is oneof the most important functionsin everyday audio editorial.For a Dialogue Editor, for example,it can be the difference betweena quick fix and an ADR session– which is not only money andlogistics issue, but maybe aperformance issue as well.Re-RestoreRestoration is also one of the keyfunctions that Sonnox had to leavebehind when the team broke fromSony some time ago. Now, after 18months of R&D, that hole is aboutto be filled – and with it comesthe promise of plug-ins that carrythe style and quality for whichSonnox has become known: highquality processing, and a userinterface that inspires results. On theeve of its public launch, the SonnoxRestore suite, which incorporatesDeBuzzer, DeClicker, and DeNoiserplugs, has already been in beta forsome time with quite a few notablecreative names. And it’s not the kindof beta that simply means ‘tell us ifblows up’ – it’s the proper beta thatinvolves detailed feedback fromthe market place and action in theR&D department. I know thisbecause, despite me fluttering myeyebrows during a recent demo,you’ll have to wait until the nextissue for the review.In the mean time, Rod Densham(Sonnox MD), and Nathan Eames(Sales and Marketing Manager)have helped Audio Media withsome details. First, Denshamexplained the ‘why’: “An awfullot of people have come up to usand said that they don’t have asensibly priced, high qualityrestoration package for generalpurpose work; work that will takeyou across the range of archivalrestoring from old vinyl up tomodern day post productionand broadcast.”Of course, there are severalrestoration plug-in options alreadyon the market, with quite wide variationsin quality and effectiveness,so the Sonnox Restore suite hasto be special to make an impact.One of the prime candidates fora USP is the large, clear windowinto the sonic-refurbishmentworld that is the Restore interface.Referring first to the last Sonnoxrelease, the Oxford SuprEsser,Densham explains the generalapproach: “The feedback we got onthe visual interface was very positive.You’re presented with a visualpicture of what you’re trying todo. I think we’ve managed to carrythat forwards into Restore as well.Each of the three products has gota large GUI and a large number ofcontrols... We like to allow peoplethe ability to fiddle.”In the wrong design hands, toomany controls sitting on top of thistype of processing can be a dangerousthing. In this case though,Sonnox is confident that it has thebalance right. The aim is for anyinstantiation of a plug-in to beimmediately beneficial 90 percentof the time. After that, it’s down tothe effort the user wishes to put in.The impression that I am left withis that Sonnox has broken downthe processing ‘wall’ – the point atwhich no matter how much twiddlingyou do, the improvementsbecome marginal. There looksto be far less ambiguity or needfor the ‘prod and pray’ approach.In the debuzzer, for example,default settings and the correctfrequency setting will do thejob. However, if audio integrity isall, you can adjust the range ofharmonics, the filter Qs, andmore besides to tune the processback to minimal disruption.You can even fine-tune thefrequency for the detector down to1/10,000th of a Hz – which apparently,perhaps surprisingly, canactually make a difference in theright circumstances.Axis Of EnergyAn example of Sonnox’s interfaceingenuity is the DeClicker GUI,which dominates a large grapharea with duration of click onthe x-axis and energy of clickon the y-axis. The processing pointsare indicated for small colour-codedbubbles that appear and disappearas each pop, click, or crackle isdealt with. One advantage is thatyou can immediately see howyou have differentiated betweenpops, clicks, and crackles (adistinction that can be adjustedwith threshold controls on eachsection, so that longer pops, forexample, can be shifted on tothe de-click section), and howhard each section is working.A revelation is the idea that you caneasily see how much correlationthere is between the programmeand the process. Higher correlationmeans greater disruption to themain signal.It’s also obvious that Sonnoxhas gone back to the drawingboard – the combined (and userdefinable)click, crackle, and popapproach for example gives a flexibilityborn from this new consideration.“In essence, you have a disturbanceyou want to remove, andreplace it with an interpolated bestestimate of what the signal reallyshould be,” explains Densham.“You are likely to have short durationevents and longer durationevents, you’re likely to have highamplitude and high energy events,and maybe lower energy events.It’s a rather arbitrary division intode-crackle, de-click, de-pop, butit’s convenient, because you actuallydo need slightly differentmethods to tackle the detectionof them and the repair of them.Certainly the repair anyway is differentfor all three.”Hopefully, the aims of audiointegrity and an intuitive and userempoweringGUI will bring a newstandard in plug-in restoration.For now, the only things we knowfor sure are the price (GB£1,195),and the platforms (RTAS and VSTfor Windows and Mac, plus AU forMac). Release is imminent, but thatwon’t be finally determined untilthe beta trials are over. We shouldhave more news next month withthe full review. ........................INFORMATIONGB£1,195.00 (exc.VAT)Sonnox www.sonnoxplugins.com/restore info@sonnox.co.ukThe Sonnox DeBuzzer. The Sonnox DeClicker. The Sonnox DeNoiser.18AUDIO MEDIA OCTOBER 2009

IBC ’09 ReportIBC 2009We give you a selection of new products featured at therecent IBC exhibition in Amsterdam…Calrec ArtemisThe New Artemis Digital Broadcast ConsoleHotFrom IBCOddly, given the doom-laden year we've had so far, the IBC showwas a rather upbeat affair. Pretty much every audio manufacturerseemed happy, and there were plenty of product launches andhealthy loudness debates to keep everyone busy. There were over1,300 exhibitors, which is far from a poor showing, and the officialattendance figures were 45,547. That's seven percent down onlast year. We've already covered a couple of the big launches –the new SSL C100 was on the cover last month, and the new (andnative) SADiE version 6 caught the front page of news. However,there were still enough new bits to go around…Delec introduced its new oratisdigital intercom system, which ismore than just an intercom system.The main feature is the completenetworkability of all the oratiscomponents using managed GigabitEthernet – which means that preexistingnetworks can be used for anew oratis installation. The companyhas designed a commentary terminalfor the system that connects to anoratis matrix frame and provides allgain, mixing, and processing parametersfor up to three commentators– including one on a standardcellphone.www.delec.deDPA had a few things to shout about.One was a newcollaboration withRycote, whichhas resulted in awindshield andaccessories specificallyfor the DPA 5017shotgun. The 4017Rbundle will include themicrophone plus Rycote accessories.Also featured were the 5100 mobilesurround microphone and the 5006,5015, and 5006-11 surround kits,complete with matched microphonesand accessories such as pressureequalisers and shock mounts.www.dpamicrophones.comEuphonix had three mainannouncements on the ArtistSeries side. One was the introductionof MC Color – in abreak from the usual audioorientated products, MC Coloris a Colour Grader surface thatintegrates with Apple's Color 1.5via EuCon. A little more 'AM' isthe news that the Artist Seriesis getting a software upgrade,to 2.1. Features include touchscreensurround panning andnew wheel modes for the MCControl.www.euphonix.comGenelec showed its new 8260Athree-way DSP system, with thecompany's new MinimumDiffraction Coaxial mid/highdriver technology (MDC) – anew innovation for Genelec.It's claimed this provides'extremelyaccurateimagingandimprovedsoundqualityboth on theacousticalaxis as well asoff-axis'.www.genelec.comCalrec Audio unveiled a brand new audioconsole at IBC 2009. Calrec’s new Artemisconsole is based on the Apollo platform, whichwas launched at NAB in April, and uses thesame core technologies such as Bluefin2 andHydra2.Bluefin2, the next generation of Calrec’strademark Bluefin High Density SignalProcessing platform, provides substantialresources at multiple sample rates. Forexample, at 48kHz, Bluefin2 gives Artemisup to 640 channel processing paths, 128program busses, 64 IFB/Track outputs, and 32auxiliaries.Hydra2 useshigh capacity8192x8192 crosspointrouters andmakes availablea variety of I/Ounits to provideanalogue, AES,MADI, SDI, andDolby E formats.All use copper orfibre connectivity,and can be fittedwith GPIO cards.Console routerscan be connectedtogether to form large networks, and standalonerouters will also be available.The combination of these technologiesequip a console with a very modest footprint,and can claim to be a large scale console in allother respects. The surface, like the Apollo,uses a combination of OLED displays, touchscreens, and very attractive light-emittingknobs (apparently a substantial amount oftime was spent selecting end-cap materialsand colours for these knobs to achieve justthe right amount of illumination – they glowrather than glare). The surface as a whole reallydoes seem to be awash with ways to provide amore intuitive surface for the operator.I/O on the console is taken care of by theHydra 2 system, of course, fed from the Artemis'integrated router. Other new facilities includea second Compressor/Limiter in each channel,more than 70 minutes of assignable delay, andthree independent APFL systems for multipleoperator use.As with all Calrec consoles, the inclusion offull automatic hot-swap redundancy is part ofthe system architecture – on Artemis all DSP,control processor, router, power supplies, andconnections are fully redundant.Since its launch in April, Apollo has beensold to NTV in Japan, and both the Artemisand Apollo consoles are key to broadcast TVoperations at the MediaCityUK project inSalford Quays, Manchester, UK.Also, if you're in the UK, you might beinterested to know that Jim Green has beenappointed as Regional Sales Manager for Calrecin the UK. Green has already clocked up twoand a half years as the Calrec Sales Managerfor Middle East............................www.calrec.comINFORMATION20AUDIO MEDIA OCTOBER 2009

HotFrom IBCThere were a few announcements fromSound Devices at IBC this year, but probablythe biggest was another step forward in theProduction Mixer market with what it calledthe 'most technically advanced portablemixer ever made'. That's quite some claim,though as with all Sound Devices products,the new 552 really does look, and feel, the part.Everything about it says it's not in the businessof breaking.Quite apart from anything else, the 552Production Mixer has a little surprise up itssleeve. It's not just a mixer, you see, it's alsoa recorder. Sound Devices has shown greatinsight by incorporating a two-track BWAVrecorder that usesSD and SDHC cardsat either 16- or24-bit resolutionand up to 96kHzsample rate. Thesource is the mixer'sAES A output, andit also acceptstimecode input totime-stamp the filesas it goes.For inputs, the unit has five transformerbalancedmic inputs, each with its own limiter,12 or 48V phantom power, sweepable highpassfilter, and pre- or post-fade direct output.There's a polarity reverse on inputs 2 and 4.There's quite an array of outputs as well.On the analogue side there's transformerbalanced L/R XLR and Hirose connections(selectable mic/aux/line levels), balanced L/Ron TA3 connectors, plus unbalanced tape outson 3.5mm jack and TA3s, and a summed monomic-level output on another 3.5mm jack. ForSound Devices552 Production Mixer... And Moredigital we have two XLR AES outputs withselectable sources.You can power the unit either from four AAbatteries, or via a 10-18VDC external input. Inall, the 552 weighs only 4lbs with batteriesloaded, which isn't too bad for such a solidbeast – due in part to carbon fibre top andbottom panels and the aluminum and stainlesssteel chassis.Sound Devices also launched a new versionof the 788T recorder called the 788t-SSD.The unit includes a 256GB solid state drive,which gives it a capacity of over 60 hoursuncompressed, 24-bit, eight-track audio.The new drive also manages faster transferrates than the 160GBhard drive that issupplied with theoriginal model.At the sametime, a firmwareupgrade for the788T was launched,with support for thenew CL-2 RemoteFader – a faderaccessory that canattach directly to a microphone boom pole orbe hand held. Other firmware V1.75 additionsinclude faster boot time and 'ready to record',a new input fader range menu, +15dB of gainselectable for mix track levels, an additionaloption for the bEXT Originator Date to enablecorrect import into Sony Vegas.............................INFORMATIONwww.sounddevices.com Jünger Audio announced twonew collaborations in the audioleveling and loudness controlmarket. Miranda Technologies islaunching Automatic LoudnessControl (ALC), which incorporatesJünger's Level Magic technologyinto its Densité XVP family ofsignal processors, and HarmonicInc. will be bringing Level Magicto its customers via its DiviComElectra and Ion encoders, and theProStream 1000 product.www.jungerwww.miranda.comwww.harmonicinc.comLawo presented of its redesignedmc266 – with new router boardand a new operating surface,designed, says the company 'witheven more user friendly and intuitiveoperation'. A new MKII routeroffers a routing capacity of 8000x 8000 crosspoints and a fullyintegrated control system thatcan be designed with redundanciesaccording to the productionrequirements. The control surfacehas been enhanced with the additionof OLEDs, second layer operation,touch screens, and more.www.lawo.deLinear Acoustic showed off thenew CARBON Hybrid MetadataLoudness Controller at IBC.In Carbon, Loudness control andaudio encoding are combinedby a hybrid process that allowsinfinitely variable adjustmentbetween permanent and reversiblecontrol of source audio loudnessand dynamic range. Capableof working with any audio codecthat supports metadata, LinearAcoustic claims that it maximisesthe effectiveness of metadatawithin the Dolby Digital system,allowing consumers to chooseaudio reproduction that matchestheir environment.Also new is the implementation ofDolby Pulse into its AERO.air transmissionloudness manager.www.linearacoustic.comRycote introduced the newRycote Universal Camera Kit(RUCK). The kit includes anInVision Video Mount assemblyfor microphones from 19 to 25mm(includes Sennheiser MKH range),a variety of adaptors for differentphysicalconfigurations,plustwo layersof windprotection:the slip-onMiniscreenand the elasticated MiniscreenWindjammer.www.rycote.comSoundfield showed it's new (andnow shipping) UPM-1 stereoto-5.1converter. The unit is a19-inch rack processor designedto create 5.1 material from oldprogram material that only hasa stereo soundtrack. The UPM-1does not add reverb or phaseshifts to generate newmaterial for the rearchannels in a 5.1soundscape; the companyclaims that 'all of thematerial in the 5.1mix that appears at theprocessor’s outputs isderived from spatialinformation present inthe original stereo signal'.Apparently, an algorithmseparates the audiointo direct and ambientcomponents, which canthen be processed, andadjusted, separately.www.soundfield.comA new brand for Europe, but a30-year old brand throughoutAsia, Sonodyne brought its SMSeries of studio reference monitorsto IBC via its newly appointedEuropean distributor, The AudioProfessionals. The SM Series unitsfeature aluminum die-cast cabinets,and bi-amped (active crossover)LF and HF units. The rangeincludes the SM 100AK, SM 50AK,and the SLF 200A units, with thenewly announced SM200AK.www.audiopros.euStagetec came to Amsterdamwith Crescendo, a new consolethat the company says will fillthe gap between flagship Aurusand the small Auratus consoles.The new board features a freelyconfigurable bus layout with amaximum of 128 busses. Up to 96of these can be used as aux busses.In fully expanded form thesystem's DSP provides a capacityof 300 audio channels. All audioAUDIO MEDIA OCTOBER 2009 21

processing and optical interfacecomponents are accommodated in aNexus Star central router.www.stagetec.comSonifex showed no lessthan five new productranges at IBC. The new S1radio broadcast mixer is anew, compact, fixed formatconsole for on-air use withwhat Sonifex describes as'no compromise onquality' approach to theaudio electronics, facilities,and operation.The company's newreference monitorcontrollers comprise four 1Urack-mount audioproduction control unitswith source selection,volume, DIM, and CUTcontrols for external analoguemonitors, and light controls for theSonifex SignalLED studio signs.Also on show were the newReference Monitor Meters – eightvariations on the theme of highresolution monitoring of betweenone and four stereo sources (autoswitchinganalogue or AES, up to192kHz sample rate). For the RossVideo openGear rack system, Sonifexhas produced four versions of aneight-output digital audiodistribution amplifier; and therewere also new Redbox Videoproducts for embedding and deembeddinganalogue and digitalaudio signals into and out of all3G, HD, and SD-SDI video signals.Lastly, there were two newmainstream Redbox products.The RB-DD4 is a four-channeldigital audio delay, while theRB-DMX4 is a four-channeldigital audio mixer/router withsample rate conversion toallow disparate source to worktogether.www.sonifex.co.ukStuder showed a new modularversion of the OnAir 2500broadcast console forinstallation into customstudio furniture. The new model,named the OnAir 2500 Modulo,has separate modules for faderbays and master section, alongwith a rack-mountablemainframe which houses thepower supply and host processing.These modules can berecessed into a desktop for aclean installation with all cablesintegrated within the furnitureand the mainframe hiddenappropriately.www.studer.chOn the audio side, TSL addedto its growing Precision AudioMonitor (PAM) range with thePAM2-3G16. The unit apparentlysimplifies monitoring of DolbyE/D or discreet multi-channelaudio using preset menus andshort-cut keys. It's a 2U unit withlarge OLED displays and a 'widescreen'video confidence display.www.tsl.co.ukHotFrom IBCIt's been a busy year for DTS, starting with itspurchase of Neural Audio in January. NeuralAudio is a technology business that licensessolutions for 'the creation, distribution andplayback of music, movies, broadcast programsand video games'. DaySequerra, for example,has UpMix and DownMix surround processors,loudness and metadata monitoring, andthe Mono2Stereo product based on NeuralTechnologies property.While making the most of that, thecompany has also worked with Minnetonkato produce SurCode Encoder for DTS-HD forApple's Compressor application (and Final CutPro, Logic Audio DVD Studio Pro, and so on) anda Decoder for Quicktime.The main IBC headline though was therelease of a new version of DTS Master AudioSuite – the company's complete encoding,decoding, quality control, and bit-streammanagement solution for Blu-ray and DVD.Apparently, there are over 30 new featuresDTSMaster Audio Suiteincluding new Bonus View encoding featuressuch as dynamic mono panning and SeamlessBranching optimisation for multi-story andmulti-angle titles.There are three main components tothe DTS-HD Master Audio Suite – DTS-HD Encoder, DTS-HD Stream Player, andDTS-HD StreamTools. The Encoder can generateany DTS encode type (such as Master Audio,High Resolution, Digital Surround, andExpress), from 16- or 24-bit wave source files.The StreamPlayer provides monitoring of allfile types – primarily for quality control – andcan emulate an array of consumer playbackenvironments. Finally, StreamTools is thetoolset for encoded file editing, verification,and bit-stream management.............................www.dts.comINFORMATIONDK_MSD100C_Audio Media Qtr:Layout 1 6/2/08 16:26 Page 1“Solutions in Audio & Video”Features 22AUDIO MEDIA OCTOBER 2009

HotFrom IBCOptocore SaneNew Technology Sends Audio in SANESO PURENEW EXPOSÉ E8B AND VXT SERIES FROM KRKOptocore launched a new digital networkingprotocol at IBC, aiming to capture yet more fans inthe broadcast market. The new system is called SANE,or 'Synchronous Audio Network plus Ethernet' andOptocore claims it will bring significant cost savings tocustomers, but with some significant advantages.Using ring network topology SANE claims to offerthe first fully-synchronous CAT5 network solution forstreaming uninterrupted media in real time.Based on proven, existing Optocore technology,it has evolved from the new AD/DA X6R and V3Rconverters launched earlier this year; these offer splitAES-EBU ports, sample rate conversion up to 192kHz,and five different card options. The system transportsrecognised open standards such as AES/EBU, MADI,and Ethernet in full size.This provides huge flexibility for customers andother manufacturers since it offers a choice betweenX6R-FX / V3R-FX fibre versions, containing bothOptocore ports (for fiber), SANE ports (CAT5 / RJ45)and X6R-TP/V3R-TP (CAT5 twisted pair alternatives),making the new patented SANE ring network systementirely scalable.As well as synchronous and redundant transportof 64 channels of audio, plus Ethernet, with 24 nodesper network, the latency figures amount to just 41.6µswith 100m point to point reach.With SANE, ethernet is tunneled through the audionetwork signal so that streaming media does notget compromised. And the integration of the newsystem with Optocore’s fibre products will enablelarge networks to be constructed with virtuallyunlimited nodes and channel counts. Optocore claimsthat 'The ability to integrate between Optocore andSANE networks via the respective fibre and Ethernetports on the device is already stimulating systemdesigners.'Optocore already has a good showing in thebroadcast market, with several key installations inOB units such as NBC in New York (Saturday nightshow), BBC TV and Radio OB trucks in the UK, theCBC Radio OB van in Canada, and Mediaset, Italy.Very recently, Arena TV specified Optocore to provideaudio broadcast feeds for BBC Two and BBC Three atthis year’s Glastonbury Festival. Two OB Trucks forBBC2 and BBC3 were each linked via Optocore to therespective BBC2 and BBC3 backstage studios, eachfeed carrying presenters plus various bands' acousticsets. A further Optocore run linked the two Scannersto provide full redundancy of the Optocore system..........................INFORMATIONwww.optocore.comPurity. Freedom from adulteration orcontamination. That’s what you need inthe recording studio. Pure and simpleuncoloured audio. KRK engineersunderstand this, and take great care tooffer speakers that can be relied uponto deliver. The Exposé E8B and VXTseries take studio monitoring to a wholenew level. With an attention to detailand design expertise unmatched in theindustry today KRK has truly raised thebar. Key design elements such as a sleekradiused edge enclosure with optimisedairflow and minimal port turbulence,and finely tuned custom components, allensure that the new Exposeé E8B and VXTseries deliver a pure and realistic soundthat is in a class of its own.AUDIO MEDIA OCTOBER 2009WWW.KRKSYS.COM

SIMON TILLBROOK packsaway his rose-tinted specsand prepares to viewTELEFUNKEN’s revisited classicwith fresh eyes (and ears).Originally a distribution company for Neumann, andthen subsequently a manufacturer in its own right,Telefunken is one of those names that has somethinga little bit special attached to it. When it comes tomicrophones, Telefunken is responsible for some of themost revered designs and, subsequently, some of the mostdesirable models in studios worldwide.Recently Telefunken Elektroakustik has reissuedsome of these models, including the Telefunken U-47vacuum tube, whichhas been well received.The U-47 has omnidirectionaland cardioidoptions, and a number ofcustomers have requestedthat Telefunken producesa cardioid/bi-directionaloption for use in aBlumlein and mid/sideconfiguration. Telefunkenhas responded to thiswith the introduction of amicrophone first seen in1958, the Telefunken U-48.TELEFUNKEN U-48Rose tinted spectacles firmly placed in their case, Itook the Telefunken U-48 and used the microphone ona wide variety of sound sources, and with both vintageand new preamps to analogue and digital media.The Telefunken U-48 is most certainly a little bit special.Telefunken Elektroakustik has managed that rare feat ofproducing a microphone in line with what inspired it.The bi-directional pattern of the Telefunken U-48has excellent side rejection. I only wish I had anotherto use in a Blumlein as I amsure that, in the case of theambient sessions I used theTelefunken U-48 on, it wouldhave returned some verypleasing results indeed.The detail and colorationare stunning, and I havelittle doubt of the claims of amaximum SPL of 139dB aftertests with acoustic drumsand various guitar amplifiersetups. There is real depth tothe sound that the TelefunkenU48 delivers. Wonderfullypunchy with a high end thatFigure-Of-Eight Polar Pattern MicrophoneTHE REVIEWERSIMON TILLBROOK is the PrincipalMusic Tutor at Islington MusicWorkshop in London. The rest ofhis time is spent as a freelanceengineer, mainly in the USA.Revisited, But All NewThe Telefunken U-48 is the latest Telefunken microphoneto be re-introduced to us. It’s a no-compromise handbuilt microphone made and assembled in South Windsor,Connecticut.The main unit is a chunky 248x57mm (9.75x2.25 inches),with a new M7 double-sided gold sputtered capsule.The vacuum tube found in the U-48 is a TelefunkenVF14K specified just like the original VF14 tube inthe original.The output transformer is a hand wound BV8, andfinalising the line up of originality is an NG spec powersupply linked to the Telefunken U-48 with ten metres ofGotham Audio cable.When you open the somewhat large cardboard box,you are first presented with a vintage-look suitcasewith combination locks. Open the case to be presentedwith all of the components laid out and protected bydark burgundy padding. The Telefunken U-48 is housedin a wooden box that has the serial number on the side.The power supply and cable have their own sections,along with a full suspension cradle.Lifting the Telefunken U-48 out of the box, the buildquality and attention to detail is every bit as good asyou would expect from such a microphone. The qualityis carried through to the power supply and suspensioncradle. You get the feeling that there has really beenno compromise when it comes to the productionof the U-48.A Rose-Coloured PastI am always sceptical of microphone manufacturersre-issuing their classic models, especially when they claimto be of identical specification. In general I have foundthese microphones to be very good in their own right,but far from being in any real sense identical to theirpredecessors in the results you can obtain.I have had the opportunity to use original TelefunkenU-47 and U-48s on many occasions, and so I was preparedfor the fact that the re-issues may struggle to match thedizzy heights of what is a true studio classic microphone.is crisp, but with a smooth sheen rather than a sharphard-edged high.The Telefunken U-48 always seemed to pull out justthat little bit more life from the sounds placed before it.Vocal presence you could almost touch, smooth depth tolows with strings, and punch to drums. Wherever I usedthe Telefunken U-48, I found nobody who felt anythingother than impressed by the performance.ConclusionI had some very high expectations with the TelefunkenU-48 AE. After all, with a microphone of this valuethere does need to be something to really set it apart.Telefunken USA has done just that with the U-48, andhas really created something that little bit special.Build quality, presentation, and sonic qualities are of thehighest order.Those who have been customers of the TelefunkenU-47 will be more than happy, as the Telefunken U-48delivers all that they asked for.I would urge anyone to audition the TelefunkenU-48 and be prepared to be significantly lighter inthe pocket, but you will find that rose tinted specs arenot required. ................................... GB£6,785.00 (inc.VAT) Telefunken Elektroakustic www.t-funk.comINFORMATION UK Distributors: Unity Audio Ltd., The Elms Barn,Baythorn End, Halstead, Essex, CO9 4AB +44 (0) 1440 785843 +44 (0) 785845 www.unityaudio.co.uk24AUDIO MEDIA OCTOBER 2009

Documentary program maker Guòmundur Gunnarssonrecording interviews for Icelandic National Broadcasting.THE WORLD TALKS TO FLASHMICImpeccable sound quality, proven reliability, easy operation and streamlined file deliverymake FlashMic the international standard for broadcast and press journalism.NDR BROADCASTING“The FlashMic enables ourjournalists to concentrate on thestory, not their equipment.”Ernst Bostelmann, Director ofOutside Radio Production, NDRFINANCIAL TIMES“The sound quality and simpleinterface are superb.”Rob Minto,Head of Audio, Financial TimesCNN ASIA“FlashMic is quick and easy touse on the road and in the editroom, with good sound quality.”Richard Stokes, InternationalField Engineer, CNN AsiaFLASHMIC USERS INCLUDE:AAPAustraliaNational News, Channel 11ThailandABC RadioUSANBCUSAAljazeeraQatarNHK TokyoJapanBBC World Service UKNRKNorwayBloombergUKORFAustriaBRGermanyPolskie Radio PolandBSkyBUKProud FMCanadaCapital RadioUKSwiss Radio DRS SwitzerlandCHUM RadioCanadaRadio FranceFranceClassic FMUKRadio Netherlands HollandClear Channel USARadio Tarrang IndiaDanish Broadcasting DenmarkRAIItalyThe Economist UKRTEIrelandGreenpeaceUKSBSSouth KoreaKaya FMTurkeyWDRGermanyCOMIC RELIEF“Whether collecting soundbites inthe UK or at our projects in Africa,the FlashMic has been invaluable.”Lucy McGill,Media Officer, Comic ReliefWith four models available, FlashMic combines a studio quality miccapsule with a broadcast quality Flash recorder to create the ultimateportable device for voice recording.Find out more at www.flashmic.infoHHB Communications Ltd T: +44 (0)20 8962 5000 E: sales@hhb.co.ukIn the USA: Sennheiser Electronic Corporation T: 860 434 9190 E: HHBSales@sennheiserusa.comIn Canada: HHB Communications Canada Ltd T: 416 867 9000 E: sales@hhbcanada.com

JERRY IBBOTSON finds thatactually, Rycote’s S-Series is alot more than just a couple ofSofties jammed either end of amicrophone. Like Hovis,it’s a series that offers the bestof both between the worldsof Softie and cagesystem products.THE REVIEWERJERRY IBBOTSON runs Media Mill,a York-based audio productioncompany started in 2000 thatspecialises in sound for videogames. Prior to this, Jerry wasa BBC journalist for ten years,ending his spell with the Beeb as areporter and newsreader at RadioOne Newsbeat.Microphone windshields. They’re never going to setthe world alight are they? Most people who workin sound will be able to rave about their favouritemicrophone or piece of recording kit. But the things thatkeep the wind at bay rarely get a look in. I only say that toexcuse the fact that I hadn’t noticed the arrival onto themarket of a significant new offering from Rycote.The S-Series fits in Rycote’s product range betweenthe Softie, which I use a lot, and the full-on cage system.At first glance it looks like a hybrid of the two: resemblingtwo Softies stuck on either end of a shotgun microphone.In truth, it’s much more than that. Inside is a suspensionsystem using the company’s new ‘lyre’ design, which ismade of flexible plastic rather than rubber or elastic.Rycote says this makes it all-but unbreakable.The furry pods that fit on either side of the suspensionring are much more than just two of the soft windshields.They’ve got a rigid internal frame, similar to the fullsystem, with an integrated fur cover. The mic (in my casea Rode NTG 3 shotgun) sits in isolation inside, with a miniXLR lead running out through a small hole to the pistolgrip handle. With a quick twist, the two pods are lockedinto place around the central suspension ring.My testing was rather unscientific but was based onusing Rycote Softies for location recording of sound effectsfor the last nine years. I took the S-Series out and aboutin some fairly blustery conditions (there’s no shortage ofwindy weather in my part of the world) and did some testrecordings using a trusty Marantz PMD 671.An initial feeling was that the S Series made the Rodea tad more directional. I’ve no hard evidence to back thatRYCOTE S-SERIESopinion up, but it’s a good thing anyway. The suspensionsystem worked well, with no handling noise whatsoever,despite me waggling the pistol grip around a fair bit.I’ve always found the Softie range to provide more thanenough wind protection for my needs – I’ve even lashedtwo gun mics to the roof of an airport fire engine andfound no problems. But the S-Series does take things upa notch or two. I hadn’t realised just how windy the testconditions were until I took the front pod off; at whichpoint the wind roar and distortion was absolute.Microphone WindshieldsConclusionI like the S-Series. It does seem to carry the benefits of themodels that stand either side of it in the Rycote range.The whole kit comes apart and could easily be stuffed in akit bag, while offering excellent levels of wind protection,although I didn’t have a full ‘blimp’ to compare it with.It’s also British made and, while I’d never want to bejingoistic, it’s pleasing to see a home grown companyproducing excellent products. It may not be Rock andRoll, but I’d happily rely on the S-Series to save the (windy)day while out on a job. ...................................INFORMATION From GB£190.00 (exc.VAT) (300 Kit) Rycote Microphone Windshields Ltd. +44 (0) 1453 759338 www.rycote.comwww.merging.comPyramix voted best DAW of the yearResolution magazine Awards 2009

ISA RANGE - ISA One, ISA220, ISA428, ISA430 MkII & ISA828Its no secret that Focusrite had a good start in life.Our fi rst mic pre (the original ISA 110) was commissionedby Sir George Martin for Air Studios. The brief was simple,a no-compromise mic-preamplifier and EQ circuit.He liked it so much, he asked us to build one or two more.It turned out that Sir George was not the only one whowanted clean, whisper quiet pre’s. 25 years on, the iconicISA design continues to capture details, not create them.RED RANGE - RED 1, RED 3, RED 7 & RED 8Focusrite have been working with select retailers to establisha network of UK pro-dealers. These stores will be the onlyoutlets in the UK where the ISA and Red ranges, the LiquidChannel and Liquid 4PRE will be available.LIQUID RANGE - THE LIQUID CHANNEL & LIQUID 4PREParticipating stores will be able to demonstrate units, loanitems to prospective customers, and will always have units instock available for purchase.Start your signal path with Focusrite clarity.Participating stores will be:Birmingham - Digital Village, Bristol - Digital Village,Edinburgh - Red Dog Music, Herts - Studioxchange, Leeds - AudioCooker Music,Liverpool - Dolphin Music, Liverpool - Studiocare Professional Audio,London - Eastwood Sound and Vision , London: Clapham - Digital Village,London: Romford - Digital Village, London: Soho - HHB Communications,Manchester - PMT, Newcastle Upon Tyne - Sounds Live, Poole - Absolute Music slutions

STEPHEN BENNETTtalks to Terry Gilliam aboutaudio in his movies andThe Imaginarium ofDoctor Parnassus.Even if the only thing you have seen and heard of TerryGilliam’s work is the iconic foot that crushes the titlesduring Monty Python’s Flying Circus and theaccompanying, resounding, extensive fart, it’ll becomeimmediately obvious that sound is of huge importance in theDirector’s work. His films are incredibly audio rich and full ofunexpected ambiences, skillfully weaving together acousticsand visuals to create otherworldly worlds. “Sound is easilyfifty percent of a movie,” says Gilliam. “It creates the worldthat you can’t see but only feel, and extends it far beyond thepictures themselves. Events happen off-screen that cancompletely alter the meaning of the image, and the rightnoise can make you feel uneasy or comfortable dependingon what we are trying to convey.” Gilliam says that soundconnects one scene to the next and creates a flow that theimages and dialogue ride upon. “The right sound effect canalter the scale of what you are seeing – especially whenworking with miniatures. I have no philosophy, no rules.Whatever works is all I consider.”the death of Heath Ledger during filming, and this setbackhad a major knock on effect on the audio side the movie.So Gilliam called on his old collaborator André Jacqueminto come on board to help.Mirroring Ideas“Parnassus was a chance to let André show off,” says Gilliam.“He threw idea after idea at me. Sometimes they were toomuch, but they sometimes made me think in a broader way.The only new problem created by Heath’s death was howwere we going to deal with dialogue in scenes that wereshot after his death? I’m not going to tell you how we didit, except that it’s always Heath speaking! The interestingmoments for me were always the transitions from the realworld to the other side of the mirror. There was always aneed for a new and surprising aural landscape. Invariably itwas going from the small to the large, from frenzy to calm,storm to peace. These juxtapositions make the brain leap.It’s all good exercise!Andre, Ray, and Terry.In the movie, 1,000-year-old Doctor Parnassus(Christopher Plummer) is the leader of a theatre troupethat lets its audience pass from the real world through amagical mirror – the ‘Imaginarium’ of the title. Also starringthe Devil (Tom Waites) and a ‘mysterious outsider’ playedvariously by Heath Ledger, Johnny Depp, Jude Law, andColin Farrell, it’s obviously not your standard rom-comand a prime contender for an extraordinary audio score.Gilliam’s films are complex creatures, often suffering fromuncomfortable gestations and The Imaginarium of DoctorParnassus was no exception. The Director had to cope withAfter a successful premiere in Cannes the film is due forrelease in the UK in October 2009.'Phoning In An S.O.S.Jacquemin’s work on Parnassus began, as it so often doesin his relationship with the Director, with a phone call fromGilliam asking for help. “Usually he has a large sound crewon his films, but the budget had suffered because HeathLedger had died and also because of all the extra shootingand CGI they had to do,” says Jacquemin. “Whenever he’sin trouble he gives me a call and I go and help him sortit out.” In this case the trouble was money! “He calls upand I recognise his voice, and he says, ‘Hi Andre we got aproblem - can you come in for a meeting?’ I’m thinking atthis point that they are three quarters of the way throughthe film and they probably need some help sorting outsome bits and pieces.” What Jacquemin didn’t realise wasthat Gilliam wanted him to work on the whole moviefrom the start and, as they couldn’t afford a big crew, itwould literally be a solo job. “So I was thinking ‘thanks forthe offer’, but also about the enormous amount of work itwould be to do the whole thing.” To complicate mattersfurther, Jacquemin had already signed on to do a horrorfilm with Billy Zane called Surviving Evil. “They tried toconvince me to put a B crew on that one and do Parnassus,but initially I said no. Everyone was saying to me ‘Are younuts? It’s Terry Gilliam!’ But we are very good friends and32AUDIO MEDIA OCTOBER 2009

PRESENTED BY:Bringing Entertainment Alive!I didn’t think it’d be the last time I’d ever workwith him – we have a good relationship – I didn’tthink it was that important! Then on the last dayI went down to see Terry, Amy Gilliam, and TimGrover (Post production Supervisor) who said;‘Look André we need a decision now – yes or no?’,and Terry turned to me and said, ‘If you don’t dothis film, we lose it’. It was all down to money andas Terry knew I could do anything – music, Foley,dialogue and effects, so I could cut out the bigcrew costs – he really wanted me for the job. Isaw the pain in his eyes when I told him I didn’tthink I could fit it in, and that’s when I buckled andsaid yes. But I watched the film and felt it was toomassive a project for just one person. Tim Groversaid that if he’d take out the dialogue, split theFoley and see how we went with the music, wouldI do it? So I said yes and got a B team to work onthe horror film.”Jacquemin, Gilliam, and Mick Audsley,the Editor, went through the film together.Heath Ledger had done all the outside shots butnone of the inside ones so that presented its ownparticular problems. During the scenes ‘outsidethe mirror’, Gilliam was very specific about whathe wanted from the audio, but Terry and Mick’sbrief for the scenes that were set through theImaginarium was a little hazier. “They basicallysaid ‘well, good luck!’, laughs Jacquemin. “It wasleft up to my imagination. It was little bit difficult,as all the CGI work wasn’t complete and Iwasn’t sure how deep the audio needed to be.However, I’ve worked with Terry for so long and Ihave a good idea where his mind is set with sound– and his sense of audio is just as good as his senseof visuals. I knew it would have been a really hardtask for anyone else to have done this film. I thinkabout 99% of the stuff I laid in, Terry was blownaway with – I was also surprised that I surprisedhim occasionally – as you can imagine I was wellchuffed with that!”From Big Snakes…Having come from doing huge sessions on 8-tracktape machines, Jacquemin is very experiencedat sub-mixing. “All those early Python thingswere done on 4- or 8-track – even Every Spermis Sacred was done as a mere 8-track recordingwith about 50 bounces to make it work,” he says.For Parnassus, he used a DigiDesign Pro ToolsHD system running version 7.4 of the software.“I have all my tracks set up in 5.1 for panning andpositioning, and I have a Mackie D8B, which Iabsolutely love, for monitoring,” says Jacquemin.Audio monitoring was through Miller & Kreisel(M&K) speakers. “They were a couple of grandless than the PMC speakers I auditioned – which Ialso absolutely loved,” he says. “I used the reverbson the desk and my Lexicon PCM 60, 70, and 80I was slightly too young to be allowed to stay up to watchMonty Python’s Flying Circus on television in the early 1970’s.There were no videos, no DVDs, no Internet streaming – oreven computers. The only way I could get my Python fixwas from the series of vinyl releases from Charisma records.For me, these became the definitive Python – with theadded advantage of their being slightly more salaciousthan the TV versions. Being a proto-audio geek, I obviouslyperused the album’s credits (in those days, you couldactually read the text) and noticed that one name cameup again and again on anything Python audio-related.André Jacquemin met his first Python in a fortuitous ‘almostcollision’on the stairs of Studio G in London’s Wardour Streetin the very early 1970’s. “I’d been in the studio for a couple ofyears and it was lunchtime and I was looking after receptionas the receptionist was out,” says Jacquemin, “As I was goingdownstairs, this guy came up – it was Michael Palin. He saidhe wanted to do a voice demo for a friend of his – I thinkit was Ian Richardson. I was working in the smaller studioand I saw that Alan was booked up the day Mike wanted todo the recording – so I booked Mike in with me!” Initiallywhen Jacquemin started working with Palin, he was awareof Monty Python but hadn’t seen their seminal TV series dueto working long hours and playing in a band in the evening.“I started working with Mike and thought the sketches werefunny, but I didn’t realise that he was part of the Pythonteam – they were just building up their following on TV.These sketches with Ian were very funny, but the recordingtook a year because every time I tried to get Mike in forupdates – I did the editing of various voice takes and addedthe effects and music – he was difficult to get hold of. I wasalways wondering why – but of course he was filming theTV series! But he never said what he was doing – so I justassumed he had a day job somewhere and was just gettinga few days off here and there to record with me.”These sessions led to Jacquemin being asked to recordwith all of the Pythons. “At the end of the recordingMike said he was very impressed with what I’d done andthat he was making an album soon and asked if I’d liketo be involved. I said yes, so Mike toddled off and in themeantime I did a little session for a round the world rodeoshow and they’d offered me a job with them on a tourof the world. But then Mike phoned me up in the sameweek and said, ‘we’re ready to do this album, will you comeover for a meeting?’ I said ‘yes’, put the phone down, andeffects units, while a lot of the pads and atmosare from my 2 Emulator E4XT’s – the sounds fromthe Emu are so rich and massive - I think it’s theD-A converters on every output that make it sospecial. I have Logic here as well, but there’s nocomparison between the two. The same samplesANDRÉ JACQUEMINthought ‘what the hell do they want to make a talkingrecord for?’ I went along to Mike’s house and everyone wasthere apart from John Cleese. I was thinking ‘there’s a lot ofpeople here’ when the doorbell rang, Cleese walked in andthe penny dropped as to who they were.” Cleese was themost well known at the time, appearing in Python relatedadvertising on TV and newspapers. Jacquemin was initiallyflummoxed. “I thought ‘Christ I’m in big trouble – theseare all Oxford and Cambridge people here and I’m from asecondary modern!’Unbeknownst to Jacquemin at the time, Terry Joneshad produced an album at the Marquee studios, whichhe’d found difficult, as no one had taken notes at therecording session. It was all too complicated and so theyfelt that they needed help. I went through the materialand booked the sessions and realised that the safest wayto do the recordings was to get the Pythons in to do theirparts and then complete the work in my own time. I bookedRadio Luxembourg studios where my mentor and teacherAlan Bailey was working, to be on the safe side. That wentterribly smoothly, as all they needed to do was come in,do their stuff, and walk away – and in the interim I thinkwe saved them about 30 thousand quid! That’s how I gotto know Terry Gilliam and the rest of Pythons. Obviouslythey were very pleased with the work – so I got my footin the door that way and have been working with themever since.” Though Jacquemin found the work hard butfun, he obviously had no idea how iconic the recordingswould become. “Python is still at the forefront of comedyand I often think, ‘My God! I was part of that – part of theirhistory. I was in the right place at the right time – what ifI hadn’t been going down the stairs or Mike up the stairson that particular day?’” The Pythons obviously appreciatetheir relationship with Jacquemin as Michael Palin is still apartner in his studio and, when at the height of their famethey were booked to play the Hollywood Bowl, they askedhim to go out to the USA with them. “I was so familiar withtheir work, but their manager didn’t want me to go – itwas probably down to budget reasons,” says Jacquemin.However Palin called Jacquemin and said that they’d hada meeting about the gig and John Cleese had made it clearthat if Jacquemin wasn’t going, then he wasn’t going.“I think John felt safe in the knowledge that there wassomeone on the other side of the stage who they could trustto do a great performance as well.”just sound better from the Emu. I also use ProTools plug-ins like Channel strip and Smack, as acompressor. The other great one I’ve been using isPSP vintage warmer along with a bit of TL Space &Revibe for the surround effects.” The music, by theDanna Brothers, came in very late from CanadaAUDIO MEDIA OCTOBER 2009 33

PRESENTED BY:Bringing Entertainment Alive!Director: Terry Gilliam– but then, on this movie, lots of things came in late.“With updates to the CGI every couple of days I couldsee we were going to be late with the dub, and soTim decided to get a music editor,” says Jacquemin.“Graham Sutton worked on the music, but I’d also do thingslike add a choir here and there if Terry didn’t think it wasquite right. The dub was done at Goldcrest in Dean Street,London, by Rob Farr. “Audio arrived as WAV files, and I tooka hard drive with the audio and all my effects to the dub.But even on the first day a new reel came in – and it kepton happening! So even well into the dub, I still had tocome back to the studio at night and prep stuff ready forthe next day. It wasn’t too stressful though, as I’d alreadyenhanced the audio and it all sounded nice and beefy and,because there weren’t an enormous amount of tracks, itall went very smoothly.”Dub Screen 1 - Mixing Doctor Parnassus with Rob Farr at Goldcrest.At dinner after the film wrapped, Jacquemin askedGilliam if he’d been worried about him doing the film onhis own. “He said that he was, but more that he was worriedabout the effect the stress might have on our relationship,rather than my ability.” He also asked Jacquemin if hewould be interested in working on the resurrected DonQuixote film – something which was notoriously besetwith problems when Gilliam had tried to shoot it beforeas was chronicled in the 2002 documentary, Lost in LaMancha. Mindful of this, Jacquemin was obviously cautiousand so replied with a laugh; “Well Terry, I don’t know – askme again when you’re ready to make the film - I might justbe busy!” ....................................INFORMATIONwww.doctorparnassus.comSound Designer –André JacqueminSound Re-Recording Mixer –Mark Paterson, Robert FarrSound Mixer –Eric Batut, Tim FraserDialogue Editor –Peter Baldock, Adele FletcherADR Editor –Nick BaldockFoley Editor –Jerry RichardsEurope“CAN YOU RECOVER MY DATA?”Choosing a storage system is not onlyabout speed and capacity... it’s about thesupport you’ll get when you need it most.TWO YEARS FREE DATA RECOVERYAccidental deletion, data corruption, or hard drive failure can happen. Howwill the manufacturer help you? Most drive vendors simply re-format returneddrives. Glyph takes the opposite approach with your data: we make every effortto keep it safe. Using hardware and software tools, we’ll do our best torecover data on your Glyph drive, and move it to a replacement drive,FOR FREE, in the first two years of warranty - It’s our policy,that’s what we do.Store in a cool place..www.glyphtech.com+49 2157 8702232➤34AUDIO MEDIA OCTOBER 200900

audio editingsoftwareIs it really here? Does it reallywork? Can it do the impossible?Has the revolution come?Melodyne Editor is here,and ALAN BRANCHhas the answers…THE REVIEWERALAN BRANCH is a freelanceengineer/producer and ex-memberof the On U Sound Crew. His longlist of credits include Jamiroquai,Beverley Knight, M People, SimplyRed, Depeche Mode, Shed 7,Sinead O’ Connor, Bjork, and Sade.www.alanbranch.comfThe simple fact is that over the years of audioI had said the phrases ‘tapeless recording’, or ‘mixingin the box’ 20 years ago, you would have thought Ihad done one all-night studio session too many.recording techniques, the industry has seen massivechanges. The history ofrecording that I have personallyseen has many times turnedwhat seemed impossible intonormality. I remember peoplesaying analogue tape wouldnever be replaced in studios, orthat software would replacehardware, but technology hasturned our music makingindustry on its head many times.Software has often brought delight and despair in thesearch for the art of original music making, and a lot oftimes it’s the same product regurgitated in a differentform. But every now and again comes something thattruly makes your jaw drop: remember the first time youused Autotune, or Recycle? How about Beat Detective orElastic Audio?A Breakthrough?A while ago, a new breakthrough audio editing softwaretechnology called Melodyne Direct Note Access wasshown for the first time to a crowd at the FrankfurtMusikmesse by the innovative software companyCelemony. The demo left people drooling over audiodetection and editing software that seemed to be ableto change notes within a chord in a pre-recorded audiofile… ‘Surely this is impossible?’, was the theme of most ofthe gossip. The live demonstrations of editing individualnotes within guitar chords, and a full mix being analysed,displayed, and changed soon found fame on YouTubefrom spectators’ camera phones as the word spread aboutthis amazing technology.Quite a few months on, itseemed like there might be aproblem with the promisedtechnology. We waited… andwaited for an actual productto be released by Celemony.Finally, it’s here, and it’s calledMelodyne Editor. There is nodenying how important thearrival of this software is tothe music and audio industries.What’s The Fuss About?Before we go any further, I should point out that thereview copy of the software used for this review was abeta version of the stand-alone software. The full version,complete with both stand-alone and plug-in functionality(VST, AU, RTAS), will probably be finished by the time youread this, and release shouldn’t be too far away.Melodyne Editor is a single-track audio editor that candeal with monophonic, polyphonic, and rhythmic audiofiles. That is, its DNA (Direct Note Access) technologycan separate notes within a chord. It’s an applicationthat can give you the power of MIDI-style editing foraudio. Melodyne isn’t a realtime application, but one youload or record into. Once there, the audio is analysed forpitch and appears as a series of blobs, which can includegrace notes and the smallest of inflections. Because ofthe nature of harmonics and overtones it’s not possibleto get a perfect result every time at the analysis stage,36AUDIO MEDIA OCTOBER 2009

celemony melodyne editorPiano part being analysed in Melodyne Editorbut there are tools incorporated to correct this.The real magic is that it’s actually possible tomove and manipulate the notes within thepolyphonic file.changing! So it might be agood practice to bouncedown results after using theMelodyne plug-in.Once the audiois captured, analysishappens immediatelyand the detected notesare displayed in the editwindow. Of course, everyone of us knows to saveyour work first, and then MEwill make an auto backup ofthe original file. The plug-inversion can save to a userhost song project folder incase you need to transfer orstore the song. In the newME you only have to dothis once – all subsequentinstances of the ME plug-inin the host project will remember the location.This is a great improvement over the original pluginversion where you had to save the location withevery Melodyne plug-in used, which was easy tooverlook or forget.Checking The DetectionThe important point to remember here is tocheck any audio analysis is correct before editinganything. There would be little point trying toedit notes that have been incorrectly detected.The complexity of spectrum in polyphonicaudio means the analysis may have multipleinterpretations, and as clever as the software is,at some point it has to make an educated guess.This might sound less then perfect, but you haveto keep in mind the near impossible task thesoftware is attempting.To help overcome this analysis shortfall,Celemony has designed a new editing tool tocorrect the analysis called the ‘Note AssignmentSet-UpInstallation was easy, and authorisation is donewith an online process via Celemony and is allhandled through your own registration page.Loading audio in the stand-alone version is assimple as selecting the audio file from the Openmenu, or by dragging and dropping a file into anempty Melodyne Editor (ME) window. The standaloneversion can also be used to record audiousing either the Core audio driver (Mac) or theASIO driver (PC), as it has a full transport sectionwith record, tempo, and metronome controls.The plug-in version of ME is much like theexisting version of Melodyne plug-in, and recordsthe audio into the editor in realtime via your hostwww.neumann.comThe newTLM 102DAW. Simply select the ME plug-in as the firstinsert plug-in on the audio track you wish toedit; once the plug-in is open, press the ‘transfer’button and ‘play’ on your host. The thing to notehere is that you can capture just parts of a track.Any audio not transferred to the editor continuesto be played back by the host, while any in theeditor will replace the signal shown in the host.A common mistake here is opening a song withan existing Melodyne plug-in, then trying toedit the audio and wondering why nothing isSmart. Sweet. Powerful.AUDIO MEDIA OCTOBER 2009 37

The fixed Piano part with the Note Assignment Tool and slider andVenetian Blinds. Notice the possible empty (“Blobs”) notes detected.note blobs. A Note Assignment slider controlshow many probable notes are displayed.Then you simply activate or deactivate notes.There are a couple of extras in place here tohelp narrow down the search. A note range limiteraptly named ‘Venetian Blinds’ exists. By raising orlowering the top and bottom blind you effectivelylimit the note assignments. In addition, the realaudio is replaced by a ‘Monitoring Synthesiser’,which helps identify notes by making it easierto hear overtones that have been turned intonotes. I found this very easy to use. A simple Shiftdouble-clickor Shift-spacebar switches from theoriginal sound to the synthesised version, whichmakes hearing and seeing the detected notesquite straightforward.Tool’. Selecting this places the playbackEditing Toolsof the audio into Note Assignment mode. With audio analysis checked, the notes are placedThe background colour changes and the across a pitch and time grid and displayed as whatnote display now shows additional potential The same Piano part now displayed in its Polyphonic view, showing thechord structure but has a few missing notes.Celemony call ‘Blobs’ – dynamically displayedby their amplitude value. At a glance you cansee a note’s exact pitch, timing, and volume.These blobs can then be moved and reshaped.If a note is quiet you can make it louder; if it’ssharp or flat you can correct it; if it’s too shortor long you can stretch it. Even deeper controlcomes via a toolbox incorporating a Main Tool,Pitch Tool, Formant Tool, Amplitude Tool, TimingTool, and a Note Separation Tool. The Pitch Toolcannot only adjust a note’s basic pitch, but thetransition from one note to another. The PitchModulation Tool is great for adjusting over-thetopvibrato in a singer’s voice; and the Pitch DriftTool is incredible for levelling a note where a singermay have shifted flat or sharp within a single note– the common problem of singers flattening offon long sustained notes is easily fixed with this.The Formant Tool lets you to change the tonecolouror timbre of a note, which is helpful torestore the frequencies of notes shifted in pitch.There are even timing and pitch macros to helpput audio in time and in tune for you.On DisplayTo complement the core work, there is a rangeof new display options: ‘show pitch curve’, ‘noteseparations’, ‘note tails’, ‘blob info’, ‘intended notes’,‘notation’, and ‘playback regions’ (plug-in only), allof which can be toggled off and on separately.Clicking on the top left intersection of the timelineand pitch ruler gives access to a menu of Time andPitch grid options. The Time grid can be switchedoff, and there are some nice grid options of fixed ordynamic measurement (changes as you zoom inand out). This is useful when adjusting the timingof notes as you can snap notes to the nearest gridline with the timing tool. The pitch grid optionsare ‘none’, ‘semitones’, and ‘scales’. ‘None’ meansnotes can be moved freely, ‘Semitones’ movesnotes to the nearest semitone, and ‘Scale’ will38AUDIO MEDIA OCTOBER 2009

celemony melodyne editorforce notes to keep within a preferred scale whenmoved. Also new in the ME plug-in is the ability toresize the window by dragging, rather than beingstuck with a specified fixed size.In UseI loaded a simple dynamic piano track withshort percussive notes into Melodyne Editor.Once analysis was done, I selected the polyphonicview and the blobby waveform explodes intoseparated notes. It really does look quite amazingthe first time you see a single piece of audio pulledapart into constituent notes.Detection was pretty good but had quite a fewnotes missing. Switching into Note Assignmentmode and double clicking on any hollow blobsput them back where they should be. I also had tofix a few split notes. Once done, and out of NoteAssignment Mode, the displayed notes matchedthe audio and chord arrangements and I couldstart to try some edits. Incidentally, there is alsothe option to export the detected notes as a MIDIfile – something that opens up a whole new raftof possibilities.…for extraction of sorts, ifyou isolate every note anddelete the ones you don'twant. Though a totallyclean vocal elimination ordrum part isolation is, formost complex programmes,probably beyond evenMelodyne's sophisticatedengine. However, remixerscould have a field dayusing this to warp andmanipulate existing tuneslike never before.The ability to fix thingswithin a polyphonic recording does take songproduction to another level. Whether it’s just fixingone duff note in a guitar chord, switching a choirrecordingfrom major to minor, or simply changinga string sample to fit your track, Melodyne Editorhas certainly lived up to all I expected. Just bear inmind that it won’t be perfect in its note detectionall the time.The challenge of the Melodyne DNA processis the deconstruction – putting harmonicsinto groups it thinks belong together.This can be ambiguous if there are several noteswith overlapping harmonics. However, with itscomprehensive tools to correct this it’s possibleto do today what was impossible yesterday.For that alone it has to go down as a milestoneand revolution in audio processing history. ....................................INFORMATION US$349.00/€349.00 (inc.tax) Celemony Software GmbH, Valleystr.25, 81371München, Deutschland www.celemony.com info@celemony.comAlong the way I tested a variety of audio,including live strings, harp, guitar, as well as someambiguous sound textures. Some results wereless impressive if the overtones were simply toomuch, but on the whole, as long as the tonesare reasonably clear, Melodyne Editor does anamazing job of separating even the most complexaudio. I must state again though – for our reviewwe were using a beta of the program so it willbe going through a phase of bug fixes and maybe even better by the time of release.ConclusionGroundbreaking, revolutionary, and innovative– this is what I think Melodyne Editor is.The knock-on effect of this technology will be huge.Aside from the obvious creative jump, the abilityto change pre-recorded material could lead to asampling frenzy. What will the legal implicationbe if you change all the notes in someone else’srecording? I really am not sure. There is potentialAUDIO MEDIA OCTOBER 2009 39

The Conch Sound Awards 2009The Winners ListAudio Media would like to offer a huge and hearty congratulations to this year’s Conch Award winners…Best Audio On A TVEntertainment Programme(Sponsored by DeWolfe Music Ltd.)The nominees were:MTV European Music Awards -Richmond Studios ProductionsRed Dwarf: Back To Earth - EvolutionsTop Gear – EvolutionsAnd the winner is: Top Gear –EvolutionsUnsung Hero Award(Sponsored by Audio Media)The nominees were:Andy Picton -The Pinewood Studios GroupStephen Hart - formerly SoundeluxTrevor Griffin -The Pinewood Studios GroupAnd the winners are: Andy Picton,and Trevor Griffin – both of ThePinewood Studios GroupBest Audio On ATV/Film DocumentaryThe nominees were:Evolutions - EvolutionsMan On Wire - MolinareThe Animal’s Guide to Survival -Halo PostAnd the winner is: Man On Wire –MolinareBest Audio On A TV Drama(Sponsored by White Mark)The nominees were:Crooked House - Ascent 142Doctor Who - Bang Post ProductionLaw And Order UK - Pepper PostRed Riding 1980 – LipSyncAnd the winner is: Doctor Who –Bang Post ProductionDeWolfe Music awards the Best Audio on a TVEntertainment Programme to Evolutions.Commercial Of The Year(Sponsored by Film London)The nominees were:Formula One Launch Promo -HackenbackerHovis Re-launch - WaveSony ‘Bond’ – WaveAnd the winner is: Hovis Re-launch‘Wave’Trevor Griffin picks up the Unsung Hero Awards.Best Film Soundtrack –Under £10 Million(Sponsored by Munro Acoustics)The nominees were:Man On WireSlumdog MillionaireThe Boy In Striped PyjamasAnd the winner is: SlumdogMillionaireMolinare receive the Best Audio on a Documentary award.Best UK FilmRe-Recording Mixer(Sponsored by Euphonix)The nominees were:Ian Tapp -The Pinewood Studios GroupMike Prestwood SmithPaul Cotterell - LipSyncRichard Pryke -The Pinewood Studios GroupAnd the winner is: Mike PrestwoodSmithBest Audio on a TV Drama was awarded to Bang PostProduction.Best UK CommercialSound Facility(Sponsored by Hub+)The nominees were:Angell SoundGrand Central StudiosThe FactoryWaveAnd the winner is: Angell SoundPicking up the award for Commercial of the Year.Best Foley Project(TV, Film, Commercial)The nominees were:Man On WireQuantum Of SolaceRed Riding TrilogyAnd the winner is: Quantum ofSolaceSmiles for Best Film Soundtrack (-£10 million) winners, forSlumdog Millionaire.Best TV Dubbing Mixer(Sponsored by Avid)The nominees were:Chris Maclean - The Jungle GroupHoward BargroffPaul Cotterell - LipSyncRichard Ashley – EvolutionsAnd the winner is: Paul CotterellMike Prestwood Smith receives his awardr.UK’s MostPromising Newcomer(Sponsored by Pinewood)The nominees were:Emily Nuttall - SumnersKevin Penney - SoundeluxNeil Whippey - The FacilitySimon Epstein – MolinareAnd the winner is: Emily Nuttall –SumnersHub+ awards the Best Commercial Sound Facility award toAngell Sound.Best UK Film SoundEditor / Designer(Sponsored by Goldcrest Post)The nominees were:Claire EllisEddy JosephGlenn FreemantleLisa McMahonAnd the winner is: Eddy JosephQuantum of Solace picks up Best Foley project.Paul Cotterell, winner of the TV Dubbing Mixer award.Emily Nuttall receives Most Promising Newcomer award.Goldcrest presents Eddy Joseph with his award for Best FilmSound Designer/Editor.40AUDIO MEDIA OCTOBER 2009

Production Sound MixerThe nominees were:Chris MunroJulian Howarth - Bang Post Prod.Simon HayesAnd the winner is: Simon HayesBest Film Soundtrack Of The Year– Over £10 Million(Sponsored by the UK Film Council)The nominees were:Hellboy IIQuantum Of SolaceThe Boat That RockedAnd the winner is: Quantum OfSolaceBest UK TV Sound Facility(Sponsored by Scrub)The nominees were:Ascent 142EvolutionsFilms @ 59And the winner is: EvolutionsSimon Hayes’ dad receives his award for Mixer of the Year.TV Sound Editor / Designer(Sponsored by SADiE)The nominees were:Ben NorringtonChris Roberts - Ascent 142Paul McFadden - Bang Post Prod.And the winner is: Ben NorringtonThe Quantum of Solace team receives the award for BestFilm Soundtrack (+£10 million).UK Screen Fellowship Award(Sponsored by Dolby)Presented to: Keith GrantAll smiles from winning TV Sound Facility team, Evolutions.Best UK Film Sound FacilityThe nominees were:De Lane LeaMolinareThe Pinewood Studios GroupAnd the winner is: MolinareBen Norrington receives TV Sound Editor/Designer award.Dolby presents the Fellowship award to Keith Grant.Molinare accepts the award for Best Film Sound Facility. Next Month: More from the conch winners, including an interview with Fellowship winner Keith Grant. AUDIO MEDIA OCTOBER 2009 41

eq & dynamicsoftware bundleNot called ‘classics’ for nothing,GREG MARSHALL listens to thevintage tones of Waves’Classics collection.THE REVIEWERGREG MARSHALL has workedin music studios and postproductionaudio for the last 15years. He is currently the TechnicalDirector at Spool Post Production,Nottingham. www.spoolpost.comhe studio classic bundle takes the mostrenowned, highly regarded, and favouriteelements of EQ and Dynamics from threeiconic console manufacturers: API, SSL,and Neve. What Waves appears to have done is to try andcreate plug-ins that not only sound like a piece of vintagekit, but actually behave like one. Literature promises there-creation of ‘every last nuance of actual behaviour,’ so Iguess that’s why the manual, which in itself is well written,encourages ‘all users to experiment’ in order to understandthat some of these processors will probably sound muchmore interesting when cranked to bonkers settings.In the box you’ll find three API EQs,the 550 A, B, and 560, plus the API 2500bus compressor, The SSL 4000 G series EQ,G- and E-Series channel strips, and theG-Series buss compressor. You also getthree- and four-band Neve EQs includingthe superb 1081, and the V-Comp basedon the Neve 2254 bus compressor.Installation is by the standard Wavesaccount route.All the plug-ins feature an analoguein/out switch. You can, if you want,switch in or out the added noise andharmonics that the analogue-modellingalgorithm brings. I’m not sure why youwould actively choose one of these Waves plug-ins,designed to replicate classic studio gear, to then switchout all the analogue goodness. If you want a super-cleanprocessor, why not choose something different from yourplug-in list?550A, 550B, And 560Designed in the late 1960s by Saul Walker, founder of API,the 550 is in its own right a legendary equaliser module.The Waves API 550 consists of both the A and B versions;the A being a three-band parametric equaliser with fivefixed frequencies per band, and the API 550B, a four-bandparametric equaliser with seven fixed frequencies perband. Each band has up to 12dB of cut or boost, and theupper and lower bands are switchable between peakand shelving. Both modules are available in mono andstereo configurations.The plug-in layout is distinctly API, with the gain andfrequency select presented as either three or five dualconcentriccontrols. Using the actual API hardware EQfeels intuitive, but navigating the same controls on screenwas a bit of a pain, as one control is essentially on top ofeach other. Using the mouse to change settings meantI kept picking up the wrong control with the pointer.I decided to move over to our D-Command and use theconsole’s rotary encoders. The 550B worked fine, but the550A bizarrely had only the top and bottom bands onthe first ‘page’ with the middle band and output gain onpage two.I found using the 550A workedbetter in broad strokes, sweetening andplaying with an overall picture ratherthan attempting to use this type of EQfor fixing, whereas the 550B allowed meto get further into the signal with morecut off points. The EQ is definitely usablefor fixing – I called up some roughlyrecorded dialogue and managedto perform a decent ‘clean-up’ withsome successful treatment of typicalproblematic clip and boom recording.The Waves API 550 also effectivelymodels ‘Proportional Q’, whereby theQ is narrowed the more gain you putinto the band preventing too much interference withthe EQ bands on either side. This is of course the APIsound, which was still smooth under extreme cut andboost situations.Sonically, these EQs are excellent and sound incrediblylike the real thing. I loved the description in the manualto “feel free to push the API 550 harder than you normallywould”. Although they sounded nice and delicate, almost‘pretty’ at normal levels, they sounded even better pushedto the limit. On the other hand I know a lot of peoplechoose the 550s for mastering, so the ability to haveperfectly matched pairs opens up more possibilities.It’s a shame that the gain is fixed in 2-3dB stepsas a version with 0.5dB steps like the real 550m(modified) version would give more control in amastering scenario.We shouldn’t forget the third EQ in the APIcollection, the API 560. Originally introduced by42AUDIO MEDIA OCTOBER 2009

waves studio classicsAPI in 1967, this 10-band graphic equaliser alsofeatures API’s unique ‘Proportional Q’, and I foundmyself getting favourable results very easily.The 560 is incredibly quick to set up, especiallyif you’re used to more graph-based EQ displays.The equaliser is split intoone-octave bands withthe same +/- 12dB foundon the other EQ modules.The applications for thisgraphic definitely lean moretowards global processing,and I found it worked wellon the music stems I wasworking on.API 2500Modelled on the 1U API 2500 buss compressor,the API 2500 plug-in can function as both a stereocompressor or as a dual mono compressor viaa single compression setting. This link is fullyadjustable and benefits high, low, and band passfilters to prevent unwanted compression betweenvastly differing signal types.I opened this plug-in on score, and sub mixeddown onto a stereo track. I can only describethe result as delightful. I actually thought, “GodI like this”. We only have a mono API 525 here inthe studio, mainly used for voice, so I was verymuch looking forward to playing around in stereo.The 2500 is massively versatile and I managedto get a wide range of compression effects veryquickly. Unlike the concentric layout of the EQs,the plug-in is fast to navigate with the mouse.This is an awesome sounding compressor,but it’s the tone section that really brings it tolife. This section comprises of three componentscontrolling knee, thrust, and compression type.The threshold knee is split into hard, medium,and soft, with the manualdescribing the latter two as‘slight-fade’ and ‘even moregradual fade’. I like that kindof manual terminology.The thrust filter reducescompression responseto lower frequencieswhile applying additionalcompression to higherfrequencies. I liked that too.But it’s the compression type control where theresults are most dramatic. By being able to movethe position in the signal chain where the RMSdetector sits, the 2500 produces the sound of bothold and new VCA driven compressors. The new‘feed forward’ setting sounds precise and clean,but flick it over to the ‘feed back’ setting and the2500 perks up into a much fatter compressor withloads of punch and drive.Neve V-EQ3 & 4The Waves V-EQ3 is based on a combinationof highlights from both the 1073 and 1066 EQprocessors whilst the V-EQ4 is modelled onthe classic 1081. Both EQs have up to 18dB ofgain adjustment.The V-EQ3 is a three-band equaliser with a highpass filter. It also boasts specific fixed cut off pointsassociated with creating a fat, rich 70s sound.The first thing you notice when you start to adjustthe V-EQ3 is the detail it provides in the midrange.Drive the HF and there’s no brittleness thereeither, it just maintains that nice Neve richness.The subtle distortion and added noise as you’dexpect to find in the original hardware is apparentas you drive the EQ harder. Again, this module isvery much a broad strokes equaliser. I found itworking much better in that type of role.Call up the V-EQ’s younger brother the V-EQ4,and you see the clever relationship. Like the twoAPI 550 modules you have a much more flexibleEQ with the V-EQ4, and much more broad strokeswith the V-EQ3. Almost like they thought about it.The V-EQ4 is a four-band equaliser with both highand low pass filters. It offers the same injectionof subtle harmonic distortion and noise to makeits sound with the added benefit of switchable Qand a greater number of frequency points – mucheasier to use on individual mix components.V-CompThe V-Comp differs hugely from the API buscompressor. Whereas slamming the hell out of theAPI worked wonders, I found the V-comp muchmore of a gentle beast. It has five fixed ratios from1.5:1 through to 6:1, which indicates where it wouldbe best suited. The manual offers guidelines tosuggest that the most accurate ‘vintage’ resultscome when the input signal falls between -17 and-22dBFS; a million miles away from the ‘finalised’mastering levels we’re used to. The sound is thick,rich, but far from transparent, and so didn’t workThe API 2500 – stereo and dual mono compressor.AUDIO MEDIA OCTOBER 2009 43

waves studio classicswell on the cinema advert I was working on inthe theatre. It sounded too vintage. It’s definitelyvery much a musical tool and with the exceptionof running this on music stems I couldn’t reallyput it to much use on the work I was doing at thetime of the review.SSL 4000The completion of the bundle is with the SSL 4000series G and E plug-ins, apparently taking over ayear for Waves to recreate the sonic characteristicsof the consoles. The G and E series channel stripsdiffer in the type of EQ module. The E seriesutilises the 242 EQ so called ‘Black Knob’ equaliserdeveloped in the early 1980s with ProducerGeorge Martin, whereas the G uses the 383GEQ with a slightly broader Q. Both use the samedynamics section, consisting of a compressor/limiter and expander/gate. The dynamics can beswitched either pre or post EQ.The 'gentle beast', the V-Comp.As well as the channel strips, you also get theG series EQ and the G series bus compressor.The compressor is so easy to set up with simplecontrols and really transparent compressioncharacteristics, and the G series EQ, withwider curves to the E series, make it an idealcompanion for insertion onto stems or in themastering chain.But out of all the plug-ins in the suite, it’sthe SSL channel strips that work best here inthe theatre when dealing with the types of sonicrepair work we face daily, so I set about testingthis out on more dialogue. I like the sound of theSSL; it’s clinical yet immensely pleasing to listen towith just the right amount of colour. I don’t knowwhy, but this EQ just sounds right; not really like aplug-in but more like a console than I imagined itwould. As for comparisons, I had really loved theSony’s Oxford channel strip until this point, but tome this sounded so much better. Dynamic- wise, Iwas amazed to find an expander that really works.I have used expanders on the AMS Neve DFC towork gently around dialogues during film mixes,but had never found anything in the plug-in worldthat could get close. Everything I tried was far toocrude. With the SSL, I found I could set globalexpansion parameters without any detriment tothe dialogues, and by using the filters create apretty convincing dialogue ‘container’.All-in-One 16:4:2 Digital Mixing and 16-Track Multitrack RecordingLR16Live Recording MixerCAT-5DIGITALMULTCOREConclusionThis is a very balanced and carefully consideredbundle, and across the collection there is theright amount of broad and focused equalisersthat range from the super-clean SSL, through tothe warm and rich Neve. The buss compressorstoo, suited to individual instruments as well asmastering style applications, fit nicely into thebundle. They are, by the very nature of theirancestors, a very musical sounding collection,but given that a lot of these plug-ins work wellas mastering style inserts, I put them to gooduse inserted on sub-mixed stems, utilising thefull effect of the buss compressors and mix EQto give overall shape and characteristic. Most ofwhat I have read about the Waves approach tomodelling the originals (including engineers atSSL not being able to tell the difference sonically)is probably true. I haven’t personally used all ofthe original hardware but these plug-ins do soundincredibly like the ones I do have. ....................................INFORMATION GB£1,224.00 Native, £2,448.00 TDM (exc.VAT)The new Fostex LR16 is a clever all-in-one solution integrating a flexible,feature-rich live digital mixer with a full-specification 16-track MultitrackHard Disc Recorder and CAT-5 Digital Multicore.A totally new concept, this easy-to-use audio tool can serve as a FOH oron-stage mixer and is ideal for schools, houses of worship, clubs, coffeehouses, project studios, mobile recording and rental sound/recording, etc.- In fact any application where flexibility of use is important.Also Available: LM16 - Live Mixer Model - see online for more informationwww.fostex.jpFostex Company, 3-2-35 Musashino,Akishima, Tokyo, Japan 196-0021Email: info_sales@fostex.jp Waves Inc., 2800 Merchants Drive, Knoxville, TN37912 +1 865 909 9200 www.waves.com UK Distributor: Sonic Distribution Ltd., Unit 23,Westbury Close, Townsend Industrial Estate,Houghton Regis, LU5 5BL, UK +44 (0) 845 500 2500 +44 (0) 1582 470269 www.sonic-distribution.com44AUDIO MEDIA OCTOBER 2009

The fantastically namedYellow Fish Music Group hasbravely branched out into themobile recording arena with aneye- and ear-catching studiothat stands out fromthe digital crowd.JONATHAN MILLER reports(caravans for the Europeans) don’t come anysexier and shinier than the iconic all-aluminiumAirstream. Indeed, the first inadvertent taste ofrailers’publicity dished out Yellow Fish Music Group’sAirstream-housed Yellow Fish Mobile Recording Studio wascourtesy of a relatively recent issue of the UK's long-runningThe Caravan Club Magazine — more specifically, an adverttherein focusing on a businesswoman specialising inimporting those super-sexy retro-trailers, who’d received arequest for a 28-footer that was going to be used asa recording studio. Rare as Airstreams actually are onBritish roads, clearly this was far from being a run-of-themillapplication.A little investigative work later leads to Worth Farm inEast Sussex, UK. Through its gates, and after driving alonga quarter-mile private road through woodland/scrublandsits the shining subject of our affections, looking evenbetter for basking in the summer sunlight of August.With tasteful graphics and company logo adorning itsexterior, this very individual trailer is dressed to impress.I joined Yellow Fish Music Group Producer and StudioManager Ross McCracken for the more detailed tour…Back To The FutureAccording to the Yellow Fish Music Group website (www.yellowfishmusicgroup.com), “Ross started working inthe music industry when he was 15, forming his firstproduction company… He has worked with The PrettyThings, Arthur Brown, and many others, includingBoyzone (although he strongly denies the latter!).”Clearly something happened along the waybefore the now-thirtysomethingMcCrackenended up “…olderand (hopefully!) wiseras the Managerand founder ofYellow Fish Music.”Given that YellowFish Music Group’swide-rangingservices now include afixed recording studio with access to analogue and/or digital formats, a 48-track mobile studio, re-masteringand format transfer facilities, audio and video editing,audio and video restoration, tape baking, DVD authoring,16mm video viewing facilities, equipment hire, full musicproduction service, graphic design, and sensitive mediastorage, there’s a lot of ground to cover here.The Yellow Fish Music Group started in the peculiarlyordinary East Sussex town of East Grinsted. “I startedworking with bands when I was 15, running eventsin a production company with a friend,” reiterates astill-ambitious McCracken. “I did that for a long time,then went to music college in Guildford at ACM – theAcademy of Contemporary Music, as it was then, for ayear, which was useful for me, because it took me awayfrom the management side of things and gave me aninterest in studios – to a degree, and I wanted to movein that direction.”Of course, a little luck and, more often than not, somekind of ‘big break’ can be the making of such bright youngthings. In McCracken’s case, post-college, he “…went toFrance for a while, worked there, and then bumped intosomebody at a barbeque, and the rest is history…”Pressed to reveal more, McCracken plays it close tohis chest, simply stating, “He was older than me – inhis fifties, I think; I was 21, and we formed a partnershipcalled Côte Basque, based around a mobile studio and arecord label, and then I started touring with a few of theold Sixties bands, working with The Pretty Things, ArthurBrown, and others.”Interestingly, the mobile studio in question wasformerly well-known as the Ronnie Lane Mobile Studioor LMS, dating back to 1972, when Ronnie Lane, thenbassist,songwriter, and singer with The Small Faces andThe Faces, imported a 1968-vintage Airstream trailer fromthe USA and employed legendary record producer andengineer Ron Nevison to convert it into one of the UK’sfirst mobile recording facilities. Incidentally, that originaltrailor was recently spotted on the Cadac stand at PLASA09 (now that's staying power). Initially based arounda custom-built ‘wraparound’ Helios console, an eighttrackStuder A80 multi-track (later modified to a ‘stacked’16-track), Dolby A noise reduction, and a BX20 springreverb, under Nevison’s guidance, a string of classic hitrock recordings were mixed within the LMS’ pastel blue,shagpile-lined, aluminium shell, considered by manyeminent producers of the day to be the flattest and mostaccurate control room in the world! To name but a few:Physical Graffiti by Led Zeppelin (UK #1/US #1), The Who’sQuadraphenia (UK #1/US #2) and The Who By Numbers (UK#3/US #2), Bad Company’s Bad Company (UK #1/US #1),Eric Clapton’s Rainbow Concert (UK #2/US #2), The Faces’46AUDIO MEDIA OCTOBER 2009

C a p t u r e y o u r a r t w i t hconfidence.newDR-07DR-1GTR-1DR-100Trust TASCAMPortable recordersHDP-2The DR-100 uses high-quality AKM digital converters to capture its great-soundingmic preamp at 96kHz/24-bit resolution. The solid metal chassis, four microphones andXLR inputs are ready for whatever the road throws your way. It even has dual batterycompartments so you won’t miss a beat.Step up to TASCAM reliability with the DR-100.For more info call Peter on 01923 438880e mail info@tascam.co.uk or visit www.tascam.co.ukDP-004 DP-02CF DP-02 2488neo

Ooh La La (UK #1/US #3), and The Rolling Stones’Black & Blue (UK #2/US #1).But that was then; this is now. “It eventually gotto the stage where I felt creatively in a box,” reasonsMcCracken. “I wanted to see what was out there,and go and find some new acts to do somethinga little more contemporary than working withthe older guys. At the age of 25 at the time, Ialso came to the conclusion that there was thepossibility that those bands weren’t going to bearound forever, because they were entering theirsixties, so I was concerned with the future of that.For me, I couldn’t see it as being the way forward,so I called it a day with Côte Basque. It was one ofthose splits where I took the studio contents, andhe had the label and the vehicle, which went tohis private place.”Back To The LandFortunately for McCracken, the Côte Basquepartnership had been operating out of a seriesof outbuildings on his step-parents’ aforesaidEast Sussex-sited farm, themselves previouslypart of a once super-successful family-run pianobusiness. Claims McCracken, “At one stage it wasthe biggest piano dealership in Europe, shippingtruckloads of pianos in and out of there all thetime, and then the European market collapsed,and it started to slow down; it had got to thepoint where everybody in the catchment areahad a piano!“I did a complete shuffle around, and completelyupdated the fixed location studio, putting in allthe digital stuff with a view to becoming a morecommercial-based venture, as opposed to justworking with three or four specific bands andrunning an archiving company, which was thebasis of Côte Basque.“Generally, we were quite lucky, because,at the time, there were studios going out ofbusiness, so there was a lot of stuff going cheap– stuff that people threw out and then thought,‘Hang on a minute! We can’t play that recordingback now because we’ve got rid of the tapeInside the Airstream.machine!’ For example, our analogue RaindirkSymphony console was out of the Manor Mobile,so we found Cyril – the chap who originallydesigned it – up at Raindirk, and he just wentthrough it all and fitted the 5.1 surround stuff to it,then he came here and cabled the whole studio.”Mobile MeAll was well and good, yet, ultimately, the call ofthe open road proved too forceful for McCrackento ignore: “I’d always worked with live actspreviously; that’s my element. I love turning upand not knowing what’s going on – the buzz oftouring, if you like. The mobile was why I originallygot into the whole business, and I still wanted tobe recording stuff at the same time, but when thefixed location studio sort of took over, the mobilewas shelved for several years. Eventually I thought,‘Well, I’ve got everything here; I can either sell it alland concentrate on the fixed location studio, orjust go for it and do it.’”Enter eBay: “I was just about to import anAirstream at extortionate cost from America,when, by pure coincidence, this one came upon eBay. It’s actually an Eighties model, which isvery unusual, because Airstreams after the Sixtiesgot too wide for British roads; but they made 200or 300 for the Japanese market that were thennever shipped out of the States, so they stayedthere, and one of them found its way over here.Like fate, I suppose, the whole thing just fell intoplace – the right size trailer at the right price, andall the gear was just sitting here, so it was a bit ofa no-brainer.”Cue several months of stripping down saidAirstream and converting it into a modern-day‘Ronnie Lane-style’ mobile studio of sorts – albeitone based around a Soundtracs DPC-II automateddigital console and a 48-track Alesis digitalrecording combo, the choice of which makes forilluminating reading; here the McCracken mantrais ‘new is not necessarily best’: “When I first startedworking in a studio we had a [Soundtracs] Virtua;at the time, I loved it, because it was so simple,made perfect sense, and sounded good, so thenatural progression from there was to go with thatconsole, but a bigger version with an updatedoperating system. I liked the company; the techguys are really helpful, so it was a case of if it ain’tbroke, don’t fix it! It’s quite an old console now,though their new stuff is amazing, so I’m sure we’llupgrade to something newer in a few years, butstick with the same company.”Fair play. So what’s with the Alesis HD24XR24-track, 96kHz connection, then? “We startedwith Mackie, and, having had their engineersdown here to get our projects out of the drive, Ijust lost faith in them, because the turnaround48AUDIO MEDIA OCTOBER 2009

yellowfish gone fishin'The piano area in the studio.from when you get back from a job to getting itin, mixed, and out to client doesn’t allow you towait for a bloke to come from god knows whereto retrieve your audio by ripping your machineto pieces! The Alesis was the next obvious optionfor us at the time; we just wanted a dedicatedbox that did one job reliably, so we put two ofthose machines in, and 90% of the time we justoperate with 24-tracks, with the other machinebacking up, and we’ve never had a problem.We did a festival recently where we recorded15 bands over a weekend, and they were prettymuch running constantly for eight hours a day.They’re just rock-solid.”One certainly can’t argue with that;unsurprisingly, however, it doesn’t simply endthere. “The mobile’s also cabled for Pro Tools,”adds McCracken. “You can even put a two-inchanalogue tape machine in there; we’ve cabledup for that as well. It’s flexible, but we didn’treally want to be dragging a computer aroundwith us; people will disagree with me, becauseobviously there are now rack-mounted systems,but bouncing computers about… it’s probablyme, but it doesn’t work.”for two days, and you can do an entirelive album,’ people then respond, ‘Oh,really?’ And we say, ‘Yeah; and not onlythat, for not a huge amount more youcould do a DVD with an interview withthe band – what we call the MySpacePackage – for the ultimate website, witha three-camera shoot,’ or whatever.“As far as our target market goes,we’re trying to cater across a huge levelof markets – especially with the DVDthing, because we’ve got the optionwhere you can have a two-camerashoot – the lowest package, which isa basic edit between two cameras; non-hi-def;stereo audio — right up to ten cameras; full 5.1or 7.1 surround… the whole caboodle! There isn’tmuch it can’t cope with, and we’re now lookinginto increasing our mic lines with a digital snake,which would also allow us to leave 100m of multicoreand a huge motorised drum behind, whichmeans we could carry more kit.”With those MySpace Packages starting at areasonable GB£1,200, things have certainly movedonwards and upwards since ‘Ronnie Lane & Co.’plied their Airstream-based burgeoning mobilerecording trade back in the Seventies. Interestingly,the quoted daily rate to hire Lane’s legendaryLMS back in June 1975 was £375, which makesthat quoted £1,200 package sound – and look –all the more reasonable nigh on 35 years later!After all, chances are Lane’s Sixties-vintage Airstreamcost comparatively less than McCracken’s Eightiesone; as for the fuel involved in towing the latter…well, there’s no comparison.As far as Yellow Fish Music Group’s concerned,the future’s bright, the future’s silver… Who saysstudios have no future. ....................................INFORMATIONYellow Fish Music Groupwww.yellowfishmusicgroup.comMan With A PlanOf course, times have changed since the bygoneglory days of Ronnie Lane’s once-groundbreakingmobile studio, yet the business-savvy McCracken’sYellow Fish Mobile Recording Studio is far fromfrozen in time – as, indeed, is its diverse parentGroup operation: “The tape baking is a newaddition, purely because we already had thearchives up there and clients coming in, saying,‘Could you transfer this master?’ And 90% of thetime the answer was, ‘No; not until it goes up to FXRentals and gets baked.’ But, of course, the musicindustry being what it is, they want everythingyesterday, so we brought in the tape oven toaddress that, because the archiving is whatpays everybody’s wages and all the bills. I thinkanyone who takes on a studio without anythingelse is either very brave or not quite all there –to a degree!”In Yellow Fish Music Group’s case, 'anythingelse' includes that also newly added Yellow FishMobile Recording Studio; even there, McCrackenis thinking outside the box. “The live market isgrowing all the time, and a lot of people can’tcome into a fixed location studio like ours andpay for a month to make an album, so the idea ofmaking an album in one evening with a coupleof days then spent mixing is very appealing.Funnily enough, the hardest thing we have in ourmobile marketing strategy is that it’s big and shiny,so everyone assumes it’s expensive, whereas we’veactually designed it to be affordable. As soon asyou say, ‘It’s cheaper than going into the studioUK Sales01992 703058e-mail sales@shuredistribution.co.uk or visit www.shuredistribution.co.ukwww.sounddevices.comWorldwide Sales+1 (608) 524-0625e-mail sales@sounddevices.com or visit www.sounddevices.comAUDIO MEDIA OCTOBER 2009 49

PRODUCT SAMPLERRecordersYour recorder is your friend. You have to trust it, enjoy its company, andremain faithful… until a better one turns up. To help with that last bit, we'vecollected some of the latest recorder revelations together in a handy productsamplingreference.The R-44 is one of Edirol’s most popularrecorders, with four recording channels ofuncompressed audio selectable at 16- or 24-bitdepths plus 44.1kHzand 192kHz (stereomode only). The latestsoftware update(version 1.05) enablesusers to add effectsin Pre Record mode,provides updates for the BWF marker format,improves shutdown times in some modes withSD cards, and allows smoother overall workflowthrough minor bug fixes.www.edirol.comHHB state its popular FlashMic isthe world’s first digital recordingmicrophone, and its introductionhas garnered support around theworld due to its portability andconvenience. The four differentmodels combine a studio qualitySennheiser mic capsule with abroadcast quality Flash recorder,and provide high-speed USB filetransfer of several audio formats– linear 32, 44.1 or 48kHz, MPEG 1Layer 2 encoded audio (128- 192kbps), or broadcast wave (.wav).www.hhb.co.ukBosch-owned KlarkTeknik’s DN9696high resolution audiorecorder utilises astandalone hard diskto capture 96 tracks of96kHz audio at 24-bit.With nine hours of internal storage, the DN9696can be used to store live recordings for mixengineers requiring a virtual sound check.The unit reflects some of the unique features ofMidas’ digital audio systems such as POPulationgroups to view, colour and edit tracks, plus an‘Input Sheet’ for quick naming all tracks.www.klarkteknik.comKorg’s affordable digital stereo MR-2000S studiorecorder received an update this April that enablessynching of multiple units to facilitate multi-trackThe Fostex UR-2 is a rack-mounted 24/96stereo recorder and playback device with twoSD (and SDHC) slots and a USB connector formedia. The unit features balanced, unbalanced,and digital I/O, plus a front panel mic inputwith phantom power. Playback features inclderemote, front panel, keyboard, foot-swich,remote pot, and RS232 control, plus CSVplaylist files. Also available is the EP-CT1instant start controller.www.fostex.jpIZ Technologies’ RADAR hard disk recordersystem’s most recent software update (version3.54) offers improvements that includeadjustable chase cue time, enabling users toshorten the default time of 1.6 seconds.This can be used to accommodate anticipatedshorter cue times, particularly useful whenplaying back six tracks, for example, or playingfrom a very fast hard disk.www.izcorp.comDSD recording. Other improvements included inO.S. Version 1.5 are a new dual-mono mode forincreased flexibility, the ability to play previouslyrecorded stereo files as two mono files, andenhanced workflow processes. The MR-2000Sprovides 5.6 MHz or 2.8 MHz 1-bit recording, or upto 24-bit 192 kHz PCM recording and playback.www.korg.comThe Fostex PD606is the company'sflagship multitracklocation recorder.This eight-trackunit records toeither hard diskor DVD-RAM and features a six-channel mixer,comprehensive monitoring facilities, and extensivetimecode functionality and compatibility,9-pin control, up to ten seconds of pre-record,and dual battery V-mounts with intelligentswitching. The unit also has a 99 cue pointmemory, Avid compatible EDL creation/editing,slatte tone generation, and more.www.fostex.jpJoeCo’s 1U,24-trackBlackBoxRecorder boastssimplicity ofoperation, low cost media, and no movingparts. Now shipping, the recorder is “designedspecifically to take the hassle out of creating topquality multi-track recordings.” Utilising ordinaryUSB2 drives means media can be replayed in theauditorium or easily transported to a DAW forfurther processing. The unit plugs straight intoa console’s insert points, recording everythingdirectly from the mic amps to provide replay ofvirtual sound checks.www.joeco.co.ukThe PMD661 Professional Portable FieldRecorder from Marantz Professional is thedirect result of feedback from users in the field.The handheld PCM/MP3recorder offers digitalrecording at 44.1/48/96 kHz sample rate at16- or 24-bit quantisation,and uses SD or SDHCmemory cards. The unitalso features two mic/line switchable LXR inputswith 48V phantompower, plus an S/PDIFdigital input.www.d-mpro.com50AUDIO MEDIA OCTOBER 2009

The MicroTrack II from M-Audio provides twochannelWAV (BWF) and MP3recording and playback, plussimple drag-and-drop filetransfer to PC and Mac. UsingCompactFlash or Microdrivesensures flexibility and flexible,expandable storage, while thelong-life lithium-ion batteryprovides approximately fourto five hours of operatingtime. Other notable features include extendedinput gain range, an analogue input limiter,and recording of files beyond 2GB in size.www.m-audio.comThe LS-10 mini portable recorder from Olympusboasts stereo microphones, up to 24/96 PCMrecording, built-in Flash orSD memory, a wide variety ofmic ‘zoom’ settings, built inspeakers and on-board effectsfor playback. The unit weighsin at just 165-grams and runson two AA batteries providingup to sixteen hours ofoperating time. The large, 1.8-inch backlit display provideseasily readable display of welllaid out menus.www.olympus.co.ukPRODUCT SAMPLER | RECORDERSSound Devices’ 788T-SSD is based on the 788T.It is augmented with a 256 GB solid-state harddrive (SSD), enhanced data transfer speed,and improved durability making it “nearlyimpervious to shock.” The SSD can record over60 hours of uncompressed, 24-bit, eight-trackaudio, while eight full-featured mic inputsand twelve tracks of recording guarantee animpressive number of inputs.www.sounddevices.comThe classy Nagra LB is a two-track recorder isdesigned for broadcast applications, but is justas at home in live recording or music productionenvironments. Ethernet and Bluetoothconnection enablerecordings to besent straight tothe studio, whilepremium qualitymic inputs withintegrated vortexfilters ensurepristine audio quality. Recording formats arePCM linear or MPEG compressed BWF files.www.nagraaudio.comSadie’s powerful and flexible LXR2 locationrecorder is designed to suit a complex varietyof remote recording applications. Samplingrates up to 96kHz/24-bitare supported on up to 64channels using the MADIinterface, or on 48 balancedanalogue inputs (line level orPhantom powered mic ins).Designed to accommodatea laptop on which Sadie 5software can be run, the unitalso utilises a dedicated SADiE MTR on-screengraphical user interface.www.sadie.comTascam’s X-48 is a standalone 48-track hybridhard disk workstation. It unites hard diskrecording with DAW technology, providing96kHz/24-bit recording acrossall 48 tracks, plus an automated48-channel digital mixerwith VGA display output andpowerful editing functions.Co-developed with SaneWave,which specialises in embeddedPC designs for the pro audiomarket, the unit supports file compatibility withnative Broadcast WAVE audio filesupport and AAF export.www.tascam.com WINNER OF THE PLASA09 AWARD FOR INNOVATION www.CapturingPerformance.com51AUDIO MEDIA OCTOBER 2009

PRODUCT SAMPLER | RECORDERSReleased this year, the DR-100 portable recorderfrom Tascam features a pair of XLR mic inputswith phantom power, four built-in electretcondenser mics (two cardioid and two omni),plus a built-in speaker for playback. Recordingsare stored on SD or SDHC cards, while the unitis also supplied with a2GB card. The newestupdate (version 1.10)supports sampling ratesfrom 44.1k to 96kHz,24-bit or 16-bit WAVrecording, and MP3recording.www.tascam.comYamaha bills its Pocketrak CX as, “a pocketrecorder built for serious sound.” At just 92grams, the unit provides 50hours of recording or playbackfrom a single AA penlightbattery and utilises high capacitymicro SD cards. The built-in 90°X-Y microphone boasts highsensitivity and detailed spatialimaging with uniform responsewithout phase problems.Recording formats include16-bit 44.1 CD quality .wavfiles and MP3.www.yamahasynth.comZoom’s R16 three-inoneportable digitalrecorder claims tobe “the first digitalrecorder with sixteentrackplayback andeight-track simultaneous recording utilising SDmemory.” Wrapping a multi-track recorder, anaudio interface, and a control surface into onelightweight package, the R16 provides furtherconvenience by running on six AA batteries.The SD memory enables 32GB worth ofrecording, equating to up to 100 hours ofrecording using all sixteen tracks.www.zoom.co.jpThe MT-128 Tap(e) Machine from VB-Audio isan easy to use and secure hard disk multi-trackrecorder/player that can be configured withup to 128 channels of I/O (analogue, MADI,AES-3, or ADAT options). It supports Wordclock,Video Sync, and timecodevia optional LTC I/O,RS422, or MIDI (MTC).The MT-128 is deliveredas a turnkey computerand is controlled using a15-inch touch screen TFT,negating the need for amouse or keyboard.www.vb-audio.comReleased this February,Zaxcom’s TRX992 is a boompole unit that functions as anaudio transmitter, monitorreturn receiver, backuprecorder, and phantompower supply all in onecompact wireless system.Internal recording backsup transmissions to guardagainst lost audio files,allowing users to record upto 24 hours of audio to aremovable mini or micro SD card.www.zaxcom.comZoom’s H4n is an evolution ofthe H-series of handy recordersfrom Samson, with an improveduser interface, integral X/Ystereo condenser microphones,a digitally controlled mic preamp,and the option to useboth internal and externalmicrophones simultaneously for four-channelrecording. The stereo mics allow variablerecording patterns at either ninety or onehundred and twenty degrees, recording highresolutionaudio at 24-bit/96kHz on SD/SDHCmedia for up to 32GB of storage space.www.zoom.co.jpThinking of buying aRecorder, Microphone or Monitor in 2009?Then check out the Brand New 2009 Buyers Guidesat www.audiomedia.com or request a free printed copy from subs@audiomedia.com52AUDIO MEDIA OCTOBER 2009

video guideA Sound Pro’s Guide To VideoEditing: Post Production Part 51993 marked thestart of something big.KEVIN HILTON charts the rise ofdesktop editing throughthe modern age.GLOSSARYCompositingA crucial part of the onlineediting process, during whicha production is finished andall the different visual andaudio aspects are combined.Compositing is how multiplelayers are created formoving images, with today’scomposites being made usinga number of different methodsto achieve a seamless andbelievable end result. Theseinclude painting, retouching,rotoscoping, keying/matting,digital effects, and colourcorrection for live action ina film or programme, whileanimation and optical effectsare called into action forpromos, opening sequencesand TV advertisements.Composting is not just aboutcreating or finishing imagesbut also touching up shots,including repairing any faultsor glitches and removingwires used to supportperformers during actionscenes or anachronisms, suchas satellite TV dishes thatwould otherwise intrude ona period drama. While offline/picture editing is regarded asthe more creative of the twoforms of editing, the onlineprocess requires a high degreeof skill and attention to detailsso there are no give away signsthat a scene has been formedfrom different elements and isnot as real as it appears.In the development of any technology there is a pivotalmoment that cements its future advancement andoverall place in a market. For non-linear digital videoediting (NLVE), 1993 was the most likely tipping point, whenusers and manufacturers got a better idea of how editscould be best performed using modern techniques andwhat systems and technologies were going to shape postproductionfor film and television in the coming years.Avid showed the commercial power of NLVE equipmentby issuing a first tranche of public shares and buying therights to DiVA’s VideoShop desktop product, which hadalready established itself as competition to Adobe Premiere.At the other end of the equipment scale, non-linear finallymade the jump from being an offline-only tool to offeringonline capability.Avid was at the forefront of this development as well,with the Media Composer 4000 and 8000 series. By 1993 themanipulation and processing power of NLVE systems wasestablished, although that looks somewhat weedy by today’sstandards. The key elements for taking the technology intothe realm of online editing were greater storage capacityand the ability to handle more thanjust picture cutting.The Media Composer 8000 hadup to 24-tracks of audio at 44.1kHzor 48kHz, four to 24 nested videotracks for effects compositing (seeglossary) and layering, 2D and 3Deffects, work print to broadcastquality compression rates, real-timetitling, keying, 24-frames per second(fps) film editing, edit decision list(EDL) output for all formats, and theability to digitise material in relationto the script.Nesting allows an event, orsequence, with multiple layers to betemporarily folded down into just onelayer on the timeline for display purposes. This is usuallydone for ease of working, for example when work on theindividual ten layers has been finished and the operator isconcentrating on other elements of the project. The nest oflayers can be re-expanded instantly at any time if the editorneeds to see or work with individual layers.The Time Is NowThe time of the online NLVE had clearly come as othermanufacturers produced their own takes on the concept.ImMIX produced a prototype of its VideoCube systemduring 1993, creating a complete package for finishingprojects. This included the core computer, monitors,software, stand-alone media processor, and audiocapability. Version 1.2 of the US$42,500 workstation,released in 1994, comprised a Power Macintosh 7100 with12Mbytes of RAM and a 250Mbyte hard drive, plus anintegral CD-ROM drive. The VideoCube Media Processorconnected to the Mac over a SCSI cable.The Processor contained six proprietary boards and two2.6Gbyte drives for video storage, plus a 610MB drive to holdaudio. This allowed it to accommodate an hour of broadcastquality video and two hours of CD quality audio. A furtherfive media stores, each having the same configurationas the core system, could be linked into the system foradditional storage. A problem was that these units wereformatted using a proprietary system, meaning they didnot register on the computer desktop and could not storeany other material.The VideoCube gained a good profile in the businessduring the 1990s but in the long run did not overly troubleAvid. Quantel underlined its position as a digital innovatorwith the introduction of the EditBox, an online systembased on the Dylan disk array, also used for the Hal andHenry design and effects products.Making Light WorkDespite this it was Lightworks that, at the time, rapidlybecame the major alternative to Avid and was matching itsstrategic moves on a like for like basis. The offline pictureediting version of Lightworks hadgrabbed the attention of editorsand directors as quickly as Avid haddone in its early days, so there wasgreat interest in an online model.Heavyworks was seen in prototypeform during 1993 and emphasisedthat greater storage capacity wasthe secret to online NLVE.Heavyworks expanded on theincremental approach used by itsoffline counterpart, which could beexpanded up to 230GB, allowingmultiple projects to be held on disksimultaneously. Lightworks madeits mark on US TV through Friends;Heavyworks came into its own onanother American comedy classic of the ‘90s, Sienfield, eachepisode of which took up 32GB.Filmmakers were now more confident about committingtheir work to a system with little visible means of supportand the number of productions using NLVE increasedsignificantly. This was helped enormously by big namedirectors demonstrating how their films had been cutand assembled using non-linear technology. Lightworksgot heavyweight support from Oliver Stone, while Avidwas endorsed by Martha Coolidge – Director of ValleyGirl (1983), the first time Nicolas Cage (born Nicholas KimCoppola) appeared under that name – and, more tellingly,George Lucas.During 1993, Lucasfilm sold the intellectual rights andsupport network of its editDROID non-linear system to J&RFilm Company, manufacturer of the Moviola upright filmeditor. George Lucas severed his links to editDROID andannounced a development relationship with Avid. This cannow be seen as the first step in Lucas’ move to full digital,54AUDIO MEDIA OCTOBER 2009

video guide A Sound Pro’s Guide To VideoPost Production: Part 5and later HD, film production, which culminatedin his second Star Wars trilogy, three films that aremore significant for the technology and workingpractices used to make them rather than direction,writing, narrative development, or acting.The six-year collaboration between Avid andLucasfilm was intended to produce an improvedform of non-linear editing system, based on therequirements of editors using the establishedMedia Composer range. By basing this newproduct on the Silicon Graphics (SGI) computerplatform Avid showed it was keen not to restrictits technology to the Mac. In parallel Avid andSGI were working on the Open Media Framework(OMF) interchange format to allow graphics andediting projects to be passed between differentworkstations and products.Out in the market there were firm signsthat Hollywood was succumbing to non-linear,signalling the beginning of the decline oftraditional film editing. Solid proof of this wasJ&R’s decision to start running down its Moviolarental business and to begin offering NLVE kitinstead. Other major equipment hire companiessaw how the tide was turning and followed suit.The polarisation of the market between Avidand Lightworks was also seen in broadcasting.In the UK, Lightworks became the preferred tool foreditors working on television drama productions,particularly when the Touch, a cross between theoriginal system and Heavyworks, became availableduring 2002. Avid systems have also made a markon TV dramas but at one time proved more popularfor documentaries and commercials.Lightworks was designed to emulate the wayeditors worked with film, using an ergonomicallydesigned controller to give similar speed andtactility. Heavyworks and its rivals were based ona disk recorder, not a computer that was underpressure to produce online output.Onto The DeskBetter and faster computer processors broughtabout the development of a new strata of NLVEs,which slotted in under the high-end Lightworksand Avids to allow editors to work on location. It also gave the corporate sector a flexible andlow cost introduction to non-linear cutting.Because these products were based on nonproprietarycomputers and used software forthe functionality they were grouped under thegeneral heading of Desktop Editing Systems.Like the Avid, the early examples used theMac computing platform, whose creator, Apple,coined the term desktop to describe how data isstored, identified, and moved around the system.The introduction of Aldus PageMaker in 1985gave the world desktop publishing, extendingApple’s concept to allow writing, text editing, andtype-setting to be carried out by one person on asingle computer.Desktop editing brought a similar freedomto video production, releasing operators fromexpensive, dedicated hardware control systemsand ancillary equipment. Back in the mid 1990s,a computer-based editing system for privateor location work came in ten flight cases andcould cost up to £30,000. As desktop technologydeveloped, powerful software on a laptop with adecent processor could do the same, if not more,all for a starting price of £350.Increasingly, however, desktop editing becomea misnomer. The act of cutting and manipulatingthe footage is still done within the computerbut for a good quality result other equipment isneeded, including a broadcast standard monitorand a play-in/recording machine, such as a DVcamdeck. This means the physical desk or table topmight become a little crowded but the spirit ofthe idea remains the same; allowing material tobe worked on away from a commercial facility,which is a great benefit to lower budget featureor corporate productions.Shades Of GreyUnfortunately the phrase ‘desktop editing’has picked up a derogatory tinge in the lastfew years, the implication being that because software has become cheaper the end resultwill not be as good as what is done on a higherendsystem. The reality is that most desktopsystems are used for offline work, which will thenbe transferred to a workstation in a facility forfinishing, after which the online is done.The desktop boom began in earnest during1993, with the launch of Matrox Studio, theMedia 100 from Data Translations, and the FASTElectronics Video Machine. These were used infilm, TV, and corporate, and their success ledother manufacturers to offer their products assoftware only releases to be used on PCs andMacs.Adobe Premiere was the epitome of desktopediting, aided by Apple’s QuickTime video player.Both will be explored in further detail nextmonth. AUDIO MEDIA OCTOBER 2009 55

TOURINGINSTALLATION THEATRE SYSTEMS INTEGRATION PRODUCTIONAUDIO MEDIASound ReinforcementFIELD REPORTLeading trumpeter Randy Breckerhas been using the DPA 4099 clipmic for his international tours.Themusicianused themic on atwo-weektour inLisbon,Singapore,and Finland.“It’s the first time I’ve ever had aso-called ‘clip-on’ that not onlycovers the full sonic range of thehorn but has virtually no valvenoise whatsover,” enthused Brecker.“I think it actually improves myplaying.” www.dpamicrophones.comFIELD REPORTLivesound B AG and Satis&Fy AGWerne teamed up to supportLinkin Park’s European tour.Livesound provided an audiopackage for a show in Zurich whichhad to comply with strict Swisssound regulations, and included 12Y18s, and six T-21 subs per side, 16Y10s, and eight SpekTrix. Satis&Fyprovided sound and lighting fortwo shows in Germany, to whichLivesound added racks and stacks. www.adamsonsystems.comNEW USERWrestling JBLField ReportJBL VRX Constant Curvature line array speakers were used for World steel grills and an oversizedWrestling Entertainment (WWE) professional wrestling events in reinforcement ring. Furtherprotection is given by heavy,Puerto Rico. The events, at the Manuel Petaca Iguina Coliseum inprecision-machined cast-Arecibo, and the Juan Pachin Vicens Auditorium in Ponce, had audiencesof more than 12,000 people.tested to perform uniformlyThe sound reinforcement system, supplied by Ricky's Audioafter dropping, throwing andCorporation, included 24 JVRX932LAP line array speakers, arranged being run over by a 7-tonnein a 360-degree format with four arrays of six rigged on each sidezinc bodies which have beentruck - which hopefully won'thappen on stage too often.of the ring. An additional 12 VRX918SP powered portable subwooferswere located under the ring, and a dbx 4800 Loudspeaker"We've always focused our microphones onthe artist and their needs," explained founderManagament System was used to handle array zoning and equalisationfunctions.low them out of the studio and on the road."Skipper Wise. "It's only natural that we would fol-www.harman.comwww.bluemic.com_____________________________________________________________________________________________________________Students Get Hands On Orbital_________________________________________________________________________________________________________________________________BlueLifeLine Launch For BlueBlue M icrophones haslaunched a series ofmicrophones for liveapplications. The enCOREseries features the AriaCapsule from Blue's studiomodels, surrounded by thickTurbosound’s Flex Array soundsystem has been fitted in a3,000-seat Calvary Chapel inMelbourne, Florida. The system fillsthe entire 180-degree setting withjust two primary eight-box linearrays and a pair of four-speakeroutriggers of TFA-600H three-wayspeakers, creating full coveragewithout the use of auxiliarysystems. The hang position also hasunobstructed line of sight to theseats beneath the balcony. www.turbosoundusa.comOrbital Sound has announced details of its latest trainingprogramme, running from 26-27 October. The course,Developing Sound Skills for Theatre, will focus on practicalsound techniques for theatre with hands-on, applicationbasedtraining. It is aimed at students who want to extendtheir operational expertise in theatre sound, and will takeplace at Orbital’s purpose-built seminar facility in Brixton,South London.Orbital Sound is a leading supplier of sound and communicationsystems for the broadcast, theatre, event, andentertainment market, and the course will be led by itsTraining Manager, Theo Holloway. “Over the past eightyears, we have invested considerable time and energy indeveloping training courses that deliver the right combinationof theory and practical skills, catering for a broadvariety of applications, skill levels and interests,” explainedHolloway. “This latest course is all about helping students togain confidence in using the technology for real.”Orbital Soundwww.orbitalsound.co.uk56AUDIO MEDIA OCTOBER 2009

www.audiomedia.comNEW PRODUCTL-acoustics has launched its newXTi series of coaxial enclosures.The 8XTi and 12XTi are engineeredfor the fixed installation market,taking on the electro-acousticdesign of the XT series, andfeaturing streamlined cabinetryand rigging that can be colourmatched.The point-sourcetechnology used in the XTi seriesis useful for distributed applicationin semi-reverberant spaces, or forproximity applications like stagemonitoring, front-fills, and underbalconyfills. www.l-acoustics.comNEW PRODUCTEV Does It For DutchDe Flint Theatre Moves Forward With Electro-VoiceElectro-Voice has installed an XLD line array system in theDe Flint Theatre in Amersfoort, Holland. The system hasNetMax DSP/IRIS-Net software control and supervision,and propels the theatre to the fore of audio technologyin the Netherlands.A project team from the theatre were given presentationsof systems from Electro-Voice and several leadingcompetitors. The dynamic headroom, sonic performance,and rider friendliness of the EV system – which was presentedby E-audio Benelux – convinced the De Flint teamto go for the XLD line array.The set up includes 12 XLD281s in portable racksspecifically designed for the theatre; two Xsubs; twoXCS312s; eight XLD281s, and six bi-amped XLE181s.“The EV system is so easy to use,” commented ChiefTheatre Director Klaas Spoelstra. “You don’t need totweak it each and every time a visiting act demands adifferent sonic balance.”Axel Nagtegaal, MD of E-audio, believes that theselection of the EV system by De Flint is a positive stepfor the Dutch theatre market. “Audio consultants aretaking notice of EV in theatres because of its audioquality in combination with our specific approachto DSP and control”Electro-Voice+49 9421 706 447www.electro-voice.com_____________________________________________________________________________________________________________The End For PM1D, New Beginning At BFIClear-Com has launched twodigital wireless intercom systems,FreeSpeak V2.0 and Tempest 2400.Freespeak V2.0 incorporates fullduplexbeltpack communications,antenna-to-antenna roaming andlow latency, and supports up to20 beltpacks roaming betweenremote active antennas.Tempest 2400 operates worldwidein the 2.4GHz license-freefrequency band, and the iSelectRoaming feature allows usersto switch quickly between differentbase stations from one studioto another. www.clearcom.comNEW PRODUCTYamaha has announced that it will be discontinuingproduction of its PM1D digital mixing console early nextyear, due to a lack of availability of some of the originalcomponents. The company will complete those inproduction and then stop manufacturing the console,which was introduced in 1999. Over 800 systems are stillin use around the world, and Yamaha wants to maintain ahealthy stock of parts to support these existing consoles.Meanwhile, Yamaha has just installed a DME64N digitalmixing engine at the British Film Institute’s screeningfacilities in London. “The intention was to really improvethe audio quality and the sound is much better overall,”said Freelance Cinema Consultant Ed Mauger, who plays akey role at the BFI Southbank facility. “We are very happywith the system.”Yamaha+44 (0) 1980 366700www.yamahaproaudio.comThe new iDR8-ST audio systemfrom Allen & Heath is nowshipping. The iDR digital seriesis now manufactured in twoversions so customers can choosebetween the original model withthe existing XLR connectors,and a new ‘ST’ model fitted withEuroblock connectors. The systemis also fitted with iDR-D digital in/out expanders, which provideexpansion options of up to 250m. www.idrseries.comAUDIO MEDIA OCTOBER 2009 57

Plasa ’09 ReportPLASA 09The annual trade show for the entertainment and installation technology industry has once more taken over London’s Earls Court.JO FLETCHER-CROSS reports on the latest products shown at PLASA09.The current financial climate has made this a tough business yearfor everyone – perhaps with the exception of debt collectors – soyou could be forgiven for thinking that the PLASA show this yearwould be a bit of a washout. But the mood at PLASA09 was buoyant,with both organisers and exhibitors appearing upbeat. Loyalty wasnoticeable in the exhibitors list, with 80% of those at the show beingregulars, though there were also quite a few new faces.Visitor numbers were down slightly on last year, with 11,518attendees. 28% of them were overseas visitors, from no less than99 different countries.“There was a definite sense of cautious optimism,” saidShow Director Nicola Rowland. “Exhibitors were having focusedconversations with senior trade buyers and decision makers whowere there to discuss projects, place orders, and research newproducts.”So onto those new products, with our guide to some of theproduct launches from PLASA09.Alcons Audio was focusing on thelatest additions to its L-series pro-ribbonline arrays: the LR7, and the lowfrequency extension of the system– the LR78. These compact modelsare designed to be used in stacked orflown configuration, in permanent orportable installations.www.alconsaudio.comAKGannouncedits first USBequippedmicrophone, thePerception 120.The plug-andplaydevice hasan integrated24-bit, 128xoversamplinganalogue todigital converter.Also launchedwas the DMM4/2/2 automaticmicrophone mixer,which features a noisesensitive threshold algorithm, andaccess to all microphone functionsusing a single rotary switch. The conferenceroom-friendly ArchitecturalMicrophone Series (AMS) was alsoon display, acoustically based on theBlue Line series.www.akg.comDiGiCO showed its new SD8-24entry-level console with the smallestfootprint of any DiGiCo console sofar. At under a metre wide, the SD8-24 has the same fixed architecture asthe SD8 (same I/O and functionality),with FPGA core processing technology– now enhanced with the newOverDrive software.www.digico.bizJBL hosted the European debut ofits Constant Beamwidth Technology(CBT) Series line array columns.The VERTEC line array series wasextended with the VT4886 passivethree-way element and the VT4883cardioid-arrayable subwoofer. Thequarter-round Control CRV was alsoshowcased, offering a 70V/100Vtransformerand indoor/outdoorcapability. The AESeries was expandedto 50 with theaddition of ninetwo-way full rangeloudspeakers.www.jblpro.comLexicon releasednew 64-bitWindows and Mac software driversfor the I-ONIX series of desktoprecording interfaces.www.lexiconpro.comThe DriveRack PA+ is the next eration of the original loudspeakergen-management system, and theDriveRack PX is tailored to optimise apowered speaker setup. There werealso four new digital zone processorsadded to the ZonePRO series.www.dbxpro.comAt Soundcraft there was anew addition to its Si series– the Si1 digital live soundconsole. With similar featuresto the Si3 and Si2,the 1200mm wide Si1 isa console useful forspace-restrictedareas. A new rangeof small multi-purposemixers wasreleased under theNotepad name, and newsoftware for the Vi series offeringuser-configurable fader layers.www.soundcraft.comdbx had two announcementsregarding its DriveRack series.58AUDIO MEDIA OCTOBER 2009

LumenRadio, Coda Audio and JoeCo are among the companiescelebrating winning the 2009 PLASA Awards for Innovation.There were 60 nominations for the awards, judged by apanel of independent judges drawn from across the industry.The eight winnersannounced in frontof a large audienceat the PLASA Showin Earls Court,London.The SC8Alex Cooper of Klark Teknik receives theGottelier Award for his work on the Midasmixing consoles, among other designs.Sensor controlledsubwoofer was theprize winner forCoda Audio, with itsInnovative Winners At PLASAnovel integration of velocity sensors into speaker drivers,which enable the speakers to be accurately measured andperformance compensated in real time. LumenRadio'sCRMX Nova was felt by the judges to advance the technologybehind wireless DMX distribution with itslow latency, RDM control and cognitiveco-existence techniques opening up moreapplications for wireless data transmissionin harsh radio environments.The BlackBox recorder designed byJoeCo Limited impressed the judges withits combination of ease of use with goodfunctionality, providing a compact solutionfor capturing multichannel audio.Klein & Hummel received a commendationfor its SMS speaker installation tools, and Artistic Licencewas also commended for its Two-Play Installation DMXcontroller.The Gottelier Award went to Alex Cooper of Klark Teknikfor his design work on productssuch as the Midas range of mixingconsoles.PLASA Chairman MatthewGriffiths, said: "Once again the Awardsreflect the outstanding creativity anddedication that sits at the foundationof our dynamic industry, and it'stremendously encouraging thatJoe Bull receives a Plasa award for Innovationfor the BlackBox recorder.innovation continues to thrive despitethe current market conditions."There were additions to four rangesat Crown, including three newmodels in the Macro-Tech i amplifierseries, with increased powerand dual port capability, and a newCDi amplifier, the CDi 6000. It alsointroduced the PIP-USP4 processormodule for CTs Series two-channelamplifiers, and a new cinema amplifier,the DSi 6000.www.crownaudio.comThe BSS Soundweb London digitalsignal processors were featured atthe show, with the introduction ofthe Acoustic Echo Cancellation (AEC)card, making Soundweb Londonviable for teleconferencing applications;and the new BLU-BOB outputexpander.www.bss.co.ukMackie launched its Onyx-i analoguerecording mixer series, with built-in24-bit/96kHz Firewire I/O. It alsoshowcased its HD Series poweredloudspeakers and subwoofers, andthe TH-15A ‘Thump’ powered loudspeakerand TH-18 powered sub.www.mackie.comYamaha had the UK launch of theIMX644 digital rack-mount mixer,the IPA 8200 power amplifier, DMEVersion 3.5, the Audinate Dante-MY16-AUD interface card, and theupdated M7CL V2 mixing console.It also showed the SB168 ES digitalstage box solution, launched atPLASA 08.www.yamahacommercialaudio.comAt Cadac, visitors could enter theRonnie Lane mobile studio and listento the old classic analogue Cadacnext to the new S-Digital Live productiondesk. The S-Digital features adigital interface I/O and networkingcapability, which also feature on thenew ME2 mic pre-amp.www.cadac-sound.comM-380The powerful new M-380 V-Mixer packs all the flexibility of widely-accepted REAC basedV-Mixing systems into a 19” rack. It also offers a total 24-bit audio solution, including,48 channels of mixing with classic onboard FX, GEQ, Matrix, DCA, LCR plus a choice ofDigital Snakes as well as personal mixing and multi-channel recording via CakewalkSonar. Better still, the M-380 delivers this market-leading power and flexibility at a pricethat will surprise you.www.rolandsg.co.uk or call 01792 70270148-Channels of Rackmountable REAC PowerREAC : Capture, Distribute, Mix and Record pristine 24-bit Multi-channel Audio over Cat5e and FibreM-400 V-MixerM-48 Personal MonitorS-0816 / Cat5E / S-1608S-4000 Digital Snake60AUDIO MEDIA OCTOBER 2009

Celebrating its 40th year designing and manufacturing,Allen & Heath was showing the recentlylaunched RAB2 remote audio card, which enablesthe modular iLive hardware to be used with theiLive-T fixed I/O mix racks and control surfaces; andthe new XB-14 compact radio broadcast mixer.www.allen-heath.comKlark Teknik revealed developments with theAES50 protocol, which will make SuperMAC andHyperMAC technology available to the audioindustry on a royalty-free basis inthe form of software development kits for use withXilinx Spartan-3E and -3S series field programmablegate arrays.www.klarkteknik.com10 years of the H3000, a regular at festivals andlive events, were being marked at Midas. Thedigital PRO6 and XL8 were also on display, witha major software upgrade for the XL8 beingannounced.www.midasconsoles.comMeyer Sound showcased its new JM-1P arrayableloudspeaker, which can serve as a main system,centrefill, and sidefill in large-scale sound systems.Also on the stand was the UP-4XP ultracompactloudspeaker, powered by a remote 48V powersupply.www.meyersound.comTHE SYMPHONY SYSTEMThe Most Powerful Audio Workstation AvailableThe Symphony System combines Apogee’s legendary X-Series and Rosetta Series converters withApple’s revolutionary Mac Pro and Logic Pro audio workstation using the 32-channel SymphonyPCI card.Italian company Outline launched i-Mode, anintelligent speaker platform, which provides loudspeakercontrol and reporting of all system parameterswithin each component, and across the entiresystem as a whole. The sound system can becontrolled via any standard web browser throughthe use of advanced digital signal processing and abuilt-in web server.www.outlinearray.comBEST SOUNDINGThe most sonically advanced audio hardwareinterfaces combined with the most advancedmusic creation and production tool.HIGHEST PERFORMANCE1.6 milliseconds at 96k and up to 192simultaneous channels of audio.GREATEST VALUEA fraction of the cost of popular card-based,DSP systems.The Total PackageIntroducing Logic StudioA suite of powerful, easy-to-use musiccreation and production tools, Logic Studiogives musicians everything they need towrite, record, edit, mix and perform.Symphony PCIE Card32-Channels of I/O percard & up to 96 channelsper system.Trantec previewed its S6 wireless system, based onthe technology of the S6000 range, but incorporatinga new comprehensive user interface on thefront panel. The S-D7000 was also on display – afully digital wireless microphone system that features24-bit audio resolution and network monitoringfor over 60 channels.www.trantec.co.ukAUDIO MEDIA OCTOBER 2009 61

10|09AMSRCLIVE YOUNG abandoned hisdesk for the afternoon asPaul McCartney took over thestreets and rooftops for atop-secret performance.you do stuff with Paul, there’s always theelement of a history-making scenario,” mused‘When another Paul – Paul ‘Pab’ Boothroyd.The Paul that the noted live sound engineer was referringto was McCartney, and the ‘stuff’ in question was nothingless than a three-night stand of the first concerts to be heldin New York’s new CitiField Stadium. Breaking in the newvenue was particularly poignant as it replaced the fabledShea Stadium, where the Beatles held the first stadiumconcert decades earlier.Adding more history to the occasion, the three soldoutshows were preceded by a surprise free performanceon top of the marquee outside the Ed Sullivan Theater onBroadway – also known as the home to The Late Show withDavid Letterman. While the former Beatle appeared on thetalk show that night, the venue was particularly fitting asit was there – back when it was called CBS-TV Studio 50 –that the Beatles were first introduced to US audiences 45years ago on Sullivan’s program.According to The New York Times, it was McCartneyhimself who decided to perform outdoors; whileLetterman apparently asked the Beatle to sing on thesame stage that he had in 1964, Macca reportedly saidhe would only perform if it could be an event – and itwas. Usually gigs like these are the worst-kept secrets inshowbiz, but to be fair, even we didn’t know about it until Ilooked out of the NewBay Media New York office windowsand saw them setting up across the street, 27 floors down.We go to a lot of concerts to bring you the news, but thistime, the concert came to us.The Letterman gig came on the heels of a massiveshow in Halifax, Canada – the first of a meandering set ofMcCartney gigs around North America during the summer.With some time between the Canadian show and CitiField,the original plan was to rehearse for a few days to tightenup the band. “Then we heard rehearsals were cancelled,and we’re gonna do Letterman and by the way, it’s goingto be on the roof of the front-entrance awning, and ‘Yeah,Pab, you’ll be mixing on Broadway on the sidewalk; we’llput in a bit of PA for you!’”Within no time, McCartney’s tour sound provider, Clair(Lititz, PA), was involved, sending out a team led by MikeWolf, that included tour vet Ed Dracoules as well as techsRachel Atkins and Paul Swan. The PA fielded was groundstacked,with Clair’s proprietary i3 boxes supplementedby Prism series subs, with P2 cabinets for fills.As might be expected, the house (or street, as thecase may be) mix position and monitorworld consistedof the touring control gear already out on the road withMcCartney, so Boothroyd was stationed across the GreatWhite Way from the marquee on his Digidesign VenueProfile console, while John ‘Grubby’ Callis had his twoMidas Heritage desks beneath the gig on the sidewalk,sending sound up to SRM wedges and R4 sidefills.“He had a little monitor screen so he could see up there,”said Boothroyd, “but once it kicked off, you went with it.”And since Broadway is a major thoroughfare in one ofthe busiest cities in the world, there really was no otherchoice. “We went to do the soundcheck, and we’re talkingabout middle of the afternoon here, traffic going past;the word had just got out so the street was full of peoplecausing problems with traffic, photographers and allthat. They put black drapes up atop the awning so theband could knock a few numbers out. Paul puts his head62AUDIO MEDIA OCTOBER 2009

10|09AMSR out the curtains and goes, ‘Hello, New York!’ andimmediately, as soon as I put that through thePA, I had the commissioner, the police, and allsorts of people running over, shouting, ‘Turnit off! Turn it off!’ So ‘Hello New York!’ was mysoundcheck for the whole thing! I did the reston cans and when it came to the show, I justwent for it.”Putting PA up onthe marquee was animpossibility, likelyas much for spaceconsiderations asfor weight (notably,temporary steel supportbeams were placedbeneath the awningduring the event – havingit collapse beneath aBeatle would likely makefor great TV but terriblelawsuits). As a result, theThe Profile console, al fresco.loudspeakers had to beground-stacked in the street – they couldn’t evenbe on the sidewalk, causing the production tolose an additional half-foot.Boothroyd recalled after the fact, “The funnything was, every time a truck or bus camethrough, I lost the PA! The street wasn’t closedoff, so they’d drive in front of the ground stack,and I’d say, ‘Whoa! What happened?’ I’d lookover and see a bus going by in front of the PA.They go past, that side comes back, then theygo by the other stack and the other side woulddisappear. And Grubby goes, ‘Bloody hell, Pab!Every time a truck goes by, I get blasted withhigh-end from your ground stack!’”After a brief interview with Letterman insidethe theatre, McCartney joined his band outsideto knock out the Beatles’Get Back and the morerecent Sing the Changes,taken from his last album,Electric Arguments,released under the longrunningpseudonym, TheFireman. Once the TVshow taping concluded,however, the group keptgoing, running throughadditional tunes includingBand on the Run, Back inthe U.S.S.R., Let Me RollIt, Coming Up, and HelterSkelter. In between, there was banter with thecrowd, as McCartney queried, “Shouldn’t you allbe at work?” – and everyone (even our bosses)yelled back, “No!”“It went on for another 20 minutes,” saidBoothroyd, “before the police said, ‘You know,we love you Paul but that’s enough. Broadway isBroadway, and it’s causing havoc.’” The additionalsongs were taped and appeared on Lettermanand McCartney’s respective websites; hearing thegig played back afterwards provided a touch ofrelief for the FOH Engineer, as it turned out.Boothroyd explained, “You go from beingin the street and hearing your ground stacksdisappear, to going downstairs in the building,listening to it and going, ‘Cool, the guys wererocking.’ Me and Harvey [Goldberg], the SoundEngineer from the Letterman show, got together,he remixed the broadcast and as you do, youtouch it up for broadcast. I have to say theband played great, it sounded wonderful andeverybody was knocked out; Harvey’s a greatengineer and he has a great team, so thanks tohim as well – it was a great result.”That evening’s episode of The Late Showwith David Letterman handily beat the talkshow competition, getting viewed by 4.4million people, but for the estimated 4,000 whocrammed onto the sidewalks around 53rd and54th Streets, the free show was a grand timeall on its own. Even with the PA being hassledby trucks, Boothroyd himself was pleased:“It sounded good and went down pretty well –people rocked out in the street!” ..................................INFORMATIONClairTraining course Sept09 www.clairglobal.com 18/9/09 19:00 Page 1Top of the class!Your source for best-in-class equipment for recording and referencemonitoring - from the specialist in microphones and monitoringGrace Design mic preamps and monitor controllers -Celebrated by audiophiles and audio engineers alikeMicrotech Gefell. Founded by Georg Neumann in 1928and now a leading manufacturer of microphones for theprofessional and enthusiast alike. A must for everyserious collection of quality microphonesTrinnov Audio. The world’s leading manufacturer ofdigital room correction technology, used by many majorbroadcast, film and post production facilitiesDeveloping sound skillsfor the theatre 26–27 Oct ‘09A free, two-day training course for students wantingto broaden their skills in theatre sound – takingplace at Orbital’s South London seminar facility.Topics include radio and wired communications,digital mixing and how to achieve superior sound.Limited places, so please book early atwww.orbitalsound.co.uk/trainingGermany’s best kept secret! These active, concentric,cardioid bass studio reference monitors are making a bigimpact in the UKThe Håkan Pop Killer. Designed for Swedish Radio, thisscreen really kills those plosive sounds without ruiningthe sound of your favourite microphonesTel: +44 (0)1223 264 765www.sound-link.co.ukA U DIO MEDIA OCTOBER 2009 63

10|09AMSRlive personal mixerThis ‘infinitely customisable’personal mixing systemis robust, intuitive, andimpressive, says BEN WILLIAMS.THE REVIEWERBEN WILLIAMS is owner/engineerof Essential Audio, a Nashvillebasedlive sound reinforcement,system design, and integrationfirm.Roland’s new personal mixing system operates onthe same REAC (Roland Ethernet AudioCommunication) platform as the company’s digitalsnakes and consoles. System components include theM-48 personal mixer and the S-4000D REAC splitter,the latter of which is a gigabit PoE Ethernet switchproviding power, signal, and control distribution for up toeight M-48 units. These components must be combinedwith some iteration of the digital snake for A/D conversionand may be operated in a standalone configuration withPC software control via the serial port on the snake, ormay be used in conjunction with Roland’s M400 or M380digital consoles, both of which have a series of M-48control pages in their software.The most noteworthy feature of the M-48 systemis that each channel on each mixer can be configuredon an individual basis to derive signal from anycombination of the 40 channels on the REAC bus.This allows for each musician’s mixer to be laid outaccording to his or her preferences, making for an infinitelycustomisable solution.The M-48 mixer has eight rotary encoders with LEDlevel indicators, which provide for control over variousparameters for 16 input sources across two layers.Volume, pan, reverb send level, and a three-band EQwith sweepable midrange frequency can all be set on aper-channel basis via the encoders. Additionally, the M-48includes a built-in ambient microphone that can be addedinto the ear mix, a limiter, a local aux-in (for metronome,etc), and stereo auxiliary outputs. Headphone outputsappear on both quarter-inch and 1/8-inch connectors; anattenuation adjustment is provided. The auxiliary outputscan feed a wedge mix or a personal digital recorder; thisallows the more sophisticated user to record practicetracks. An optional 80Hz or 100Hz low pass filter on theaux output bus can be engaged in the control software,allowing for selected channels to be routed to a lowfrequency transducer (i.e., ButtKicker) without the needfor additional processing. Finally, each M-48 includes thefacilities for 16 locally-recallable presets.In UseI received six of the M-48 mixers and one S4000DSplitter the day before I was to deploy the system for theevaluation. Upon unpacking the pieces, I observed thatthe build quality of the M-48 seems quite good comparedto the other systems I have worked with. Consistent withthe rest of the RSS product line, the M-48 and S4000D areoutfitted with Neutrik Ethercon connectors, making forrobust and reliable interconnection. A microphone standmount is included with each M-48.I connected all six of the M-48s to the powered portson the S4000D splitter – Ethernet cables with a straightor crossover pinout maybe used, as the S4000D is ableto auto-switch – then patched the S4000D to the REACB port on my M400 V-mixer. After entering the M-48setup screen, it took me a few minutes to wrap my headaround the signal flow paradigm. I discovered that thereis basically an individual virtual 40-channel mixer (withinputs derived from the 40 output channels assignedin the REAC B output patch bay), plus a source matrixin the software associated with each of the M-48 unitsdetected. Consequently, each input on each M-48 mixercan derive signal from a single channel or from a mix ofseveral channels with relative levels determined in theM400’s M-48 control screen on a per-unit basis. So, forinstance, the drummer’s mixer could be configured toprovide individual control of eight drum microphoneswith one encoder controlling a mix down of all the BGVchannels, while at the same time the background vocalists’mixers could be set up with one encoder controlling asum of drums.The application was a back-to-school concert atmy local university campus featuring two local bands.Monitoring was a combination of wedges and in-ears.For the wedge mixes, I patched the aux outputs fromthe M-48s back into input channels on my S4000 snakeunit, which was patched to the REAC A port on myM400 V-mixer, the latter of which was handling FOH andmonitor duties. I routed those inputs to the appropriateaux busses on the console, which were feeding thewedge mixes. This allowed me to have the benefit ofthe console’s graphic EQ facilities for the wedge mixesand the ability to control stage levels if necessary.The headliner was first to sound check, and because ofthe time crunch, we stuck with the patch I had establishedthe day before. The musicians picked up on the interfacerelatively quickly and were highly impressed with theirability to customise their mixes. After that sound check, Isaved a preset on the M400 and USB memory.The opening band had a similar experience with theM-48s, providing more positive feedback. After theyplayed, I simply recalled the headliner’s preset and wewere off. The concert went very smoothly and the bandkept the stage levels in check surprisingly well.SummaryThe Roland M-48 is the most powerful purpose-builtpersonal mixing system I am aware of on the markettoday. The setup is infinitely customisable and the soundquality is excellent. I fully expect that it will grow rapidly inpopularity, being deployed in conjunction with V-mixingsystems and in stand-alone configurations. The systemis a viable alternative to all of the other platforms and Ibelieve is robust enough for portable/touring use. ...................................INFORMATIONGB£799.00 (inc.VAT), S-4000D GB£1,199.00 (inc.VAT)RSS by Roland,www.rolandsystemsgroup.comRSS by Roland UK Ltd.+44 (0) 1792 702701www.rolandsg.co.uk64AUDIO MEDIA OCTOBER 2009

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