ami november 2015 digital edition

November 2015 www.audiomediainternational.com

International

TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

FEATUREWhy mass adoption of networked gear still eludes us p18

REVIEWSimon Allen sizes up Soundcrafts Si Impact p30

INTERVIEWWe quiz Game of Thrones sound man Ronan Hill p42

We take a look around the University of Westminsters new recording facilities, which even a high-end commercial studio would be proud of p22

TOO COOL FOR SCHOOL?

01 AMI Nov 2015 FC_Final.indd 1 30/10/2015 15:32

In creating the X Series, we brought all of the experience gained in designing the K2 to bear on a new series of reference coaxials.

Optimized design, ergonomics, acoustical performance and weight make the X Series the most advanced coaxials on the market.

Four distinct enclosures with format, bandwidth, SPL and coverage angles perfectly adapted to short throw rental or install

applications, the X Series offers studio monitor sound quality, compact design, consistent tonal balance, no minimum listening

distance and exceptional feedback rejection. www.l-acoustics.com

MONITORING ESSENTIALS

X8, LIVE MONITOR - L-ACOUSTICS X SERIES

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Like Im sure many other editors do, Ive kept up a regular routine of checking our web stats at the end of each month to see which of our stories

have been geing the most aention industry-wide, and it always throws up some interesting results.

At the top of the list theres almost always a major product launch story, maybe one of our reviews, perhaps some big news in relation to an acquisition or distribution deal, and then theres oen at least one article that we thought would never get much traffic, but went semi-viral because it mentioned One Direction or Nicki Minaj in the headline.

Last month, though, things were a bit different. Three of our top stories were all about iconic studios being knocked down (Alberts, Sydney), under threat of closure (The Magic Shop, New York) or going up for sale, with no guarantee that theyll carry on in the same vein (Avatar, also NYC). I always get a bit of a buzz when I see the hits rack up on our site,

but it just doesnt feel right when youre sharing news about the continued decline of the high-end recording sector worldwide.

It certainly doesnt paint a prey picture of the state of play at present when it comes to top-spec studios, but its not all doom and gloom right now. Following our website throughout October may have put you in a somber mood at times, but our November print issue is a bit more upbeat.

To begin with, we got a first look at the incredible new recording facilities at the University of Westminster that are giving students the opportunity to learn their trade on equipment that wouldnt look out of place in a top commercial studio. Next, we chaed to Mike Kalajian of Rogue Planet Mastering, who shares with us some of his seemingly limitless enthusiasm for his chosen field of work. Theres also no shortage of optimistic viewpoints in our audio networking feature later on in the issue. Yes, we know its not a new topic, but weve managed to gather some intriguing opinions about the implementation of the technology both now and in the future, so make sure you dont miss it.

So there we go although theres arguably been a bit more negativity trickling through the industry of late, there are also more than a few reasons to be cheerful.

November 2015 3

WELCOMEwww.audiomediainternational.com

1 Color - 100 White

Adam Savage EditorAudio Media International

David Davies has been writing about professional AV and broadcast for 15 years. He is currently managing editor of Sports Video Group Europe and has been

a member of the ISE Daily, IBC Daily and AES Daily teams.

Phil Gornell is a touring mix engineer for All Time Low, Bring Me The Horizon and New Found Glory, and an engineer at Steel City Studio in Sheffield.

Alex Milne is marketing manager at Boston-based RF Venue, a manufacturer of wireless audio antennas and hardware.

Ofer Shabi is a producer/composer and managing director of Soho Sonic, a recording studio in London that has served the music

industry for over a decade, accommodating musicians, record labels and media companies alike.

EDITORAdam [email protected]

MANAGING EDITOR Jo [email protected]

STAFF WRITER Matt [email protected]

ADVERTISING MANAGERRyan [email protected]

ACCOUNT MANAGERRian [email protected]

HEAD OF DESIGN Jat [email protected]

DESIGNERTom [email protected]

PRODUCTION ASSISTANTWarren [email protected]

CONTENT DIRECTORJames [email protected]

Press releases to:[email protected]

NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.

Audio Media International is published by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England.

Editorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000

Audio Media InternationalISSN number: ISSN 2057-5165 (Print)

Circulation & Subscription enquiries Tel: +44 (0)1580 883848 email: [email protected] by Pensord Press Ltd

Front Cover: University of Westminster

Experts in the issue MIXED FORTUNES

03 AMI Nov 2015 Welcome_Final.indd 1 30/10/2015 15:50

November 20154

CONTENTS www.audiomediainternational.com

PRODUCT NEWS

PEOPLE

6 DPA debuts d:screet Slim

7 PMC hosts biggest launch yet at AES

8 Audio-Technica announces AT-One

9 Ozone 7 software unveiled by iZotope

10 OPINION Paul Nicholson ponders the future of festival sound

12 Soho Sonics Ofer Shabi highlights the benefits of remote recording

14 Battling the broadcast mix with Phil Gornell

28 TECH TALK L-Acoustics Florent Bernard takes us through the X Series of coaxial speakers

42 INTERVIEW Primetime Emmy award-winning mixer Ronan Hill on his Game of Thrones challenges

ALSO INSIDE16 GEO FOCUS: FRANCE This pro-audio market has remained relatively stable as of late, but isnt without its pitfalls, we discover

26 HOW TO RF Venues Alex Milne provides some advice on improving wireless signal-to-noise ratio

FEATURES18 NETWORKING: Kevin Hilton asks why implementation of networking technology is taking so long

22 INSTALLATION FOCUS: Adam Savage takes a look at the staggering new studio setup at the University of Westminster

24 STUDIO PROFILE: Rogue Planet owner Mike Kalajian indulges his passion for mastering

REVIEWS30 Soundcraft Si Impact34 Genelec 8330A & 7350A36 Sennheiser AVX38 AKG D112 MKII40 McDSP SA-2 Dialog Processor

2818

3024

04 AMI Nov 2015 Contents_Final.indd 1 29/10/2015 15:58

T O I N V I S I B L E S O U N D

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November 20156

PRODUCT NEWS www.audiomediainternational.com

Meyer Sound has introduced Amie, the first new studio monitor from the company in more than two decades.

Developed to meet the needs of sound design and audio production giant Skywalker Sound, Amie is designed for critical production environments where accurate translation to larger systems is imperative.

Amie brings an incredibly smooth response across the spectrum, commented Leslie Shatz, Wildfire Post Studios sound designer and re-recording mixer, who worked with a beta version of Amie. It is very

accurate for dialogue EQ evaluation in post production and despite its light weight, it can handle as much power as I need even when monitoring very loud sequences. And, most importantly, its translation is spot-on when I listen to my work in larger mix theatres including the Meyer Sound-equipped Wildfire South Stage.

Designed as a linear sound system that reproduces sonic elements with accuracy and consistency, Amie extends the translation capabilities of the Meyer Acheron screen channel line to studio monitoring and features a

waveguide design that offers uniform coverage and precision imaging. With a flat frequency and phase response and low distortion, it allows sound professionals to listen for long periods of time without the typical strain and fatigue.

Meyer Sound Amie is built for film, broadcast or gaming post-production.

www.meyersound.com

MEYER REVIVES STUDIO MONITOR LINEAMS Neve used the AES Convention in New York to launch the BCM10/2 MK2, an updated version of the classic BCM10 console that has become a favourite of many users as a sidecar for larger studios.

The original was powered by Neve 1073 mic pres and EQ, along with 1272 summing mixers, and the new model offers all the design characteristics,

genuine Neve modules and sound quality of its predecessor, but with additional convenient features for modern day recording, as well as a new 1952 switching unit.

The BCM10/2 MK2 Limited Edition is available in 10-, 16-, 24- and 32-channel configurations, with the first deliveries due later this year.

www.ams-neve.com

AMS NEVE BOWS BCM10/2 MK2

DPA Microphones announced its new d:screet Slim Microphone at AES 2015.

Developed in response to what the company says is a growing need especially from the film industry for a near-invisible bodyworn microphone, d:screet Slim features the firms omnidirectional capsule element in a flat head, a slender cable and a new buon-hole mount accessory. Currently in beta-test stages with several well-known sound engineers, the new solution is already gaining rave reviews, according to the manufacturer.

The microphones buon-hole mount, which comes as an enclosed accessory,

provides a 90 sound input angle, allowing the cable to lay flat against a surface rather than sticking straight out. It is also designed to fit into a space as small as 2mm. The combination of its size and available accessories increases the number of mounting options as it can be placed virtually anywhere without being seen.

Aer speaking with our users and colleagues in the industry, we took a closer look at how microphones were being concealed and developed a completely new and unique way we could address this requirement, explained Mikkel Nymand, product

manager for DPA Microphones. The result was a microphone that is more easily hidden under clothes a big necessity for television and film production. The nice thing about the new design is that it leaves a flaer footprint, but with the same high-quality sound for which DPA is known.

The d:screet 4060 capsule with high sensitivity and the 4061 capsule with low sensitivity used on the d:screet Slim are designed to offer exceptional audio quality with low self-noise. As with all DPA microphones, this latest solution is compatible with all major wireless adapters. It is available in four colour

options Beige, White, Black and Brown. A refinement of DPAs concealer solution is in the works as an added accessory one of the many accessory solutions that DPA is currently developing.

Most sound professionals are already familiar with DPAs d:screet solution, added Nymand. The d:screet Slim will now provide them with infinite new possibilities. Were especially excited to reach audio professionals who have always wanted the DPA sound, but needed an even more unobtrusive solution.

www.dpamicrophones.com

DPA RESPONDS TO NEAR-INVISIBLE MIC DEMAND WITH D:SCREET SLIM

06 AMI Nov 2015 News_Final.indd 1 29/10/2015 10:18

Swedish so ware developer So ube has teamed up with Focusrite to off er Scarle , Saffi re and Clare audio interface owners an exclusive free Time and Tone Bundle.

The Bundle is valued at $198 and comprises three of its reverb, delay and distortion plug-ins.

TSAR-1R Reverb allows users to add space, depth and width to sound with a single slider, from realistic and three-dimensional rooms to dramatic and dreamlike halls.

Tube Delay is an echo eff ect that can go from clean to distorted by overdriving its three modelled tube

stages, promising anything from realistic room echoes and rockabilly-style slapbacks to dub reggae echoes.

Saturation Knob is a modelled distortion output unit plug-in that adds grit and warmth, used to fa en up basslines, add some harmonics and shimmer to vocals, or destroy drum loops. Users can turn up theknob to add saturation, and use the three-position switch to alter the distortion character.

The trio of plug-ins adds to Focusrites Red 2 and Red 3 Plug-in Suite already included with its Scarle , Saffi re and Clare audio interfaces.

For all purchases that were made on or a er 1 September 2015, all registered Focusrite Scarle , Saffi re and Clare customers can claim So ubes Time and Tone Bundle for free from the fi rms download area.

www.focusrite.com

SOFTUBE BUNDLE FOR FOCUSRITE USERS

PMC brought what its calling the ultimate in main monitoring to the 139th AES Convention, in the shape of a brand new addition to the QB1-A Active Reference Monitor range.

Larger than anything the company has manufactured previously, the company describes the QB1-XBD-A as a statement monitor that has no equal in terms of sheer power and resolution.

To create the QB1-XBD-A, PMC has re-engineered its fl agship QB1-A Active main studio monitor launched last year. For this version, the manufacturer has added a further cabinet (the XBD) per channel. This contains four identical piston drivers, each driven by four 1,000W independent Class D power amplifi ers, resulting in 8,825W of ultra-clean power per channel.

In keeping with the QB1-A, the QB1-XBD-A features wired RJ45 desktop control, designed to provide user-friendly access to EQ se ings via a backlit display and jog wheel, and the ability to store up to four user setup presets. The speakers can be used soffi t-mounted or free-standing.

We saw that there was a gap at the very high end of the market, commented Oliver Thomas, R&D project

manager at PMC. In the main, the current products on the market dont off er the fl exibility of analogue and digital inputs, and suff er from giving listeners an insuffi cient sense of resolution, compared to what can now be a ained with good Class D amp design and DSP-aided crossover management.

www.pmc-speakers.com

PMC GOES BIG IN NEW YORK

QSC has added two new models to its AcousticPerformance loudspeaker series a multipurpose 12in coaxial loudspeaker and a dual 12in subwoofer.

The new AP-4122m (pictured) is a 12in two-way coaxial system with 40 and 60 wedge angles, top hand hold, pole cup and M10 fi ings for fl own or yoked applications. The coaxial design delivers true source point performance with 90 of conical DMT coverage, according to the manufacturer. DMT (Directivity Matched Transition) matches the HF to the natural conical performance of the woofer at the crossover point, promising a smooth power response both on and off axis for be er sound in real rooms.

The AP-212sw is a dual 12in direct radiating subwoofer designed to complement the full range AcousticPerformance models. It features four hand holds, an optional caster kit for ease of transport, two M20 pole mount plates (top/side), and an input plate with two NL4

connectors in a crossed confi guration. This input plate feature allows a single NL4 cable to power both sub and top without the need for a custom turn cable. The AP-212sw matches the width of the AP-5122m and AP-4122m allowing for stacked or pole mounted solutions. When deployed horizontally, the AP-212sw is 15in tall, making it ideal for under riser deployments.

Both the AP-4122m and AP-212sw are shipping now.

www.qsc.com

NEW LOUDSPEAKERS FROM QSC

Allen & Heath has announced new Chrome editions of its Qu series compact digital mixers to mark the launch of its Qu v1.8 Chrome fi rmware, which adds new features such as Automatic Mic Mixing, a Spectrogram and additional monitor mixes.

The Chrome Edition Qu-16, Qu-24 and Qu-32 mixers all feature the same high contrast metallic fi nish rotary controls and fader caps as the GLD Chrome series launched at Prolight + Sound and reviewed in our July/August issue promising optimal visibility in low lighting scenarios and enhanced tactile control.

The new automatic microphone mixer is designed to help the engineer manage the levels of multiple mic inputs, ensuring that each speakers contribution is heard, but with priority se ings to establish an order of precedence. The new Spectrogram tool provides

a visual means of fi nding and dealing with problem frequencies, helping to eliminate feedback and tame diffi cult room acoustics.

The update also unlocks more monitor mixes by allowing Stereo Groups to be switched to Mix mode. This takes the maximum number of discrete monitor sends to nine on Qu-24 (four mono, fi ve stereo) and 11 on Qu-32 and Qu-Pac (four mono, seven stereo), making them ideal for compact touring as dedicated monitor consoles.

www.allen-heath.com

A&H ADDS QU CHROME MIXERS

PRODUCT NEWSwww.audiomediainternational.com

November 2015 7


November 20158

PRODUCT NEWS www.audiomediainternational.com

JBL Professional has lied the curtain on the JBL EON618S, an 18in, 1,000W powered subwoofer that supports true low-frequency extension and wireless control.

The EON618S is designed to be simultaneously lightweight and rugged, visually compatible with nearly any seing and capable of delivering sound that is both clear and powerful.

The EON618S weighs in at 78 pounds, and boasts a range of new features and capabilities. Its maximum SPL output is 134dB, with a frequency range of 3Hz-150Hz (-10dB) and a frequency response of 42.5Hz-150Hz (-3dB). DSP parameters, including presets for JBLs EON600, EON200 and other manufacturers full-range loudspeakers, can be controlled via a Bluetooth app for iOS and Android. Selectable crossover presets are available through the EON Connect app. The EON618S is tuned

for optimal performance with the EON610, EON612 and EON615 full-range systems.

Aesthetic design enhancements to the EON618S include premium handles, a standard M20 threaded pole cup and a rugged enclosure. Its design maximises cabinet volume while maintaining a highly transportable form factor.

www.jblpro.com

JBL INTRODUCES EON SUB

Yamaha Corporation, along with its wholly owned subsidiary Steinberg Media Technologies, has announced a three-company strategic alliance with Harrison Audio to develop solutions for substantially improving the workflow in the sound for film industry.

The aim of the collaboration is to combine the strengths of Harrisons large-format technologies and expertise with Yamahas wide range of post-production hardware equipment and Steinbergs array of advanced DAW and soware products to provide fully integrated solutions for improving the productivity of the entire immersive film sound workflow.

According to Yamaha, the complex nature of todays immersive sound for film productions requires top-down, seamless compatibility between large-format mixing theatres, smaller footprint mixing stages and editorial suites. For this reason, smarter and more efficient workflow improvements are needed to provide advanced file compatibility, control compatibility and automation compatibility between each area by streamlining the top-down facility

workflow while keeping the unique requirements of each area intact.

We are so excited about this opportunity with Harrison, a highly respected company with a long history in the film industry. Through this strategic alliance we will provide innovative solutions for our valued customers, commented Hogan Osawa, executive officer of Yamaha Corporation.

Steinberg managing director Andreas Stelling (pictured) said: We are elated to have Harrison with us. Their know-how will complement the fruitful co-operation between Yamaha and Steinberg for a sustainable future in a number of markets.

www.harrisonconsoles.comwww.steinberg.netwww.yamahaproaudio.com

YAMAHA, STEINBERG, HARRISON FORM ALLIANCE

Radial is now shipping the Headload Prodigy, a combination load box and DI that enables the user to drive a guitar amp at a higher output in order to maximise the tone, yet produce a lower stage volume when needed.

Like the original Headload, the Prodigy employs custom-made cement-encrusted resister coils to convert the excessive power from the amplifier to heat, and is able to withstand up to 100W RMS. The balanced JDX output is transformer-

isolated to eliminate hum and buzz caused by ground loops and is equipped with a pin-1 ground li and polarity reverse. Users simply connect the head to the Headload Prodigy and the

desired speaker output to suit.In order to optimise the playing

experience for in-ear monitors, a dual band EQ on the front panel is included. To add greater connectivity options, two additional 1/4in outputs are included with one that is post EQ, post JDX; the other pre EQ, pre JDX.

Housed in 14-gauge steel, the Headload Prodigy features Radials bookend design that creates protective zones around the switches and controls. Internal I-beam construction adds rigidity, protecting the internal PC board from torque, which could lead to solder joints going cold prematurely.

www.radialeng.com

RADIAL RELEASES HEADLOAD PRODIGY

Audio-Technica has launched an installation-friendly UHF wireless system, the AT-One.

Created with simplicity and ease-of-use in mind, the AT-One was designed for installers, performers and presenters seeking a fuss-free wireless set-up. It ships with a carrying case, rack-mount kit and detachable antenna.

The AT-Ones frequency plan is divided into two groups, with four available channels in each group split between the Europe-wide license-free frequency range and the LTE duplex gap. Users can choose up to four channels from one group. This arrangement allows installers to run two four-channel AT-One

systems (using separate groups) in close proximity without the fear of interference, for example.

Available in three configurations, AT-One can be purchased with a beltpack or handheld transmier, or with beltpack and ATR35cW lavalier microphone.

The beltpack offers a sturdy and discreetly designed construction, providing 10mW RF output power, damping switch and a baery life of up to 10 hours.

The ATW-13F handheld system features the ATW-T3F cardioid condenser handheld transmier, again with 10mW RF output and up to 10 hours baery life.

The ATW-13Fs condenser handheld microphones capsule helps prevent the possibility of feedback when used in venues with induction loops installed.

Finally, the ATW-11/PF lavalier system comprises the ATW-11F beltpack system with included ATR35cW tie-clip microphone.

www.audio-technica.com

AUDIO-TECHNICA ANNOUNCES AT-ONE


Lectrosonics has introduced the Venue 2 Digital Hybrid Wireless modular receiver, designed to address the challenges of increasingly congested RF environments.

Venue 2 tunes across a wide 220MHz range; houses up to six receiver modules, each covering 75MHz; and employs new IQ dynamic tracking fi lters that promise exceptional rejection of out-of-band RF energy and enable very tight channel spacing.

Up to six VRT2 modules can be installed in the 1RU Venue 2 receiver frame. Each module supports up to 3,072 tunable frequencies across a 75MHz range (three standard Lectrosonics blocks), matching the tuning ranges of SSM, LT and LMb large bandwidth transmi ers. VRT2 modules incorporate Lectrosonics new IQ dynamic tracking fi lters, which accommodate a wide range of

transmi er RF power levels while also enabling tight channel spacing.

The receiver modules can be operated independently, each with switched diversity reception for a total of six audio channels, or operated in pairs for more robust diversity reception with one audio channel per module pair.

A high-resolution front panel display allows for detailed programming and monitoring. Using Lectrosonics included Wireless Designer so ware, the Venue 2 can also be programmed, co-ordinated and monitored over Ethernet or USB.

Emulation modes allow the Venue 2 to be used with older analogue transmi ers from Lectrosonics and several other manufacturers.

VRM2 Frame is priced at $3,325 MSRP, while pricing for the VRT2 modules is $950 MSRP.

www.lectrosonics.com

VENUE 2 RECEIVER NEW FROM LECTROSONICS

iZotope has released the Ozone 7 suite of mastering tools as part of a new Music Production Bundle, which features fi ve plug-ins and off ers savings of nearly 50%.

Operating as a standalone platform or as a plug-in within all major DAWs, Ozone 7 Advanced includes four new Vintage modules: Vintage Compressor, Vintage EQ, Vintage Tape and Vintage Limiter, while the Codec Preview lets users hear how their masters will sound to listeners who stream or buy their music online.

Updates for the Advanced and Standard version of Ozone 7 include the Vintage Limiter, which adds sonic characteristics of analogue hardware; new export options for delivering mastered audio to desired MP3/AAC formats; an IRC IV mode in the Maximiser to increase perceived loudness without pumping or distortion; and an improved dynamic EQ.

The Ozone 7 update builds on iZotopes reputation for superior sound quality audio mastering tools. Were adding more processing capabilities, including an innovative new IRC limiting algorithm that uses spectral shaping to reduce pumping and distortion, commented iZotope product manager Izzy Maxwell.

The Music Production Bundle also includes the Alloy plug-in for adding clarity, punch and life to mixes; Nectar for enhancing and tuning up vocals; Trash for sonic distortion and experimentation; and Insight to visually diagnose whats going on with a mix.

www.izotope.com

IZOTOPE UNVEILS OZONE 7 SOFTWAREPreSonus has revealed its new Eris E44 and E66 two-way active MTM studio monitors.

The E44 and E66 nested Midwoofer-Tweeter-Midwoofer (MTM) confi guration incorporates dual Kevlar low/mid drivers (4.5in and 6.5in, respectively) operating in parallel and covering the same frequency range so that they acoustically couple. This works to create a larger woofer to provide a more dynamic output than conventional two-way studio monitors, according to the manufacturer; nesting a 1.25in silk-dome high-frequency driver between the two woofers minimises phase displacement for improved spatial resolution and a wide sweet spot.

By bringing the midrange drivers closer together and raising

the HF driver, the E44 and E66 are designed to perform optimally in both horizontal and vertical orientations. A three-position Acoustic Space switch helps compensate for the boundary bass boost that occurs when the monitor is placed near a wall or corner and High and Mid acoustic tuning controls further help to mitigate room problems. A Low Cutoff fi lter aids in subwoofer integration, while balanced XLR and 0.25inTRS and unbalanced RCA input connections help to streamline hookup.

www.presonus.com

PRESONUS EXPANDS ERIS RANGE

PRODUCT NEWSwww.audiomediainternational.com

November 2015 9


I saw a clip from one of those competition-based TV cookery shows the other day. Everyone was rushing around, red-faced and becoming almost suicidal over preparing what

appeared to be a salad. Two things struck me: first, why not just pop down to the supermarket and save all the bother, and secondly, how chefs and festival sound engineers can become strangely alike.

Allow me to explain, and sprinkle a few thoughts on how to prepare the perfect festival dish without ending up looking like a boiled beetroot.

Its obvious that good festival sound is the responsibility of the FOH engineer, or is it? Naturally, the PA system engineer plays an important part, but what about the band? Ive talked to hundreds of engineers over the years and to my mind the best ones always tell me that they work very closely with the band in order to make everyones life easier. So how do they go about this?

Starting with the source [sic] its crucial to analyse how musicians perform both individually and collectively, then the engineer can decide how to mentor them towards beer audio habits. I believe that some experience as a muso certainly helps the engineer to appreciate and understand what band members are trying to produce and want they want to hear.

Discussing audio from a shared viewpoint goes a long way towards

achieving a great mix. You simply have to get inside the music, and I believe its true to say that the engineer is a vital part of the creative process and therefore part of the band. So, its important to make suggestions, share experiences and bake creative ideas into the musicians minds even drummers.

Naturally, you cant influence the way people play their instruments, but you can address dynamics, tone and balance. For me, everything begins with the band, and keeping things uncomplicated and controlled. Less is definitely more.

Silence is GoldenUnsurprisingly, Im a big fan of the silent stage, and I would implore everyone to simply lose the backline and stage monitors. There are some great simulators and apps on the market and together with IEM technology theres no beer way to improve live sound quality for musicians, engineers and the audience than by taking this leap. Ill wager that in five years time more than 75% of shows will be using silent technology.

I lost count decades ago how many times Ive had to ask bands to turn down their backline so they didnt deafen the audience, themselves and me. Even with large festivals, loud backline is still an

issue. The PA should be doing all the work of balancing the sound. The tail shouldnt be wagging the dog.

So, if everything is under greater control, where does this leave the engineers? Clearly, the role of the traditional monitor engineer is now under threat. With the introduction of digital desks and personal mixers, musicians can mix their own sound on stage. As a colleague commented the other day, the stage mix is now the bands problem and I can just concentrate on FOH. Sounds good? Absolutely.

If the monitor engineer is an endangered species, then perhaps FOH engineers should take this opportunity to consolidate and simplify their set up. So why use a large footprint console when a small one will do? Most manufacturers provide compact derivatives that you can literally tuck under your arm, walk up to the FOH position with and be up and running in two minutes.

Sound quality is not an issue even at this entry level. Just recently, and for the first time, I parked my FOH desk at the side of the stage; set up the monitor mixes then balanced the show from the auditorium with an iPad. It was a very strange experience to begin with no surfaces other than a small piece of glass

but it worked beautifully. In fact, several manufacturers have already done away with the console altogether and produced remotely-accessed stage boxes.

All this begs the question: will the FOH and system engineers also go the way of the monitor engineer? Its a possibility. Perhaps bands could mix FOH from stage and/or the audience could mix their own binaural sound directly from an app into their buds or wearable tech. Believe me, it will happen, and sooner than we think. Ive already seen and heard the technology that could do this and its stunning. Just imagine a festival with no noise issues and studio quality VR IEM mixes for everyone.

Anyway, back to the cookery analogy. If you can nail everything at a festival, then the FOH engineer wont look like a boiled beetroot having struggled to get the mix together by the last bar of the set. Then again, perhaps someone could create a TV reality show called Mix This. It could be fun.

THE FUTURE OF FESTIVAL SOUNDFollowing on from his Festival Sound Fundamentals piece in our September issue, Paul Nicholson ponders what the next few years could have in store for this area of the industry.

PAUL NICHOLSON

November 201510

OPINION www.audiomediainternational.com

Paul Nicholson has been a sound engineer and tour manager for 30 years and runs Salisbury-based Midas ProSound. He also worked at L-Acoustics UK from 1998 to 2008 and continues to specify and use festival systems on a regular basis.

Wacken Open Air 2015 Picture: Riedel Communications

10 AMI Nov 2015 Opinion 1_Final.indd 1 29/10/2015 10:38

Here at Soho Sonic, weve long been a successful recording studio in the heart of London. Over the years we have accommodated

a number of talented and professional musicians, record labels and media companies. We have also been involved in a number of exciting movie and theatre productions, providing voiceovers, scores and compositions.

Weve noticed over the past few years that the demand for remote recording has become paramount. What was once something that was rarely requested has now become a vital part of our everyday jobs. As experts in this type of recording, we have had plenty of people reach out, asking us to help them with a number of projects.

With the advanced technology that we have these days, its making it so much easier for producers, engineers and musicians to interact without ever having to meet face-to-face. Recording sessions can now take place without all parties having to be in the same location, meaning that we have access to a whole network of performers without having to set foot out of the recording studio.

So what exactly is remote recording and why is it suddenly in high demand?

We use remote recording for several different reasons at Soho Sonic. The main area in which it is used is within the media industry. As professional sound engineers

and audio producers, we are approached by a number of clients who want help in recording voiceovers. Whether this is for films, advertisements or documentaries, its clear that there is a high demand for these services.

Awesome SourceSource Connect is technology that allows audio connections to take place between digital audio systems anywhere in the world. It enables direct to-the-timeline recordings to take place in real time, providing high-quality audio using just our internet connection.

We use it to collaborate with actors and directors around the world, regardless of their geographical location. For example, when an actor is in London but the director is in LA, we can use Source Connect to record the actor in our studio and send it directly to the producer using DropBox. He can listen in to the recording in real time and make comments or suggest improvements.

This is the same for music artists the Source Connect audio soware makes it easy for the producer to dial in and listen to someone being recorded hundreds of miles away.

We dont think that there is anything more valuable than an actor or artist being able to receive live feedback.

Cross-Continental CollaborationPicture our engineers being able to hit the Record buon, while an artist in the US hears the backing track through their computer, enabling them to play along. Our engineer is then able to record the performance directly into their DAW.

This is something that Soho Sonic has been doing efficiently, thanks to Steinbergs VST Connect Pro. We are able to connect with any musician in the world, as long as they have a computer and internet connection. Its revolutionised the way that artists and producers work together. Some critics may argue that its taking away the authentic feel of having everyone in the same place at the same time, but we think that the advantages far outweigh any negative aspects.

With our high-speed internet connection, we are guaranteed a perfect two-way video and audio link-up. Its 100% effective, no maer what locations the musicians are located in.

Rejoice for RevoiceWeve recently started using the newest version of the Revoice Pro soware, and its proving to be an amazing eye-opener. This is mainly used to replace dialogue or correct audio. For example, in our studio, we would use it to match an original recording. If something is filmed on

location in a busy street, there is a good chance that the audio or dialogue will be ruined. We can record using the Source Connect soware, and the director can quickly listen in to how its being done. We did this recently while working with Fox in the US. We re-recorded badly-recorded audio that they had done on location, and the director was able to listen in to give his opinion on the job we did. It didnt involve anyone having to leave the country; in fact, no one had to leave their office!

on the horizonNo one can deny the impact that improved technology has had on the world of music and media its definitely made our job so much easier. We think that remote recording is the future of these industries. Too much time and money is spent geing people from one location to another, so its only natural that this is now something in high demand. Fingers crossed it remains something that is both efficient and essential.

THE BENEFITS OF REMOTE RECORDING Soho Sonic MD Ofer Shabi explains how new technology is allowing audio professionals to collaborate across vast distances much more easily, and how demand for this way of working is rising fast.

OFER SHABI

Ofer Shabi is a producer/composer and managing director of Soho Sonic, a recording studio in London that has served the music industry for over a decade, accommodating musicians, record labels and media companies alike.

November 201512



TO A DUAL.Weve subjected the AMS range to the most rigorous environmental testing in Tannoys history achieving a category leading IP65 rating which is amongst the highest in the industry.

This latest generation of Dual Concentric drivers has its genesis in many of the worlds high end recording studios, therefore, the new AMS loudspeakers ensure that playback of recorded material sounds exactly as the engineer intended when it was mixed in the studio, making them perfect for indoor and outdoor entertainment venues in fact anywhere true sonic clarity and long term reliability is essential. We challenge you to a Dual!

WE CHALLENGE YOUIP65 RATED

tannoypro.com

Perhaps I am isolating some of you guys out there, but in the immortal words of Robert Baden-Powell (scout extraordinaire) its beer to

be prepared.Festival season dried by as quickly

as it arrived this year the same muddy fields, the same stingy catering, the same portaloo every day for 60 days, and for FOH engineers, the same problem: the broadcast mix.

Doing what we do, we are entrusted by our artists to deliver their musical vision to the masses on a daily basis, but what happens when the masses come via a camera lens? TV broadcast mixes are almost a daily guarantee during the festival runs, and usually they are of a much larger scale than the crowd stood at the concert. And I dont know about you guys, but I feel torn. Do I offer my services in the truck to deliver the mix I know my band want, or do I stick at FOH?

Option 1: Do bothThis is an option many engineers take, feeding an L-R mix to the broadcast truck. All your rides will be there, all the effects will be appropriate, and most importantly, you can mute the drunkest musician onstage. But beware; very rarely do the FOH mixes translate well to broadcast.

Lets paint a scenario you go with Option 1. In all the commotion of your 20-minute changeover (if youre lucky) you load your file and start line check; you get to open the PA for a whole three seconds to hear your kick drum in the tent. Its too bright. You start to pull out that 4k thats hurting your face, and follow suit with your line check with a muted PA.

Bearing in mind that you have some aggressive highs in the PA, you take a lile cut out of the aack of the snare, perhaps lo-pass your bass channels to clean up the his; maybe take a 2.5k notch out of your guitar bus to control the hi-mid distortion.

Your band walk onstage, you open the PA and they kick in. Hallelujah! It sounds sick! All the worries you had about the aggressive hi end of the PA have gone. But your broadcast mix is swimming 20 under; a muddy unintelligible mess is currently being

streamed live on television worldwide, because you sucked all the life out of your channels!

Option 2: Get your ass in the truck!Consider that 30,000 people are in aendance to watch your artist play the main stage at Reading Festival, that same performance is broadcast online and via TV sets to hundreds of thousands of people. Perhaps your job is to be in the truck, but if youre not doing the broadcast mix yourself, politely introduce yourself to the engineer and assist with any suggestions and mix moves. These guys work tirelessly around the clock, and might appreciate the break! But be courteous and polite youre in someone elses home.

Option 3: Forget about itYour job is to mix FOH, so quit the strife and do just that. Rock the house and

dont worry about the broadcast.

Secret Option 4: Make a cue sheetVoila. A cheat sheet! This is a simple answer that combines all of the above options and is, in my opinion, the best solution; a clearly labelled set list, with fader moves, effect suggestions and set notes. This allows you to keep your influence and signature in the mix, doesnt require invading someone elses domain and best of all, allows you to relax and get on with your FOH mix.

A lile bit of research and preparation before each broadcast will make everyones life easier, and ultimately, make the mixes beer in every domain.

BATTLING THAT BOTHERSOME BROADCAST MIXLive sound and recording engineer Phil Gornell explains why proper planning, research and preparation is the ideal solution to this common dilemma for touring professionals.

PHIL GORNELL

Phil Gornell is a touring mix engineer for All Time Low, Bring Me The Horizon and New Found Glory, and an engineer at Steel City Studio in Sheffield.

November 201514


Picture: Jen ONeill


THE FRENCH CONNECTIONA distinctive character in the industry, France boasts a robust market full of challenges. But how are pro-audio brands profi ting from it? Ma Fellows investigates.

November 201516

GEO FOCUS: FRANCE

As a main player in global economics and industry, the sixth-largest economy in the world and one of the

wealthiest nations in Europe, France appears to be enjoying, as one might expect, a stable and potentially lucrative spell. Despite the recent downturn in neighbouring countries, the French market presents pro-audio companies with a playing fi eld quite unlike any other one which, beyond its few diffi culties, can prove to be richly rewarding.

Franck Surena, L-Acoustics sales manager for France, has a lot to say on the subject, believing that while the pro-audio climate in the region appears assuredly secure, it may not be a simple black and white aff air,and does still present pitfalls for audio brands seeking to benefi tfrom its prosperity.

Weve seen good stability in the market in France over the last few years, he tells us. This is mostly a good thing especially when you consider the recent down years in many European markets but its a situation that can be more or less favourable, depending on how a brand chooses to address the market. If you are willing to put in the time and eff ort, the current market can prove to be profi table and healthy, but if you cannot commit the resources and time to really get out there and support the clients, this market can prove less profi table.

Also weighing in on the state of the countrys market is Jean-Philippe Blanchard, director and COO of Audiopole French distributor of brands in the live, MI, installation and broadcast markets including beyerdynamic, Studer and Clear-Com. Blanchards statements appear to reinforce this image of a strong market, but one that is not without its challenges; he explains that, while showing promise, the current supply climate is feeling the burden of increasing online retail competition.

The overall current climate is not bad but the MI market especially is being hit by strong competition between local dealers and big shopping websites, which leads everybody to work with lower and lower margins. The coming of the big shopping websites has established the references in terms of pricing in the box shi ing business.

However, Blanchard believes this challenge can be overcome when brands vary their off ering from that of their competitors: This phenomena does not aff ect the business where the distributor or dealer has a real added value, especially in the installation and broadcast markets.

Ultimately, Surena believes that, while it has its ups and downs, the market fi nds itself in a well-rounded position that promotes strong business opportunity: Overall, I feel that we are seeing a balance in France. While performing arts

Population:65 million

n Yes. Tax shelters in Belgium and Luxembourg have heavily impacted the lm and TV post production sector.n Falling grants and subsidies.n Yes, a signi cant decrease in budget for public radio.

Have there been any signi cant changes to legislation, regulations and laws that have a ected the industry in recent years?

16-17 AMI Nov 2015 Geo Focus_Final.indd 1 29/10/2015 11:01

November 2015 17

www.audiomediainternational.com

GEO FOCUS: FRANCE

centres are dependent on government for funding, and weve seen a signifi cant reduction in funding for new projects, there is always a demand to renew existing sound systems in the install market, or a demand for rental systems for big events. So overall there is an elasticity that contributes to creating an overall feeling of stability.

Government inputFrance presents a particular set of benefi ts and challenges to those dealing in the live and install sectors according to Surena, thanks in part to the governments involvement in many of the countrys key venues.

Many of the venues or public events are owned or part-owned by the government. This comes out of a government philosophy that culture should not be a money-making operation; rather, it should be available to the widest possible audience. This plays into the elasticity of the market there may be a li le less dynamism than in other countries, but it also contributes to a stability and a willingness to renew the technical systems of the venues, based on that commitment to culture.

This helps to shape a distinct landscape in these sectors when compared to those in other countries. In particular, the live sector in France is a very mixed aff air according to Surena,

who tells us that economic successhas in recent times been dependenton the size of venue, and this has inturn had a knock-on eff ect on thekind of equipment used by artistson their tours.

Ive seen good, dynamic growth in mid-range venues, with more and more of them looking to install high-end sound systems, he notes. This in turn means that many tours are travelling light, with just a console and microphones, using the house system. The bigger, 2,000-plus seat venues are not seeing this kind of evolution, since they tend to host a wide variety of events from touring bands to political conventions or corporate events. Since the needs vary, its easier for them to rent in systems that correspond to the event, leaving the venue empty of an installed sound solution.

But for those mid-size venues, which have a lot more competition both in a racting important artists and a racting a loyal audience its a good business proposition to install a proper sound system. A mid-size venue can do a survey of the diff erent rental PAs that have been used in their room over the last few years, assess which PA is the most rider-friendly, and choose to install that PA to a ract bigger and be er artistes.

In addition, France is also under threat, like many other European

countries, of ever-shrinking wireless spectrum, thanks to recent legislation changes.

One of the main changes is the new legislation regarding the restriction of frequencies for wireless microphone and wireless talkback systems, Blanchard remarks. This will push the customers to turn to new solutions involving diff erent frequencies and digital technologies.

Overcoming obstaclesLooking to the future, the French pro audio market certainly looks to be moving from strength to strength, but where do those in the industry think its headed next?

I think that the market is movingto solutions that cover the total sound reinforcement from design throughto amplifi cation and system management, and this is why we are seeing so much consolidation right now, Surena puts forward.

Blanchard predicts a positive outlook, but again one overcast with diffi culties: The pro-audio market is very active and we can forecast good development in the following years, but the challenge is that you always get more features for less money. So at the end of the day the revenue is decreasing and on the other hand the demand for support before and a er sale is still the same.

Though the French market is fertile ground, the emerging theme put forward by industry fi gures is that diff erentiation is key; for brands to excel, it is imperative that they elevate themselves above their competitors and therefore above the challenges presented by the market.

The solution is to off er real added value in terms of service and support and to be able to invoice for this service, Blanchard explains. This is easier to do in installation and broadcast markets than in MI.

Audiopole aims to follow this philosophy into the coming years: Our strategy is to develop our added value and to off er our customers a complete solution including the best products available on the market and a high-quality in-house service during the diff erent phases of a project, including study, commissioning, pu ing into service, training and technical support.

Surena agrees, concluding: Overall, our strategy is to off er systems that are easier, faster and more intuitive to design, deploy and manage. Weve continually improved our electronics, redesigned boxes so that they are faster and easier to put in place, and of course, continually improved the sound quality of our systems. Its this search for continual improvement that, I believe, will allow us to keep a leading position in the market.

Whats having the biggest negative e ect on the market at the moment?

Other

1 2 3 4 5 6

Slow payments

Govermentlegislation

7 8 9 100

Falling budgets

Economicuncertainty

How is your sector performing in 2015 compared with 2014?

The same

0% 20% 40% 60% 80% 100%

Better

Worse

25%

41.67%

33.33%

16-17 AMI Nov 2015 Geo Focus_Final.indd 2 29/10/2015 11:01

November 201518

FEATURE: NETWORKING

The key to success for a technology is to promote it as not only what the industry has been waiting for, but also where everyone should be

going anyway. That is certainly the case with networking. The ploy has worked in computing and is now reaching its ultimate implementation in the Cloud. The professional audio sector has been talking about networks off and on for around 20 years and now, with digital, IP and off -the-shelf IT components, it looks as though its time has come at last.

The means are certainly available and the general issue of interconnectivity in broadcasting, live sound and installation has been debated widely over the past few years. There is the realisation that

people need to move on from not just analogue but also MADI. While MADI has had a resurgence it does not have the capacity for the several hundred channels of audio that will be required for large-scale events and outside broadcasts, ever bigger commercial installations and the prospect of Ultra High Defi nition (UHD) video and 3D sound for television.

Ethernet-based distribution and connectivity, as off ered by AVB (Audio Video Bridge) and Audinates Dante, is regarded as a way to work over long distances or throughout large buildings at a lower cost of installation and operation because cheaper IT components including Cat5 and Cat6 cabling can be used to carry the data.

Audio over IP (AoIP) is being promoted as the ideal carrier to run over these connections, off ering high bandwidth, multiple channels and additional capacity for metadata and control. Dante is accommodating this but has a major rival in Ravenna, developed by Lawo affi liate ALC NetworX.

With the technology in place the expectation would be that broadcasters, systems integrators, venue operators, facilities and rental companies would be adopting it en masse. The reality however, as is so o en the case, is somewhat diff erent. There has been some level of implementation, but not on a massive scale or with enough momentum to trigger a wholesale migration. Unhelpfully there are as many

possible reasons for this as there are networking formats.

Audio consultant Roland Hemming identifi es the barrier to mass adoption as being ease of use. It still isnt simple enough for many people to put together an audio network, he explains. I feel that there is a reason bigger than audio networking itself. This technology is just a transport, so while it does off er many advantages over analogue, it is only part of the bigger picture of what we need in networking. We need to have integrated control and networking across products from many manufacturers truly interoperable systems of the sort we are used to seeing in the IT world.

Hemming gives the example of unplugging his Mac from an Ethernet

THE NETWORK EFFECTTHE NETWORK THE NETWORK EFFECT

If everyone agrees that audio networking is a good thing, why is fuller implementation of the technology taking so long? Kevin Hilton fi nds out.

e multi-Calrec Apollo installation, featuring a large-scale Hydra2 network,

at MBC Sangam in South Korea

18-20 AMI Nov 2015 Feature_Final.indd 1 29/10/2015 11:30

November 2015 19

FEATURE: NETWORKINGwww.audiomediainternational.com

connection and having it link without interruption to WiFi, while at the same time connecting his RAID drive over Thunderbolt and making a call on his Bluetooth-enabled iPhone. This level of integration requires not just networked audio transport but seamless control of the network as well as configuration, control and monitoring of equipment, he concedes. This will then offer facilities and advantages way beyond what we have now. Unfortunately, given the way the audio industry develops products, that is probably some way off.

PLUS POINTSHemming lists the advantages of networking as being: multiple channels over a single cable; simple accessibility for audio on and off a network; far cheaper cabling and installation costs; less interference; system flexibility; long distance transport using standard fibre-optic technology and ease of use in many situations. Fibre also offers truly electrically isolated systems, eliminating issues caused by multiple sources of power on a large site, he adds.

The problem can be, Hemming observes, that people are used to doing

things the same old way so many dont feel the need to change their methods.

Chris Hollebone, sales, operations and marketing manager with Merging Technologies, saysthe main obstacle to adoption is inertia: If you dont have a specific reason for wanting to change

your system large or small you probably wont until you have to replace something major. For many an existing point-to-point connection is OK. I think there is a still a curious mistrust of sending audio down an Ethernet cable, which is curious since modern life as we know it would prey much stop if you disconnected all the RJ45 connectors in the world.

Merging Technologies produces the Pyramix range of digital audio workstations, which are used in music recording and post-production. These can be networked through either of the companys audio interfaces, Hapi or Horus, both of which feature Ravenna and the AES67 interoperability standard. Through AES67 it is possible to connect Merging systems to equipment using other formats, including Dante. Hollebone comments that people would have to be crazy not to see the benefits of networking and while he says it will definitely happen in a big way soon, many are resisting because they dont

want to be the first to try it out.It would probably take a major

broadcaster or other huge facility to switch entirely over to a networked

solution, he says. There are obviously a ton of people using our gear for recording or using Dante in a live situation that are enjoying the benefits, but it is a more elegant way of doing something they probably would have done with MADI and a lot of extra gear. Our customers are pushing the envelope with really high-resolution audio and MADI does not have sufficient capacity to deal with that.

In addition, the ability to control gear remotely is a huge plus, but it has been quite hard to get users to really extol the virtues of working with networks.

Despite asserting that networking will happen, Hollebone points to the case of MADI, which took a long time to be adopted by the mainstream. I was still at Sony when that was invented, he says. I le in 1994.

MODERN MISCONCEPTIONSAlex Lepges, product manager for Europe at Audio-Technica, observes that there may still be a perception that networking is only for a certain type of project. Networked audio was first adopted for large-scale applications and therefore it was not or not seen as a solution for the masses, he says. And still today many audio applications can be easily and most of the time very efficiently solved with traditional point-to-point solutions: some microphones, other audio sources, a mixer and speakers.

The front and back ends of the audio chain are generally seen as the most problematic when it comes to fully implementing a technology, notably anything digital and, specifically, networking. Audio-Technica is addressing the starting point with its ATND range of microphones, which connect to Dante over digital Ethernet, replacing analogue XLR cables with Cat5.

Lepges comments that there are some aspects that people have to get their heads around when considering the move towards fuller network connectivity, including what he calls invisible audio. In the traditional audio set-up we are used to following the signal flow of audio from its source to the final destination a speaker, he says. We could meter the signal, adjust the gains and slowly route the signal from here to there. In networked audio solutions with, for example, Audio-Technicas ATND Series mics connected to standard network devices, the audio becomes invisible and harder to track down, especially if you do not want to use packet-sniffer soware to monitor your network traffic. Overcoming this seeming loss of control is one step you have to make to learn the newly gained freedom of signal routing.

It still isnt simple enough for many people to put together an

audio network.Roland Hemming

Released in October, Dante Via is designed to allow a range of applications and devices to be networked and interconnected easily


November 201520

Dante and Ravenna are newcomers to a technology area that has promised much for nearly 20 years. Earlier aempts to standardise and simplify networking were CobraNet originally developed by Peak Audio in 1996 before being bought by Cirrus Logic and Livewire, introduced by the Telos Alliance in 2003 primarily for its Axia brand of IP-based consoles. Both carry audio over Ethernet and established themselves in specific installations based on either their manufacturers equipment or that of other companies licensing the technology, as in the case of QSC with CobraNet.

Because of this Marty Sacks, vice president of sales, support and marketing at the Telos Alliance, says that if there is any hesitancy from the market in implementing networks, he and his company are not aware of it. Its not something we see because the people we talk to are familiar with AoIP, he says. But because we dont see anyone being hesitant doesnt mean its not there.

Telos this year upgraded its Ethernet/AoIP network offering as Livewire+, which, Sacks explains, has been updated to be extensible into the future using standards such as AES67. It has

interoperability capability, he says, and also support for other internationally accepted standards to allow somebody with a Livewire installation to continue to be relevant with what is next.

For Sacks the question people should be asking about networking is not whether they should adopt it but what kind of reliability and assurance it, in whatever form, will bring to their installation. He adds that by incorporating AES67 into Livewire+, and into other technologies, it is now hard to isolate customers regardless of their choice of technology.

LOOKING AHEADSpeaking at last years Audio Networking Forum, Patrick Warrington, technical director of Calrec, observed that a possibility for the future was hybrid networks, citing the example of his companys consoles connected to the Hydra2 network router, which would in turn connect to any chosen AoIP system through the portal provided by AES67.

Calrecs vice president of sales, Dave Letson, comments that the lack of an accepted standard for audio transport over IP is frustrating broadcasters and manufacturers alike but that the situation is not standing

still. Calrecs vision is an agnostic one with regards to transport of audio, he says, and IP streams will clearly play a large part in the future broadcast ecosystem. In the future we see a great opportunity in expanding the Calrec broadcast networking tool set across IP infrastructures. The first stage of this is to allow IP protocols like Dante and AES67 audio transport to integrate with Hydra2. This means that even in this uncertain time, our customers can implement whichever protocol best suits their needs and still enjoy the additional benefits of Hydra2.

Networking is one of those ideas that broadcast, live sound and audio installation engineers like but they oen come up against barriers created by clients, bosses, accountants or just the technology itself. But it is starting to happen, albeit largely at the top end. Hugo Burnard, a project engineer with distribution and installation company Sound Technology, observes that both Dante and AVB are going into large-scale performance venues and big office buildings. Dante has a lot of backing, he says, and we are seeing a lot of people manufacturing AVB switches, such as NetGear and Extreme Networks, so AVB is a lot more accessible than it was.

Burnard says there is definite uptake, with frequent enquires for venues, stadiums, universities and large theatres. As well as AVB and Dante, Sound Technology is also dealing with CobraNet, which Burnard says has an established user base, and Harmans HiQnet soware protocol, which is used for smaller installations. When you consider the alternative for something like a large office block, digital networking over a single Cat5 cable carrying over 1,000 Dante channels makes more sense than running in lots of discrete tielines, he comments.

The consensus is that people should consider networking for new builds and installs but look at it in terms of what it can do rather than as a complicated piece of technology manifested in various formats and products.

As Hemming concludes: We need beer products and ones that are based around solving user problems, not just features. Once we crack that the standards will follow.

FEATURE: NETWORKING

www.audio-technica.comwww.calrec.comwww.merging.comwww.rhconsulting.euwww.soundtech.co.ukwww.telosalliance.com

e largest ever full Ravenna implementation for a live event occurred at the 40th anniversary concert of the Orchestre

Nationale de Lille (ONL) in July. Kit involved included Lawo consoles, Neumann interfaces

and Mergings Pyramix DAW


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November 201522

INSTALLATION FOCUS

Its not that oen that we focus heavily on a recent studio build at a college or university aer all, why would our professional readership care about new facilities designed

for those just starting out? but bear with me here.

First of all, take a look at the main image of this article. Does that look like the kind of set-up you would expect to find at a specialist audio college, let alone a university? I expect your answer is no, but thats what around 300 music and audio production students enrolled at the University of Westminsters Harrow Campus now have available to them.

Thats right, Im sure some of you have spent years begging for the chance to

be let loose in a studio equipped with an SSL Duality console, PMCs flagship monitors, TubeTech outboard and much more besides, and now you discover that all this can currently be found in the grubby hands of some kids who are only just beginning their audio journey? Oh, the irony.

Sorry about that, but lets look at the good news: surely this is a clear sign of how far pro-audio education has progressed in recent years at least in terms of the quality of kit on offer and can you really argue against giving these young people the chance to learn on some truly high-end gear right from the off? Well that was the main objective here, according to Alan Fisher, previously acting dean and head of the

universitys music department, and now consultant.

Our philosophy is to only introduce students to equipment that is industry standard. We realised some years ago that we needed an acoustically accurate recording studio that was of sufficient size to accommodate a large group of students, he says. It has taken five years to accomplish our mission, but the University of Westminster now has a facility that is easily on a par with commercial recording studios, enabling us to educate students on the techniques and skills they need to progress in the real world.

And if the Duality wasnt surprising enough, its also home to the first PMC QB1A main monitors the kind that

were installed at New York Citys Capitol Studios recently in Europe, as well as vast quantities of Van Damme analogue Blue Series, video, HDMI, data and control cable, along with connectors, patchbay and studio hardware all supplied by VDC Trading. There are also 5.1 surround systems featuring PMCs twotwo 8 speakers in the control room, adjacent live room with variable acoustics and in three other spaces across the facility.

Whats more, the control room is permanently linked to the universitys existing live spaces, including Area 51, a large onsite performance area boasting an L-Acoustics ARCS Focus PA and Avid VENUE SC48 consoles, courtesy of SSE Audio Group enabling concerts and gigs to be recorded.

THATLL TEACH EMHaving heard the University of Westminster now claims to offer recording facilities that most high-end commercial studios would be proud of, Adam Savage took a trip to the Harrow Campus to see for himself

Studio manager Colm O Rourke with the SSL Duality console

22-23 AMI Nov 2015 Install Focus_Final.indd 1 29/10/2015 16:03

Designed by Peter Keeling of Studio People, the facilitys impressive spec is largely down to the work of studio manager Colm O Rourke along with other members of the faculty while Yan Gilbert-Miguet and Neil Bola of Academia took responsibility for sourcing and supplying the gear.

It was a collaborative process, particularly for the big-ticket items such as the console and the monitors, ORourke explains. We listened to a number of different monitors but the only ones that really impressed us were the PMCs. Although we all have very different musical tastes and different views on what a good monitor should sound like, PMC was the only brand on which we could all agree.

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November 2015 23

INSTALLATION FOCUSwww.audiomediainternational.com

GOING ALL-OUTIn fact, there was a lot more to the installation than just the main centerpiece, as Bill Ward, director of Langdale Technical Consulting, explains: This was a big install with an SSL control room housing the 48-channel Duality console, a machine room, live area, vocal/drum booth, three rehearsal rooms, two performance rooms, a fully equipped live venue and, just for good measure, two further spaces allocated for future use and expansion, he comments.

We designed a complex multi-room system and I have to say Westminster University now has in its possession one of the finest audio recording facilities to be found at any university in the world.

We are now using 48 channels of Prism Sound ADA-8XR I/O in our new control room and the sound we get is exceptional very natural and with no coloration at all.

Weve got a top-class facility well weve got two, as weve also got Area 51 and we know thats really up to scratch for the live side of things.

And as for the console, geing hold of a board of this quality had been on the universitys wish list for some time, partly as a way of fulfilling demands that werent exactly easy to meet. It was the one thing that students would give feedback to us about, ORourke reveals, so we were confident if we only installed equipment with a global reputation for excellence, we would aract the best students from around the world to study with us.

As part of the deal our engineers have been certified by SSL on the Duality and the [existing SSL] AWS, and to put that on our website or outside out tech office is really aractive for students. My staff get a great kick out of that.

THE BEST OF BOTHThe new desks hybrid approach, which allows students to combine a traditional analogue path SSLs SuperAnalogue inputs, mix bus and processing with DAW control and integration on the same surface was also key for O Rourke, who was keen to stress the importance of passing down both modern and classic recording techniques to the next generation, and used the outboard versus plug-ins debate as an example.

We dont dictate to our students, we say OK, heres the plug-in version and heres the real thing and well line them all up, play three versions and ask them to tell us which they think is the best, he says.

Until we do that they wont come in here with the idea that a Duality is going to sound beer than their Waves plug-ins, but we let them listen and decide. Weve kept three studios heavily on outboard, and this [the main control room, with space for up to 25 students at a time] is one of them. The idea is to give them both experiences.

What we want to do with our students is say there are all the plug-ins that you need, and theres all the hardware, so you learn how to use them

and well show you how it all works. Were not going to tell you which is best; youre going to find out yourselves.

O Rourke has been succeeding with this method of ensuring proficiency with both analogue and digital equipment but allowing the class to pick their own preferences for some time now, and relishes that moment when the student realises theyll need a lot more than just a laptop and some soware when they take their first steps in the real world.

We get in students who think they know a lot before they do, and when they come in they will have used the plug-ins, theyll have done a certain amount of in-the-box mixing, but by the time they leave theyre generally different people entirely, he continues. Theyve discovered what a mixing desk does, what a proper room does and why you would spend so much money on monitors, and that gives us a lot of pleasure actually.

And to be able to give them a facility where we know the monitors are excellent, the room is excellent and the desk is excellent that gives us an awful lot of pleasure too.

Were probably the biggest course in the university now, which is weird considering we were the smallest when we started 16 years ago.

Some might argue its almost a bit of a shame that theres now a new studio in London bursting with high-end kit, yet out of the reach of pro users, but there are plans in place to allow producers and engineers to use the facilities out of term time, and make the studios useful to non-students in other ways.

The university is also developing some interesting links with external organisations such as the BBC, providing a Maida Vale-style service to the BBC Introducing initiative, and British Underground in promoting their acts, reveals Fisher. Students from TV and Music get the opportunity to work on these projects, which gives them real experience while they are still studying. This is definitely a benefit to everyone involved and something we are keen to expand.

www.pmc-speakers.comwww.prismsound.comwww.solidstatelogic.comwww.vdctrading.com

22-23 AMI Nov 2015 Install Focus_Final.indd 2 29/10/2015 16:03

November 201524

STUDIO PROFILE

Acting as the fi nal stage of the recording process to add that perfect polish to a project, mastering is o en undervalued and

overlooked by engineers and artists alike, but not by Mike Kalajian, the owner and head engineer of Rogue Planet Mastering.

Operating out of New Paltz, New York, he has moved away from recording a er more than ten years of producing, engineering and mixing to deal exclusively in the fi eld of mastering. Its an unorthodox move that has paid off in spades, though, now that hes fi nally where he wants to be.

I was talking to a friend of mine who works at Sterling Sound, and he said, nobody ever says they want to be a mastering engineer. I kind of did! enthuses Kalajian. My father gave me my own stereo when I was eight years old and I would always play with the EQ. And I remember him telling me theres a job where people do this on the CD before it gets printed. And I said thats what I want to do for a living.

Realising he couldnt jump straight into his preferred fi eld, Kalajian gotinto recording, but that sole focuson mastering was always in the backof his mind.

I think that with the recording industry changing its less rewarding to be a producer or an engineer, he remarks. Theres not as much money in it and its a lot of time and hard work, and it wasnt my number one passion; mastering was.

The studio has been up and running for around 18 months now, and recently reached 200 projects for the year bythe beginning of October, dispellingany claims of the move carrying a lotof fi nancial risk.

Its actually been my best year yet! he states. I think being in New York as an engineer for ten years or more helped, because I had a lot of contacts already which helped me get a bitof a jumpstart.

Another big thing was Facebook and off ering test masters, he continues. I know a lot of guys dont do test masters, but I feel confi dent that if I have a guy whos a good engineer, I can show him that I can deliver a good product and its totally worth it.

Perfect spaceBut ge ing the studio up and running wasnt easy. Kalajian himself contributed towards the design specifi cation of the space, with a li le help from Walters-Storyk Design Group (WSDG).

All we were really concerned with was that we were going to have a comfortable space and we laid out the rooms in a way that was ergonomic, Kalajian continues. It worked out pre y well; the rooms sound good but the transmission from our space to other spaces wasnt great so we had WSDG come by and tell us how to stop annoying our neighbours.

And then there was the task of properly equipping the space for its new function, which called for a complete gear overhaul as Kalajian discovered: The biggest thing for me was ge ing the right equipment and ge ing my room set up for it, he continues. At the time I was working on nearfi elds and I had to accommodate the fact that I would always have bands in. I cleared out the room and sold off all my gear I mean everything except my computer and I started over; I bought a set of Bowers & Wilkins 802Ns and immediately when I set them up I could hear everything. I bought some mastering equipment, which was defi nitely nice but the main thing was ge ing to the point where when I sit in my chair in my room I can hear exactly what I want to hear thats everything.

When you listen to something, within the fi rst 15 seconds you have this

instinct of where you want to go with it, he explains. I think part of what makes a good mastering engineer is to have that fi rst impression and make a very good judgement at the start of a project. A mix engineer cant do that; once youve heard a song so many times you cant really make that snap judgement. I can say that from experience.

Even with the recording industry in a state of uncertainty, Kalajian has still chosen to place his faith in the signifi cance of the mastering process, and he feels confi dent that the discipline will continue to follow the path marked out by studios like Rogue Planet.

I think that mastering is going to somewhat survive, because with people having more of a DIY approach to making records I think having a real studio and a real treated room is still worth the expense, he comments. I defi nitely see mastering becoming guys with their small space more of a one-on-one thing. But other than that I think its going to continue to be guys who have good ears, who know what they want to hear and know how to help people make their stuff be er. Thats really what its about.

ROGUISH CHARM

A er more than ten years handling other aspects of recording, Mike Kalajian decided to set his sights squarely on his one true passion: mastering. Ma Fellows investigated how he is ge ing on with his new, focused venture.

www.rogueplanetmastering.com

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24 AMI Nov 2015 Studio Profile_Final.indd 1 29/10/2015 16:07

When it comes to wireless audio systems, there is never a situation where a lower

signal-to-noise ratio provides be er performance over a higher signal-to-noise ratio, all other factors being equal. Never.

So, you should use every opportunity and every tool at your disposal toimprove that ratio.

Signal-to-noise ratio (SNR) is the ratio of the amplitude of the signal of interest to the amplitude of the surrounding noise fl oor or competing signals. SNR measurements are used across many systems and components within an audio signal chain, like microphones and amplifi ers, but here were talking about the signal-to-noise ratio of the amplitude of a radio signal (coming from a wireless microphone or IEM transmi er) in comparison to the amplitude of surrounding radio noise fl oor when measured at the receiver front-end (antenna input).

Because the majority of the noise part of wireless signal-to-noise ratios usually exists outside of the electrical audio and RF system, manipulating SNR is something that must and in fact can only be done by manipulating what network engineers refer to as the physical layer. The physical layer in wireless audio includes the hardware components that move electrons and electromagnetic waves that make up audio and RF signal,as well as the processing of digital bits.

There are very few electrical components, so ware processing, orDSP chips that can improve SNR downstream in the signal chain from the antenna input (inside the device), but many simple and accessible techniques available using physical layer tools like transmi ing and receiving antennas, coaxial cables, and fi lters that profoundly improve SNR upstream from the antenna input (outside the device).

The simplest, and perhaps most powerful, method is to shorten distances between transmi ers and receivers. By closing the distance gap between receiver and transmi er, signal strength increases dramatically because of the relationship of distance to received power and the inverse square law. For example, if you double the distance, the strength of your received signal will be four times less powerful. This works the other way around, too: halve distance, and received power increases four times over.

Of course, moving an entire rack of equipment closer to a performance area is not always practical, but for some one- or two-channel systems, it certainly can be.

Tricks of the Trade Another extremely eff ective way to improve SNR is to use a high gain directional antenna.

When used as a receiving antenna, a high-gain antenna can increase the received strength of a signal by focusing the RF energy in a given area, thereby increasing the apparent strength of your signal in relation to noise and other unwanted signals in the area from the point of view of the receiver. When used as a transmi ing antenna (commonly for

IEMs), high gain antennas can project a narrower and more intense beam of RF energy, to similar eff ect.

When external directional antennas are used, its very important to deploy them correctly. Using an external antenna lo ed on a lightstand above the audience is a common method to obtain proper line-of-sight, but even be er SNR is possible by remotely deploying antennas closer to the stage, backstage, or stage le /right using long runs of low-loss coaxial orfi bre-optic cable.

Long runs of coaxial cable should be treated with similar care. Use only high-quality, low-loss, undamaged coaxial cable for placing remote antennas, such as RG8X or be er. Coaxial cable is fragile. Small defects can cause a dramatic reduction in signal quality. So it should always be inspected for damage before use. And cable runs over 100 /30m o en require in-line amplifi cation to maintain suffi cient signal strength lost due to in-line a enuation, which occurs in all coaxial cable to some degree.

An additional technique for improving SNR is to increase transmi er power though this should be used with caution, as unscrupulous indulgence in increased power to multiple transmi ers may cause

more noise than the noise you are trying to avoid. In the US certain end-users are eligible for a licence that allows them to use transmi ers as powerful as 250mW. In the UK, power exemptions are given to operators of PMSE equipment under the control of Ofcom.

Finally, its also possible to block or reduce noise and competing signals coming from outside the performance venue by shielding the interior of the space with electromagnetic barriers.

Broadcast studios and some secure facilities will hire consultants to do this for them at signifi cant cost, but most of you are doing this already to a lesser degree: all buildings a enuate (weaken) signals and noise from outside. By operating a wireless microphone inside a physical structure (especially metal ones) you are keeping a signifi cant amount of the ambient radio noise from intruding into your venue, which lowers the noise fl oor and improves signal-to-noise ratioat the receiver.

INCREASING WIRELESS SIGNAL-TO-NOISE RATIO RF Venues Alex Milne provides some of his best advice on improving SNR using physical layer tools.

November 201526

TECHNOLOGY: HOW TO www.audiomediainternational.com

Alex Milne is marketing manager at Boston-based RF Venue, a manufacturer of wireless audio antennas and hardware.www.rfvenue.com

26 AMI Nov 2015 How To_Final.indd 1 29/10/2015 17:10

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November 201528

INTERVIEW TECH TALK www.audiomediainternational.com

What was the main idea behind the X Series?The R&D process to create the K2 [loudspeaker system] led us to make significant advances in the sound and directionality, as well as in handling and ergonomy. We felt that these breakthroughs in design would be well adapted to our coaxial line. The goal was to create each of the enclosures in the series to optimise it for a specific use.

Weve gone back to the drawing table for each, and improved SPL, widened bandwidth, reduced weight for the X12 and 15 by 30%, reduced the size of the box and ensured that each speaker is easy to handle, transport, install and take down.

Tell us a bit about the new models what are the key features of each?The X8 is a live monitoring enclosure with maximum SPL, imparting a faithful translation of the engineers mix on the larger L-Acoustics live system. With a 1.5in diaphragm compression driver coaxially loaded by an 8in low frequency transducer in a bass-reflex cabinet, its also got our signature L-Vents (a feature on all X Series models Ed),

which reduce turbulence and port noise, increasing LF efficiency. The X8 goes from 60Hz to 20kHz and has a wide 100 conical directivity for spatial imaging.

The X12 is a multipurpose enclosure, perfectly suited to any short-throw application. The X12 operates from 59Hz to 20kHz and the ellipsoid design produces a 90 x 60 directivity with smooth tonal response, giving maximum flexibility. Using engineered wood, the enclosure has been reduced to 20kg (a 9kg weight loss compared to the previous 12XT) and ergonomic handles make it easy to carry and place. Its got integrated risers (which we call stileos) that allow for two different angle choices: 35 or 55 vertical.

The X15 HiQ is our reference stage monitor an active coaxial system with a low latency preset, designed to integrate onto any stage and withstand even the most energetic live performers. The X15 goes from 55Hz to 20kHz and boasts ellipsoid directivity of 40 x 60, perfectly adapted to stage monitoring. The X15 weighs just 21kg and the ultra-low profile its just 341mm high makes for easy integration onto any set. Like the X12, the X15 has integrated risers, allowing for a 35 or 55 vertical angle.

All X Series cabinets come in a RAL colour program, making them easy to integrate with any architecture.

How does it differ from the rest of your product portfolio?Our mission at L-Acoustics is to keep our product portfolio as sha

ami november 2015 digital edition

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