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February 2016 www.audiomediainternational.


How binaural is bringing
an intimate theatre
experience like no other to
the Barbican p20

The latest on loudness for TV,
Alistair McGhee gets his hands
In conversation with
radio and cinema p16 on A&Hs dLive system p32 composer John Lunn p42

01 AMI Feb 2016 FC_Final.indd 1 01/02/2016 17:41



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.

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24/11/2015 09:55:49 WELCOME

Adam Savage

Experts in the issue FORWARD THINKING can be applied in such a multitude of
Jo Ruddock applications, and one area ripe for the
STAFF WRITER Gareth Fry picking is theatre. Without giving too
Colby Ramsey
is an Olivier Award- much away, we managed to track down
winning sound renowned sound designer Gareth Fry
ADVERTISING MANAGER designer who has
Ryan ODonnell to talk about one of his latest projects
collaborated with
some of the UKs involving the binaural recording
ACCOUNT MANAGER leading theatre technique, a Hollywood actor and a
Rian Zoll-Khan
directors, and sizeable sound team.
designed the sound effects for the Opening
ISE looks like it will have plenty to
HEAD OF DESIGN Ceremony of the 2012 Olympic Games.
Jat Garcha offer in this field too. Weve previously

mentioned Merging and Genelec
Tom Carpenter know I probably shouldnt be teaming up to deliver an immersive
is a Scottish composer surprised, as its been one of the audio experience, but what we
known for his
PRODUCTION ASSISTANT soundtrack work for TV major talking points in pro-audio havent already talked about is Auro
Warren Kelly
shows such as Downton for some time now, and if anything Technologies the Belgian firm behind
Abbey, Shetland and its only in the early stages of its the Auro-3D format and its upcoming
James McKeown development, but 2016 is already foray into hardware, which is due to
gearing up to be another big year for debut at the event. Again, it appears
Press releases to: Dean McCarthy immersive sound. theyre waiting until the show gets
is an audio engineer At the beginning of January we had underway on 9 February to reveal the
and degree programme
NewBay Media 2016. Sennheiser introduce its new AMBEO real juicy stuff, but its all looking
No part of this publication may be leader in audio
reproduced in any form or by any production and music concept choosing CES in Las Vegas pretty promising.
means without prior permission of
the copyright owners. business at the SAE to carry out the launch now that the And lastly, it was pleasing to
Audio Media International is published
Institute in Oxford. consumer side seems just as keen to finally be able to report some more
by NewBay Media, 1st Floor, Suncourt
House, 18-26 Essex Road, London discover more about exciting new sound in-depth details online about the new
N1 8LN, England.
Garry Taylor formats as we are and although we collaboration between Dolby and
Editorial tel: +44 (0)20 7354 6002
Sales tel: +44 (0)20 7354 6000 is audio director may have to wait to see the full result of Ministry of Sound, with the new series
at Sony Computer the companys new strategic focus on of immersive events now underway at
Entertainment Europe,
this exciting area of the industry, it will the London club following the recent
co-founder of Sony
Audio Media International Worldwide Studios be very interesting to see where this Martin Audio upgrade. The only thing
ISSN number:
ISSN 2057-5165 (Print) Audio Standards leads, for sure. left to do in this case is to go along and
Circulation & Subscription enquiries
Working Group, and Furthermore, this isnt the only check it out for ourselves, and from
Tel: +44 (0)1580 883848 is speaking about Audio Mastering for
email: page in this issue where youll find the what I hear, the invites in the post, so Interactive Entertainment at this years Game
1 Color - 100 White

Developers Conference (GDC) in March. German audio giant and an immersive there could be more to come from us
Printed by Pensord Press Ltd
topic but not one you hear about a lot on this still.
Front Cover: Gianmarco Bresadola
any more, it has to be said mentioned Adam Savage
in the same sentence. One of the great Editor
things about this technology is that it Audio Media International

February 2016 3

03 AMI Feb 2016 Welcome_Final.indd 1 01/02/2016 16:38


Array of new mics from Audio-Technica
7 Waves unveils virtual mix room plug-in

Sonys Garry Taylor on why the Playstation 4
Mastering Suite is good news for both gamers
and developers

14 Audio engineer Dean McCarthy discusses the

development of the music hacker landscape TECHNOLOGY
Warehouse Sounds Simon Meadows advises on
TV composer John Lunn talks Downton Abbey,
setting up and getting the best out of a line
the analogue versus digital debate and more
array system


Summarising the latest technologies in this
16 LOUDNESS: ever-evolving market sector

Kevin Hilton looks at the loudness environment
across radio and cinema, as well as television

Adam Savage chats to Gareth Fry about a new
theatre show where sound takes centre stage

Celebrating three decades of Production
Consultants in Missouri


32 Allen & Heath dLive
34 KLANG:fabrik
8 ISE 2016
36 Vertigo Sound VSE-2
38 UVI Falcon
10 BVE 2016
40 Mackie Reach

4 February 2016

04 AMI Feb 2016 Contents_Final.indd 1 01/02/2016 17:53

The LEO Family is the right choice for providing the best quality sound to our clients and their audiences.
The Meyer Sound brand is the perfect match for Wigwam Acoustics, in terms of its reputation for quality.

Chris Hill, Co-founder and Spencer Beard, Managing Director, Wigwam Acoustics

Read the full interview at

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10:00:11 AMPM


Audio-Technica introduced an microphones with a three-pin Radial Engineering introduced a wide
assortment of new microphones and XLRM-type output, the ATW-T1007 variety of new kit in Anaheim.
headphones at NAMM 2016, including (299) System 10 microphone desk As well as giving visitors another
the new Artist Elite AE2300, ATM230 stand transmitter pairs with the chance to check out the McBoost
and ATW-T1007 models. System 10 PRO or System 10 digital Microphone Signal Booster first
The Artist Elite AE2300 (220 RRP) wireless receiver to provide 2.4GHz announced back in November, the
dynamic cardioid instrument microphone wireless performance. company introduced a number of
features Audio-Technicas double-dome Then there is the ATW-T1006 (335) products for the first time this year.
diaphragm construction, giving it high- System 10 boundary microphone/ Described as the worlds first Dante-
frequency and transient response. It transmitter, which also partners with enabled direct box, the DiNET DAN-RX
has a low-profile design, as well as the any System 10 PRO or System 10 includes a 24-bit/96kHz digital to
ability to handle high SPLs and capture digital wireless receiver to provide analogue endpoint that allows the user
sound from a range of instruments with clear, natural sound quality with 2.4GHz to output audio from a Dante network that lets the user feed four guitar amps
clarity and precision. wireless performance. It is intended to stereo systems. It also enables in either mono or stereo. It features
The ATM230 (110 RRP) for conference rooms and other instruments or line level sources to be two inputs with switching jack on input
hypercardioid dynamic instrument meeting spaces. connected directly to networked audio B to auto configure for stereo use, as
microphone is said to be ideal for Finally, the M50xMG (159) is a systems using the Dante protocol. well as transformer isolated outputs to
capturing drums and percussion and limited edition matt grey version of A modern recreation of a classic eliminate ground loops.
offers a proprietary capsule that is Audio-Technicas ATH-M50x professional made to fit the 500 series format Lastly, the JDX Direct Drive
also designed to excel in high SPL monitor headphones part of its the Jensen Twin-Servo ($999.99) ($199.99) is a compact combination
applications, much like the AE2300. M-Series line. is designed to completely eliminate guitar amp emulator and direct box
Audio-Technica also released new capacitors and combines two 990 that allows the user to perform live or
desk stand and boundary microphone op-amps with a pair of Jensen record without an amplifier simply
models compatible with its System transformers to produce the widest connect a guitar to the pedals and play.
10 PRO rack-mount and System 10 bandwidth and fattest bass ever. It offers three cabinet styles with in
stack-mount digital wireless systems. Also new was the Shotgun 2 x out for monitors and XLR out for the
Designed to work with phantom- 4 Guitar Signal Distro ($169.99), a PA system.
powered, condenser gooseneck combination signal driver and isolator


QSC launched a new range of loudspeaker using a 12in die cast PreSonus used the 2016 NAMM Show Ethernet/AVB control surface and
passive loudspeakers at this years aluminium woofer with a 3in voice- to announce its Studio 192 Mobile USB integrated control, recording and
NAMM Show. coil, and the 15mm, 11-ply enclosure 3.0 22 x 26 audio interface, as well as production software.
Consisting of four models provides enough volume to deliver the StudioLive AVB Mix Systems and Four systems are available: the
incorporating DMT (Directivity low-frequency extension down to 60Hz, ULT-series active loudspeakers. StudioLive AVB 16AI Mix System
Matched Transition), which promises making it suitable for applications The Studio 192 Mobile features with one RM16AI mixer; StudioLive
uniform frequency response across which preclude the use of a sub. the same high-end audio, low latency AVB 32AI with one RM32AI;
the entire coverage area, the E Series The E15 is a trapezoidal, two-way monitoring, tight software integration StudioLive AVB 48AI with one of
is designed for sound reinforcement in loudspeaker utilising a 15in, 500W die and studio command centre each RM model, cascaded to form
entertainment applications such as live cast aluminium frame woofer with a 3in functionality introduced in the Studio a 48-input, 64-channel system;
performance, DJ and dance music, and voice coil, intended for when high power 192 audio interface but in a smaller and StudioLive AVB 64AI, with two
stage monitoring and production. and authoritative low-end are needed form factor suitable for both mobile cascaded StudioLive RM32AIs for a
When used as part of the complete from a full-range loudspeaker. Lastly and studio use. 64-input system.
E Series Entertainment System there is the E18SW, a subwoofer with It records at up to 192kHz and The ULT-series active loudspeakers
with QSCs PLD and GXD amplifiers a single, high-powered, 18in aluminium comes equipped with two digitally promise the widest horizontal
and TouchMix digital mixers the E frame woofer, designed to produce controlled XMAX Class A, solid-state dispersion of any loudspeaker in their
Series takes advantage of advanced crushing low-end for live performance mic preamps and premium Burr-Brown class, along with a focused vertical
DSP settings for a very high level of with kick-drum and bass in the PA for converters with 118dB of dynamic dispersion for an ultra-long throw. The
performance, according to the company. high-level, high-energy dance music. range. There are also 18 channels of result is even coverage throughout
The E10 has a 10in, die cast frame digital I/O, making it easy to add up the space, PreSonus says, enabling
woofer with a 2.5in voice-coil housed in to 16 additional remote-controlled the audience to hear clearly wherever
an enclosure thats ideal as a microphone preamps when they are.
stage monitor expanded with two DigiMax DP88
or in main PA A-D-A converters.
deployment. The new StudioLive AVB Mix
The E12 is a Systems allow users to combine
trapezoidal, one or two StudioLive RM-series
two-way rack mixers, a StudioLive CS18AI

6 February 2016

06-07 AMI Feb 2016 News_Final.indd 1 01/02/2016 12:30



Nugen Audio presented its
latest mixing and mastering
tools, including several
5 8. 4. 2016
new updates and feature
enhancements, in California.
New to its product

DU: 10.12.2015 GB
offering is the SEQ-ST, a

Lets master it.

linear phase spline EQ with
powerful sonic sculpting
and EQ matching, stereo
midside operation and
automated spectrum provide music producers with true-peak
analysis. Also on display was a new compliance and prevent the distortion
filter-morphing feature that allows fluid that often results from the codec
morphing between two sets of filter conversions required to deliver audio to
curves under full user control. online platforms. ISL 2st DSP is also now
The company also showcased available for Avid Pro Tools HDX users.
MasterCheck, the first music industry- An upgrade to Visualizer, the

61837-001_PLS_allg_Audio_Media_International_95x270_GB CD-Rom ISO 39 CMYK yi:07.12.15

specific audio plug-in designed to companys audio-analysis plug-in and
facilitate mixing and mastering for stand-alone metering system, debuted
loudness-normalised playout by using as well. The latest version includes a
internationally recognised loudness, new comparison mode, a significant
dynamics and true-peak standards, upgrade to the Lissajous view and
which are now standard on iTunes, numerous fine-tuning improvements,
Spotify, DAB and many other further enhancing intuitive operation
online platforms. and allowing rapid adjustment
Also on display at NAMM was ISL 2st, to achieve a perfectly optimised
a stereo-only version of Nugens award- visualisation for the task at hand.
winning ISL 2 solution, designed to


Waves Audio has revealed Nx, a new By delivering the natural listening
plug-in that enables the user to hear, experience of a physical room, Waves
on headphones, the same depth, Nx promises to make the headphone
reflections and panoramic stereo experience comfortable and ear-
image heard through speakers in an friendly over long periods of time.
actual, physical room. Those wanting to mix for
It is designed to unmask 5.1 surround on regular stereo
headphone sound, allowing the headphones can also do just that
listener to hear everything with a true revolution in the world of
real-world dimension. This way, all surround mixing, according to Waves
Discover the technology trends of tomorrow at
the elements of a mix can be heard and Nx claims to do this without
accurately laid out in space, like in coloring the sound in any way. What Prolight + Sound 2016!
the sweet spot of a beautiful- the user hears is a mix exactly how
sounding room. they want it to sound only now Find out at first hand how technology can transform
Waves says that the new plug-in with a more accurate way to monitor entertainment into a unique experience and take
finally bridges the gap between it on headphones. part in the worlds largest gathering for the event
monitoring on speakers and The plug-in can be used with industry!
monitoring on headphones, putting real-time head tracking taking
an end to constant cross- advantage of a computers camera or
referencing between headphone and the Waves Head Tracker unit.
stereo sound. Tel. +44 (0) 14 83 48 39 83

February 2016 7

06-07 AMI Feb 2016 News_Final.indd 2 01/02/2016 12:30



The annual AV extravaganza returns to Amsterdam with a renewed focus on sound equipment.

What? ISE 2016

Where? Amsterdam RAI
When? 9-12 February

system at this years show. Integrators

and design consultants will have
opportunities to demo the product every
30 minutes while asking questions of the
manufacturers expert staff.

The patented Libra acoustic image
system will also feature at ISE. A

passive acoustical solution for spaces
heres no denying that ISE an Auro 11.1 immersive sound system The 6.5in IC6-1062 features a high that works together with Constellation
2016 is going to be the as part of a Barco Theatre Room, while LF extension for its cabinet size and a to create the ideal sonic environment,
biggest show in the events d&b audiotechnik will be introducing its very wide dispersion fabric dome HF Libra combines sound absorptive
13-year history. The addition latest products and offering a beginners on a shallow waveguide. The single 8in properties with works of art created
of a fourth day and an 11% guide to its ArrayProcessing array IC6-1082 and symmetrical dual 8in or selected by California photographer
increase in sold floor space compared optimisation tool. IC6-2082 are each available with two Deborah OGrady.
with 2015 mean there will be plenty for In Room E104 Martin Audios product rotatable horn patterns paired with a low Other Meyer Sound products at the
visitors to see. And the good news for support engineer Robin Dibble will be distortion, high output 1.7in diaphragm event include the CAL column array
AMI readers is that audio is set to play presenting a series of demos, featuring HF compression driver. loudspeaker and Leopard line array.
an even more central role too. the CDD Series, MLA Mini and O-Line, New from DPA is the d:screet SC4098 Lawo will showcase the mc36
The day before the show opens, and in E108 Steinway Lyngdorfs Model podium microphone, which is aimed at all-in-one audio console and the 19in
the AudioForum will return to the RAI. P200 surround sound processor will be addressing problems in the conference 1RU Compact Engine network-based
This full-day event will look at modern available for demo. and AV install markets and features a processing and mixing engine. The
loudspeaker technologies, key issues directional supercardioid polar pattern. mc36 features Lawo-grade mic
surrounding filtering technologies, the on the Showfloor The miniature capsule is mounted on a preamps, a DSP micro-core with
composition and detail of datasheets Powersoft will once again partner up delicate gooseneck and comes in several internal 512 x 512 port audio matrix, and
and audio networking transportation. with its Dutch distributor TM Audio, part lengths for hanging, table or podium integrated I/O, which Lawo says make it
When it comes to ISE itself, Audio of the Ampco Flashlight Group. mounting or on floor stands. It comes suited to permanent installations with
Solutions now has its own Show The amp maker is set to adopt a with an XLR for a wired solution, but also limited space.
Floor Theatre where attendees can white, building block Tetris-style booth as a MicroDot version that can be used in The Compact Engine is a 19in 1RU IP-
enjoy presentations by installers, theme designed to subliminally focus a wireless configuration by employing the based networked audio I/O, processing
manufacturers, distributors, end integrator attention on the importance companys adapter range, which is already and mixing engine featuring power
customers and live events professionals. of interoperability and functionality used for other miniature microphones. supply redundancy and expansion slots
An extensive programme is running over between systems. Also in the field of conference audio, for addition of I/O cards. It offers both
all four days of the show, covering topics This eye catching stand has been Sennheiser is launching TeamConnect touchscreen control and control via
such as Communications Solutions for set up to differentiate us from the Wireless, a conferencing solution that classic physical faders from Lawo crystal
Major Events at 13:00 on 9 February, competition and demonstrate how allows users to connect their own mixing consoles.
New Audio Technology at midday on 10 Powersoft amps suit any application, smart device or computer wirelessly Live sound consoles will be the focus
February, Immersive Audio Enhancing said the firms brand and communication via Bluetooth, and also permits wired on the Avid stand with the Venue S6L
the Travel Experience at 14:30 on director Francesco Fanicchi. connections via USB or jack cable. It and the compact Venue S3L-X being
11 February and Solving Acoustic ISE 2016 will also be the place to supports multiple simultaneous audio showcased in Hall 7. Avid is delivering
Challenges with Audio Networking see the latest loudspeaker technology. channels, allowing users to bring up to hands-on demos of both systems,
Systems and Digital Signal Processing Community Professional is 24 additional callers into an ongoing showcasing their integration with Pro
at 11:30 on the final day. introducing five new Compact speakers, conference by simply connecting Tools for streamlined recording and
If you prefer to experience the latest which are designed to match the another device. playback functionality.
kit rather than just hear about it, head to performance, appearance and voicing A Meyer Sound team of acousticians
the Audio Demo Rooms (E103, E104, E107 of the larger I Series point source and will demonstrate the capabilities of
and E108). Here youll be able to enjoy subwoofer models. the companys Constellation acoustic

8 February 2016

08 AMI Feb 2016 ISE Show News_Final.indd 1 01/02/2016 15:02


8-Channel High-Performance Amplifiers with Optional DSP and DanteTM

Designed and manufactured in Italy

PS_Ottocanali_Feb.indd 1 1
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BVE is broadening its horizons this year with a new focus on the live and pro-AV sectors,
making it perhaps the most diverse show to date.

What? BVE 2016

Where? ExCeL London
When? 23-25 February

ondons ExCeL Centre will once 2016, said. Our wider focus recognises production. Two new I/O option cards uses a brand-new SoundGrid interface
again host the BVE show later the increasing convergence of the are being added to the AX32: a dual module on Calrecs Hydra2 network,
this month, attracting more broadcast and AV sectors and I am MADI I/O module and an eight-line AES3 introducing fewer parts into the chain
than 15,000 visitors from over thoroughly looking forward to the broad (AES/EBU) I/O module with optional for lower latency and greater reliability.
60 countries and featuring range of exhibitors, speakers and visitors sample rate conversion. The updated Pro-audio distributor Emerging
the usual plethora of manufacturers, we can expect both on the BVE show AX32 also has a 64-channel interface will be showing enhanced features
distributors and resellers of pro- floor and during London Entertainment for Avid Pro Tools and can be optionally on the Trinnov Audio D-Mon digital
production and broadcast equipment. Week this year. fitted with a Dante AoIP interface. integrated monitoring processor and
There is something that returning London Entertainment Week will Audio-Technica will be showing room correction system along with two
attendees may not immediately start on Monday 22 February and carry its BP40 large-diaphragm dynamic new products from PSI Audio the A14
recognise, however. This year, BVE through the week. broadcast microphone. Featuring a large studio monitor and the Active Velocity
is expanding its scope through a diaphragm with patented floating edge Acoustic Absorber (AVAA). Also being
partnership with London Entertainment On the Showfloor construction for optimal performance, shown on the Emerging stand are the
Week, providing an opportunity for HHB Communications will debut the along with a humbucking voice coil, new Pyramix 10 and Ovation 6 releases
partners to present events for the entire compact Avid Pro Tools Dock, a EUCON multistage windscreen and other pro from Merging Technologies, which
creative sector from the tradeshows control surface that works with iPad and essentials, the all-metal BP40 promises take full advantage of the companys
well-established platform. Avids free iOS app, Pro Tools Control. to maintain a commanding vocal transition to 64-bit processing for all
As a result, visitors can get their teeth At the show, HHB will pair the Dock with presence free from electromagnetic software programs, and now offer 3D
into over 75 hours of seminar content, the 16-fader Pro Tools S3 control surface interference (EMI) and popping. The panning for manipulating the audio to
case studies, panel discussions and to demonstrate mixing workflows. company will also show a new dual any number of speakers, in any position,
learning workshops from 150 expert Based on the Master Touch Module of mount for its System 10 camera-mount in a room of any size.
speakers across the content creation the Pro Tools S6 control surface, Pro wireless microphone system for the first Finally, Riedel is set to display
industries, including production, post- Tools Dock adds to the touchscreen time at the show. MicroN, an 80G media distribution
production, workflow and for the first capabilities of the iPad with a single Calrec Audio will showcase V4.0, the network device for the MediorNet line
time, AV and live entertainment. fader, assignable knobs, switches, latest software enhancement for the of media transport and management
In addition, an 850sqm Pro AV and live jog shuttle wheel, a full transport companys Apollo and Artemis consoles. solutions. MicroN features a complete
entertainment technology zone has been section, automation mode switches, New features include send levels on array of audio, video, and data inputs
added to the show floor, providing space programmable soft keys and more. faders that allow the user to change the and outputs, including two MADI optical
to cover all aspects of event production; Also on the HHB stand, NTP path level indicators on the fader to aux digital audio ports.
kit for theatre and performing arts, Technology will introduce major send level, admin-level protection of The firm will also have the Tango
concerts and touring, festivals, outdoor enhancements to its DAD AX32 ultra- bus widths that are stored in the show TNG-200 on show, which represents
events, corporate events, conferences, high-quality audio converter, router and memory for quick and easy changes, Riedels first network-based platform
houses of worship, educational monitor controller. At the show, NTP will and meter highlighting when a fader is supporting the Ravenna/AES67 and
establishments, leisure facilities and demonstrate the AX32 on its own as well touched. Then there is an integrated AVB standards.
corporate installations. as how it integrates with the Avid S6 Waves SoundGrid solution for Calrecs
Daniel Sacchelli, event manager for control surface to provide an extremely Hydra2 platform of consoles, which is
BVE and London Entertainment Week flexible platform for audio post- unique among broadcast desks in that it

10 February 2016

10 AMI Feb 2016 BVE Show News_Final.indd 1 01/02/2016 16:11

The w ireless and mo st

o f capturing

Stress-free wireless audio for videographers. BVE
the story
With Digital Link Protection, Optimised
Dynamic Range and Plug & Record. Plugs
directly into the camera XLR. Easy to use
of the Oracle
automatic set-up, ready to record in seconds.
The all new Sennheiser AVX. Stand B-07

new tvbe template remade.indd 1 01/02/2016 11:50:17



Garry Taylor, audio director at Sony Computer Entertainment Europe, explains why he believes the new Playstation 4
Mastering Suite is good news for both gamers and developers.


suppose some people might
consider me an audiophile. Im not
naive enough to buy expensive
blocks of wood to keep my speaker
cables off the floor, but I do have the
luxury of a decent 5.1 system at home,
as well as a number of 7.1 studios at
work where our sound and music teams The objective game and allows engineers to adjust is something that most game audio
create and mix soundtracks for some We needed to give game audio parameters in real time to suit different teams have not had to deal with
very successful video games. developers the ability to modify types of playback devices. before and some developers may
However, Im not everyone, and I dynamic range, equalisation, limiting This is all well and good, but it means need educating as to the benefits it
understand that not everyone listens to and gain of their finished mix, and to nothing if the user cannot tell the affords them. This also means theres
games in the same way that I do. hit SCEs average loudness standard PlayStation what type of system theyre currently a lack of experienced audio
The problem of not knowing what sort for PlayStation 4 of -24LKFS, easily. listening to a specific game on, or if the mastering engineers working in the
of system the consumer is listening to We also needed this functionality to player has to dig through lots of menus games industry. Our tool design means
our content on has been a challenge for be available to all game developers, to find the audio settings, which, even that its obvious to any audio engineer
audio teams in the games industry for regardless of whether theyre big triple then, they may not fully understand the how it works, even if theyve never
years. Sound designers and engineers at A studios or small indie developers, ramifications of any choice they make. It been involved in the complexities of
most big game studios these days have and we needed the mastering suite to boils down to a user experience (UX) and game audio development. So, now,
good facilities, but producers and other have no impact on the performance user interface (UI) issue. a mastering engineer can take the
team members tend to listen in less of the title. game installed as a package on a PS4
than ideal environments on less than The Mastering Suite weve Game changer development kit and a laptop running
ideal speaker systems, just like most introduced to the PlayStation 4 A game called SOMA, a sci-fi horror Sulpha to any studio in the world
of our audience. consists of a four-band parametric title developed by Frictional Games, and master the game to suit as many
Dynamic soundtracks sound great equaliser, a three-band dynamics was the first game to be released on scenarios as they wish.
on a big system and may suit the title processor, a gain stage and a limiter, PS4 that utilised the Mastering Suite. As far as getting information about a
youre working on, but a significant as well as loudness metering and It solved this problem in a simple and particular players speaker system, all
percentage of your audience will miss spectral analysis. It runs independently quite obvious way. The first time its thats left is for the developer to ask,
out if theyre listening to a dynamic of the games audio engine, meaning run, it asks the player to adjust the like Frictional Games did, is What are
mix on two tiny speakers on the back it works on all titles, and it runs on the gamma settings to suit the players you listening on?
of a thin, flatpanel TV. How do we give system core of the CPU, separate from screen, as many games do. It also asked
people the ability to ship big dynamic the cores running the game, meaning the player on what type of system Garry Taylor
mixes, as well as ensure people who that it doesnt affect the performance they were listening to the game, and is audio director at Sony Computer
may be listening on a small TV or tablet of the title. gave options such as home cinema, Entertainment Europe and co-
founder of Sony Worldwide Studios
dont miss anything? We also created a tool called Sulpha, small TV, headphones etc. Presets
Audio Standards Working Group. He
Last year, a small group of us at part of the PlayStation 4 Software for these options were then loaded by is speaking about Audio Mastering
various divisions across Sony Computer Development Kit (SDK) which, as well as the Mastering Suite to suit the speaker for Interactive Entertainment
Entertainment (SCE) got together to try giving developers audio system analysis system. The choice takes the player a at this years Game Developers
Conference (GDC) in March.
to solve this problem. The result is the tools, allows them to create presets for couple of seconds and is not intrusive.
Twitter: @tetley_uk
PlayStation 4 Audio Mastering Suite the Mastering Suite. It connects to the A final audio mastering process

12 February 2016

12 AMI Feb 2016 Opinion 1_Final.indd 1 01/02/2016 12:35

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industry experience,
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01/02/2016 17:07


Audio engineer Dean McCarthy talks about his work with Music Tech Fest, which aims to encourage the inception,
development and adoption of more creative production methods.


Graham Massey (808 State) performing at MTFCentral in Ljubljana, Slovenia Picture: Filip Koludrovic

he music hacker landscape related hacks, especially those with a young people. For example, Music Tech graphical programming environment
used to be underground, slant on performance and interactions Fest Paris hosted a Girls Hack run by a that allows you to make a range of
populated by shed-dwellers with tangible objects. It encourages women in tech hacker group, intended to different music patches including
recycling and repurposing collaborations between those with the give new female hackers a chance to controllers, synthesisers, visualisers
technology, often code and those with the chords, allowing hone their skills. At Music Tech Fest and pretty much anything else youre
experimenting rather than looking to solve artists to work with tech enthusiasts. events in London, Ljubljana and Ume, used to seeing in your DAW.
any particular problem. Today, there is The environment provides the freedom groups of 8-12-year-olds were given
a growing crowd of creators looking for to consider what interactions are their first experiences of both code and Build your own synthesiser
more bespoke production methods; this possible and where these new ideas and hardware construction. Synthesisers are as cool as ever, so more
market is starting to turn away from big inventions can be positively disruptive The next Music Tech Fest will be companies have been releasing fun units
brand tools to find their signature sound. to both industry and music creation. returning to Berlin and setting up in the to get you started with DIY building. Some
For over a year, I have been involved Through experimentation without a strict amazing Funkhaus venue from 27 -29 are simpler pre-made boards you click
with one of the forces behind this objective, these events often lead to May. The Funkhaus was East Germanys together, like the Korg/littleBits Synth
exploration: Music Tech Fest. Led by unexpected and unintended outcomes. premier recording and broadcast facility Kit and the Patchblocks Programmable
founder Michela Magas and director and has recently come under new Mini Synths system. If youd rather go
Andrew Dubber, the organisation prides Carving a niche ownership with an aim to restore it to its from scratch, try some of the tutorials
itself on being the festival of music Examples of these experiments and former glory. The venue is part of Berlins on or look at the
ideas a playground where musical bespoke instruments are increasingly plan to become the music tech capital awesome kits over at
creativity and technological innovation finding their way onto the main stage, with of the world, and will be a spectacular and whats being discussed on the Arduino
take centre stage. a growing demand for artists to include festival venue. community boards.
During the event, the main stage hosts interesting performance elements.
dozens of examples of new technology, Projects like Imogen Heap and her Mi.Mu Ways to get into music hacking Find a jam session
home-brew experiments, performance gloves, Beardymans Beardytron 5000 Find a hackspace Dont just keep your projects to yourself.
collaborations and startup businesses. and Tim Exiles Flow Machine all allow live The hack community is growing fast and The community is often filled with
The event has seen the weird and the interaction, keeping audience members there are hackspaces springing up across musicians who get together to play music
wonderful from musical Tesla coils, fascinated by not just the sounds but also the world. Some are open to all kinds of and put their creations to good use. Keep
brainwave synthesisers and giant the way they are being produced. hacks and some are more focused on an eye on the hackspaces, community
inflatable MIDI cubes to performances by These events contribute to a music, such as the Music Hackspace boards and places like
beatbox world champion Reeps One and growing scene complemented by the in London. UK folks should check out
electronic music legend Graham Massey emergence of more local hackspaces and the UK Hackspace Foundation for Dean McCarthy
(808 State). a progressive startup culture pushing more information. is an audio engineer and degree
programme leader in audio
One of the key events is the 24-hour innovation and disruption. There is an
production and music business at
hack camp. Led by hacker and musician increased emphasis on diversity and Make a Pure Data patch the SAE Institute in Oxford.
Adam John Williams, the focus is on music- outreach, especially towards women and Pure Data is a free, community-driven

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to a


Loudness monitoring and control is becoming established in television but there are still challenges in radio and
cinema. Kevin Hilton rounds up the latest developments and opinions.

ost people are deeply landscape of TV and radio channels cinema that need to be considered Mitigation) Act, which became fully
protective of their sharing both the same platforms and individually, with work progressing enforceable in 2012.
respective areas and some of the same material means it is in all three. All three have been updated or revised
tend not to see any not confined to one area. recently to accommodate particular
crossover or similarity Media today is not produced to be Television areas of production. A supplement to
between them. Sometimes this is true used only in radio or TV, comments There has been some form of loudness R128 was released at the end of 2014
but there can be more parallels than Michael Kahsnitz, head of product control available to broadcasters to cover short-form material, including
people care to acknowledge. Loudness management at RTW. Its transmitted for at least 30 years. The 1990s saw commercials and promos. The original
is a case in point, as attention shifts from through very different channels, more awareness of the problem but guideline was +3 LU (loudness units) but
television on to radio and cinema. including broadband radio, broadband standardisation and widespread Florian Camerer, ORF sound engineer
Perceived variations in volume TV, data reduced TV, internet, for mobile implementation of loudness monitoring, and chair of PLOUD, explained at the
between different types of material is platforms and more. So it seems to metering and control did not come in time that this was found to be too
not a new issue in TV. It was recognised in make a lot of sense to produce on the until the 2000s. restrictive, so it was opened up to +5 LU.
the earliest days of the medium and has general purpose layer around -23 LUFS The ITU issued its BS 1770 in 2006, The publication of R128 S1 and
taxed the minds of engineers ever since. [Loudness units relative to Full Scale; -23 with the lead followed by regional and changes in production priorities has
Radio has long had its own troubles with is the average target set by the EBU R128 national bodies, including the EBU brought about revisions to three of the
music of both wide and narrow dynamics standard]. This allows compatibility for PLOUD group with R128 in 2010 and the standards four supporting Technical
against loud or softly spoken presenters, all platforms. ATSC in the US, whose A/85 is backed Documents. TD 3341 Loudness Metering:
compounded by heavy compression Despite this commonality there are by law in the form of the 2010 CALM EBU Mode now includes an expanded
on transmission. But todays media still enough specifics for TV, radio and (Commercial Advertisement Loudness range of test signals, including for True

16 February 2016

16-18 AMI Feb 2016 Feature_Final.indd 1 01/02/2016 12:39 FEATURE: LOUDNESS

RTWs Continuous but things will get there eventually,

Loudness Control Peter Prs, Junger Audio
Camerer says.
plug-in allows
Among the manufacturers involved
loudness correction
to a definable target with EBU PLOUD and its deliberations
with or without is TC Electronic. Esben Skovenborg,
changing the original the companys principal research
Loudness Range
engineer, says it has been working in the
Metering Subgroup to produce revised
versions of documents pertaining to
Loudness Metering and LRA. Rather
than introducing any new measures,
the update tightens the spec and test
requirements for both true peak and
loudness measurements, he explains.
Thereby equipment from different
manufacturers will behave more
similarly. It is still up to the individual
manufacturer, however, to make sure its
products are compliant.
Peter Prs, chief executive of Jnger
Audio, says TV is in a good position,
with a lot of people paying attention to
the issue. On the other hand it doesnt
improve everything immediately, he
says. Before this material could suffer
from peak control limiting. Now it can be
affected by loudness controlled audio.
And there are still a number of situations the UK, published Technical Standards A lot has happened with TV loudness
that cant be managed by -23 or -24 [the for delivery of HD Commercials, in a relatively short time but it is clear
target set by A/85]. Sponsorship material, Promos and there is still some way to go, both in
Tim Carroll, president of Linear Presentation Events during January. fully implementing the standards
Acoustic, comments that not only is TV This incorporates the R128 guidelines and getting them to work in all
loudness now more consistent but the for short-term material and introduces broadcast applications.

audio has greater dynamic range. The an Exceptions Process for content
trick is going to be making sure it does that is intentionally quiet. Something Radio
not become uncomfortably dynamic, or approaching silence is occasionally used While the audio-only medium is not
Peak; 3342: Loudness Range (LRA) else it could backfire and result in random by advertising agencies and producers completely unaware of the implications
features a tighter means of calculating processing, he says. On the subject of for creative purposes; the potential of loudness and its various standards,
LRA to bring more consistency over short-term material and momentary problem in an automated environment it is still in the early stages of coming
different meters; while 3343: Guidelines loudness, Carroll comments that most is that it would be normalised to -23, to terms with it all. The first country to
for Production has been substantially meters accommodated this already thereby ruining the effect. embrace R128 for radio was Norway.
rewritten to reflect practical experience and hopes that now it is documented Under DPP recommendations the In February 2012 the three DAB digital
of using R128 and includes a new producers will manage dynamic range, agencies and producers will have to fill radio operators, public broadcaster
Reference Listening Level. Tech Doc which he calls the evil cousin of in three metadata fields to highlight that NRK and commercial counterparts P4
3344: Guidelines for Distribution and loudness, manually and creatively. the material is intentionally quiet. It is group and SBS agreed to monitor and
Reproduction is set for an update in the While the general consensus is to do then marked as ex-R128, or out of spec, report their own and each others output
foreseeable future. the majority of loudness measurement and the system manually compensated for loudness compliance.
Camerer comments that the and normalisation on meters in the to accommodate it. MC Patel, chief Because those involved concluded
consistency of loudness control is dubbing or on-air studio, file-based executive of Emotion Systems, which that radio content is very different from
generally very good but that each software programs are also used widely produces the eFF (Emotion File Finish) that of TV they set an average target
broadcaster has the responsibility as part of the QC (quality control) software program, feels there is still of -15 LUFS instead of -23. Camerer
to keep a weary eye on the situation process through the production chain a need for clarity on this issue: In the commented at the time that he hoped
and not let it get sloppy. He adds that to transmission. While the aim is to file-based world we havent defined how the Norwegian radio broadcasters
loudness levelling is becoming more automate loudness checking further to find out which material is intentionally would settle on -23 when the country
the norm and almost taken for granted, down the line, manual intervention will quiet. It could go through post and switched off its FM transmitters and
as was peak levelling because it was not disappear completely overnight. be taken to -23. Were keen to open a moved fully to DAB+ in 2017. While
something that just happened. There The Digital Production Partnership dialogue about how to resolve these Swedish broadcasters have carried out
are still countries, and of course areas (DPP), the organisation that sets issues because it is something that loudness tests for radio Germany is now
like radio, where it is not as developed programme delivery specifications in needs special treatment. moving the issue on.

February 2016 17

16-18 AMI Feb 2016 Feature_Final.indd 2 01/02/2016 12:39


Tim Carroll, Linear Acoustic

The LM6n LoudnessRadar from TC Electronic

Camerer gives the example of Bavarian have different loudness values. There is dynamic range used by re-recording war in the cinema, pushing levels up and
Radio (BR), which switched all its stations an ongoing discussion over which loudness mixers in big dubbing theatres still poses squeezing dynamics down. The situation
to loudness control in production during is suitable for streaming, he says. There a problem in achieving reasonable levels is not as severe in the US but in Europe it
2015. Everything is produced to -23 LUFS is also the situation of DAB and DAB+ not that satisfy all cinemagoers and the is quite dramatic. If you mix dynamically
before being aired, he says. To keep their fully covering areas, so there has to be artistic aspirations of filmmakers. with a low level of dialogue, you risk
current levels in FM, they boost the signal simulcasting with FM. This means DAB Skovenborg observes sadly that being too low in the cinema.
by 5dB at Master Control. But the -23 gets the same processing as FM. But cinema has invented its own version of Kahsnitz is more optimistic about
production paradigm makes interchange when analogue is switched off we will have the loudness war: As feature films are the state of cinema loudness, saying
with TV really easy, an asset gaining almost transparent audio over DAB. mixed louder, the projectionist will turn the sector was ahead of TV and radio
importance in this tri-media world. Well Carroll picks up on this, saying a the playback level down. This reduces in terms of audio because of standards
see how fast the example of BR spreads common meter is the name of the game. the available dynamic range, so an even such as TASA and SAWA for the
around Europe. He explains: From there, everything else louder mix and more compression production of film commercials. Todays
Compressors and other signal becomes easier and will definitely result is applied to the next film and so on. loudness standards will improve the
processors have been used routinely on in better sounding audio. The processors Several working groups are currently given situation ever more, he says. So it
the output of radio stations for many will work less hard. It is worth noting studying how the tools, developed should be a goal to have these standards
years, most commonly to make a channel that certain radio processors, such as in connection with the ITU and EBU applied to all cinema film and additional
stand out when listeners tuned across the Omnia Audio 7 and 9 have had ITU loudness recommendations, can be material [commercials and trailers].
the FM or AM dial. Camerer comments meters in them for several years and employed to solve the issue in cinema. As cinemas move towards even more
that processing can kind of level things that metering can be viewed remotely Camerer confirms that there is quite loudspeakers with Dolby Atmos and
out but that some broadcasters have by operators. some activity in SMPTE and the AES Auro 11.1, the ITU has updated its original
run tests that show normalising archive While radio is starting to come to to agree suitable guidelines for cinema standard again as BS 1770-4 to include
material allows the processor to be terms with loudness an equally loudness. Under the auspices of the immersive sound systems. And with
backed off and so less aggressive. It venerable medium that has had its own latter organisation he is working with continuing evolution in cinema, radio and
achieves a better sound while not losing battles with high volumes is coming Eelco Grimm, a member of the Sound for TV, dealing with loudness is clearly not
perceived loudness, he explains. This under closer scrutiny. Digital Cinema and Television technical going to be a fixed discipline either.
is promising news also for pop/rock committee and co-owner of Grimm
stations. For cultural channels with more Cinema Audio, on a metric for cinema loudness,
dynamics the situation is similar to TV, Back in the 1990s and into the 2000s based on ITU 1770. The issue is that
meaning the benefits are high. there were concerns about the high most cinemas in Europe actually turn the
Prs points out that radio services over playback levels of films. That situation level down because audience complaints
DAB/DAB+, satellite and streaming can all appears to have changed but the wide are frequent. That fuels the loudness

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Picture: Sarah Ainslie

Adam Savage speaks to sound designer Gareth Fry about his use of binaural technology to create an intimate stage
show of the kind even hardened theatregoers will never have experienced before.

ow often do you hear of a Mission: Impossible Rogue Nation back to base camp and is left with no And the result is certainly
stage production featuring and The Theory of Everything The choice but to assimilate with the locals unconventional. The only prop you see
more sound operators Encounter is a show like no other. You until he can find a way out. is a binaural head, which McBurney
than actors? When we wont find any fancy backdrops, dazzling So how do you bring this to the stage cleverly uses to communicate intimately
heard this was the case visual effects or large ensemble casts and make it truly captivating? with the audience member, who dons
with The Encounter, theatre company here McBurney performs solo for the According to Fry, it was always headphones throughout. So a whisper
Complicites latest project, which duration but there are reasons for McBurneys intention to do something into the right ear of the head would be
arrives at The Barbican in London this this, the main one being that the focus is completely unexpected: The company received by the listener as though the
month, lets just say our interest was almost entirely on what the audience is [Complicite] has always been quite head on stage was theirs. The actor
piqued somewhat. And when we further hearing instead of seeing. cutting edge with its use of technology also plays around with several voices
discovered that it involved award- The story is based on a book called to tell stories, he explains. We looked his own, that of the photographer in
winning sound designer Gareth Fry, plus Amazon Beaming, which McBurney at conventional ways of doing it but the story and various others that
the clever use of binaural sound both took possession of 20 years ago, and everything felt wrong; you cant have a require the use of five microphones
recorded on location and improvised spent the last 15 trying to figure out painted backdrop of some trees. I think that are pitched differently to suit
live, the opportunity to find out more how to tell it in an innovative way. Its there is an expectation that theatre each personality.
seemed too good to miss. centred around a real-life account of an shows will use technology in more
Directed/written by and starring American photographer who went deep sophisticated ways, not for the sake of Going Old School
Simon McBurney also known for into the Amazon to capture some shots it but to find new and interesting ways Binaural is not a new thing, of course,
major parts in recent films such as of an indigenous tribe, but loses his way to tell the story. but what is new is this way of applying

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it. And even though there are many sounds you went out there for, which
Picture: Gianmarco Bresadola
more up-to-date ways of immersing the is why it was necessary for Fry and his
audience in sound, Fry is glad they went team to make some additional trips to a
with this method. couple of slightly less exotic spots.
Its a way of replicating the human I went to the London Hospital and
hearing system, so if you were to record School of Tropical Medicine, where they
something binaurally and listen to it have some mosquito colonies there
back over headphones its exactly like of different breeds. Theres a section
you being there and its better than any of the show where hes swarmed by
other technology, including surround mosquitoes and thats a very difficult
sound, at recording a space, he says. Its thing to get on location and a different
a great technology for telling stories thing to isolate the mosquitoes as
and taking you to unusual places like the rainforest is a very noisy place, he
the Amazon rainforest and it places says. So I went there, got a tent full of
you, as the audience, on stage with the mosquitoes, put our binaural head inside
performer. It creates this wonderful it and let them buzz around.
sense of intimacy. One of the challenges of binaural
Its also the first time that Fry has sound is its very difficult to layer normal
properly utilised binaural sound for a sound effects on top of it; you can
theatre show, and although there have really hear when something is recorded
been others that have experimented binaurally and normal sound effects
with it in this field, he isnt aware of layered over the top sound quite flat.
anyone going about it quite in this way. There arent that many binaurally-
Theres another theatre director recorded sound effects so a lot of
called David Rosenberg whos been the sounds we had to go and get from
doing it for a few shows over the past scratch. We also got 30-40 extras to go
ten years or so and hes explored the to Epping Forest and had people running
use of recorded binaural sound a lot, he around and getting footsteps there.
notes. Weve got a mix of recorded and
live binaural sound and I think the live Gareths Gear
part is quite unusual Ive not heard of As for the choice of equipment, there Theres myself, our operators Helen do it on the night. So weve spent quite
anyone whos done that before. are Sennheiser G3 Series wireless Skiera and Ella Wahlstrom and my a lot of time making everything quite
systems, Countryman headset mics, associate Pete Malkin, whos been doing fluid so that we can change the order of
Location, location, location the all-important Neumann KU100 a lot of the design work with me and things quite rapidly, Fry explains. With
To achieve the difficult task of making binaural microphone, a range of Macs creating a lot of the material that we a typical theatre show youd try and
the audience feel like theyre being running QLab and Ableton Live for the play, Fry reports. Typically on a theatre program everything as much as possible
taken on an Amazon adventure with playback and looping, two Yamaha QL1 show you have one sound operator and so that it can happen repeatedly, but
so little to guide them visually, it was mixing desks one for each operator a they run the sound for the show mixing weve had to make it more like the sound
crucial that the somewhat chaotic Yamaha DME24 processor and last the mics, the music, the sound effects operators are musicians and theyre
rainforest soundscape be brought to but not least Sennheiser HP 02-100 and all that sort of stuff but this one having to jam along with Simon.
life as accurately as possible for this headphones for the audience. is so complex that weve had to expand Having fulfilled sound design duties
production. And what better way to do Weve custom designed this that to two people and part of that is for such a wide variety of acclaimed
that than to travel to the place itself? headphone infrastructure because also because were not working from stage productions not just in London
We were in the Amazon rainforest everybodys wearing wired headphones the existing script. but in the United States, Germany,
for a week, meeting the tribe who lived and its quite a big thing to install the And that brings us onto another Ireland and even South Korea (Let The
out there and hearing their stories, Fry cabling infrastructure for 600 pairs of interesting element of The Encounter Right One In at Seoul Arts Centre),
recalls. They took us on little expeditions headphones, so that involved quite a no two shows are ever the same. where he had just returned from when
out in the rainforest to record different lot of work to make a system that can Weve written everything from our interview took place, Fry is about
things and get the sounds of the forest at do weekly touring and still [allow us to] scratch and so the script is an evolving as experienced as they come, but he
various times of day. install several kilometres of cable each thing and we keep honing it with every also knows there will always be more
If you want to create a sense of the week underneath auditorium seating performance, trying to make it better exciting challenges out there for him,
Amazon rainforest its very difficult if that was never designed for this, and try out different aspects of the and The Encounter was undoubtedly
you havent actually been there to know Fry explained. story make some things bigger, some one of those.
what youre trying to get a sense of things smaller and so the show is never This is a dream-come-true project
the heat, claustrophobia, mosquitoes, Meet the Team the same show twice. because its so reliant on the sound to
things like that. Earlier we mentioned the unusually large Helen and Ella have to improvise be part of how we tell the story and
But even visiting the location youre sound crew, but who are they, and as this with Simon quite a lot sometimes its demanding on a technical and artistic
trying to recreate doesnt guarantee clearly isnt a normal arrangement, what prearranged and hell say Im going to level, Fry concludes. So its been a joy
youll be coming back with all of the are their responsibilities? try this differently tonight or hell just to work on.

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sub provide surround. An API channel

strip, one of his newest purchases,
makes up for the lack of preamps
on the Fairlight, and built-in EQ and
compression means that he does not
rely on plug-ins.
With regards to microphones,
Schulenburg has accumulated the kind
of collection that serves his needs. A
Neumann U87, an EV RE35 and Shure
SM57 along with a Sennheiser MD421
and 416 shotgun make up just a fraction
of Schulenburgs assemblage of mics.

Yet despite all this, he holds a special
place in his heart for tape recording.
Here in my control room I have an
Ampex 440C and a Revox A700 along

with a pair of Dolby 361s with SR cards.
Bill Schulenburg has It really means something to me that I
amassed a wide array
can access my tapes from the 60s and
of kit during his time in
the business 70s you need to preserve your lifes

work even if you dont make money
on it, he notes. Restoring tapes is
definitely a labour of love.
A small, albeit armed-to-the-teeth recording studio in St. Louis, Missouri celebrates its
30th birthday this year, and its owner has quite a story to tell, as Colby Ramsey found out. Keeping Busy

These days, aside from his more recent
hen youve been he had in his home at the time. It for hire; I had developed what I hoped voiceover projects and radio campaigns
in and around the wasnt until the late 80s, however, that was a good reputation and cultivated for a number of CBS sitcoms,
recording business Schulenburg began building the hidden a lot of friends in the industry. I called Schulenburg teaches Audio Aesthetics
for over 50 years treasure of a studio that exists in his my company Production Consultants at Webster University, and also sits
and witnessed a vast home in St. Louis, Missouri today. because I still wanted to be available on the Midwest regional board of the
evolution of the industrys products and Theres not many people left to talk to work with people that I liked who Screen Actors Guild and is chairman of
best practices, it undoubtedly becomes to in St. Louis about recording in the were actual producers I didnt want to the St. Louis section of the AES.
a way of life. 60s and 70s, he humourously begins. position myself as a studio competitor. The jobs now tend to be more last
For Bill Schulenburg, this has He set aside a space with 10ft Schulenburgs investment in the minute, he explains. I love listening to
certainly been the case and as such, ceilings on the lower level to Fairlight attracted him a job from his the old stuff, I love preserving it and I
the 30th anniversary of his company accommodate a booth and control colleagues in Hollywood, World Wide love inspiring students with it.
and studio, Production Consultants, did room, which at the time was just a load Wadio, with whom he experienced For an industry veteran with such
not go unnoticed by the self-proclaimed of junk on a table. much success in the 90s and a well-armed studio, maintaining a
audiophile. Schulenburg has been very Radio commercials and local training 2000s, producing hundreds of radio competitive edge has not necessarily
much involved in the audio scene since films have been some of Schulenburgs commercials as the syndication voice always been paramount for
the days of Technisonic the huge most common work since then, voiced for 20th Televisions King of the Hill. Schulenburg, and he admits that right
media production powerhouse based and recorded by himself right there in Schulenburgs long-term love for the now it is just about staying satisfied in
in the Midwest during the pre-digital the comfort of his home. business is equalled by his love for the his audio life.
era learning the craft simply by The room is very quiet and I paid equipment, his biggest passion being As an owner of the business I dont
watching and talking to the veterans of attention to ventilation and acoustic the Fairlight, which he upgraded in 2010 have to conform to anyone elses ideas
the industry. isolation etc. Its a true studio facility to a Xynergi system. It works in a way of success, he concludes. To this day,
Schulenburg went on to work at that I have here in my home, he says. that really appeals to me as a long-time Ive never really had a plan you never
Technisonic for many years during sound guy, and has really justified my know what the clients are going to bring
the 1970s, and at the height of his Fair Play faith in it over the years, he explains. you yet I could never just retire, it
career would read voiceovers in the It was after Schulenburg invested in It feels like sound equipment rather would be very difficult for me to hand
morning,then record jingles in the a Fairlight Prodigy system that his than a computer even though it has all this great space over to someone else.
afternoon and rocknroll and disco at work really started to gain momentum the power of such. Its just fantastic for The company isnt structured so
night. After getting burnt out on music however. He explains: Thats pretty sweetening video projects and I have that someone can take over its pretty
and subsequently bagging an Emmy much when my room here turned into a several clients who use me for that. much just me until I decide to stop.
Award for video tape editing in the real first-class professional For his main monitoring system,
early 80s, he made the decision to go production facility. Genelec 1029s, 1032s and an 8020
freelance using a plethora of equipment I was essentially just a freelancer Espresso system equipped with 7050B

24 February 2016

24 AMI Feb 2016 Studio Profile_Final.indd 1 01/02/2016 16:03

Award-winning sound
from small-format loudspeakers.

RoomMatch Utility loudspeakers

Bose RoomMatch Utility loudspeakers bring the award-winning sound of RoomMatch arrays to smaller 2-way
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Full Page Template.indd 1 8/21/2015 10:06:01 AM



The Warehouse Sounds Simon Meadows offers his advice on setting up
and getting the best out of a flown loudspeaker system.

or a lot of us who are not become useful when they are put into a There needs to be a distinct
system techs or system line array and built correctly. separation between setting up the line
engineers, who dont build and With that in mind the approach to arrays and using them. Once the line
optimise line arrays every day, setting up and using a line array should array setup is complete, small changes
they can be difficult to fully really be in two distinct steps. Firstly to individual line array elements have
understand so many speakers in one we need a system engineer to design the potential to ruin the system as a
place; what angles should they be set and build the line arrays to suit the whole. For example, saying we could
at; how should they be equalised; where venue in which they are being used, and do with a bit more HF at the back then
should they be pointing, etc. to best amplify the content required. adding a bit of EQ to tweak the high
Line array systems should really The content for a performance is frequencies on the top two elements Simon Meadows
be thought of in a different way. Most equally as important as the venue when of the line array (you know weve all
people perceive a line array as lots of designing a large line array system. done it). Without proper calculation, The job the system engineer does in
speakers all hanging together because For example, in a venue that seats that change in frequency response trying to achieve the most even coverage
that is what they see. But really a line 10,000 people there will be an obvious could drastically affect the rest of the of an audience is a very skilled one. A
array is more like one big speaker made starting point for where to put the line line array and result in a worse sound good system engineer will have a wealth
up of multiple elements and should be arrays, but we would need a completely somewhere else in the venue. of experience and the calculation tools to
treated as such. Its a bit like Lego. You different system to amplify the speech A system engineer should design do the job well. Many system engineers
use Lego bricks to build something like intelligibility of the Dalai Lama talking the system for the venue and plan will also have had training from various
a truck and then you play with the truck. than we would need to provide the appropriately. They will do an accurate speaker system manufacturers in
The bricks are no more than the building extreme sub bass of The Prodigy. room measurement then calculate exactly how to properly set up their line
blocks of the truck, they cant be used Once the line arrays are optimised the best placement of the line arrays array systems. We need to understand
individually in any way like a truck until to provide the best coverage of the to cover the audience area most that we are all trying to achieve the best
they are built into the correct shape audience area for the required content, effectively. This is when discussion result and allow them time to give us the
of a truck. we need to stop controlling the on the content of the performance is best system setup they can.
In the same way line array elements individual line array elements and use required; information on what needs to On smaller performances, sometimes
(the individual speaker boxes that make the line arrays as if they were very large be achieved by the system should be we have to be the mix engineer and the
up a line array) dont really work well as point source speakers to achieve the decided so that the system engineer system engineer. The process should
speakers in their own right; they only desired result for the performance. can adjust their design to provide the still stay the same. First, set up the line
required result. Then they will build and arrays and optimise them. Then start to
rig the system to the agreed design. use them as a system. Dont try to make
Once the line array system is rigged they changes to the line array elements once
need time to correctly tune the arrays the sound checks have started.
according to their calculations. If we can try not to be intimidated
by the complexities of how a line array
To the point should be set up, and just treat them as
Once the engineer has finished their bigger versions of normal point source
setup we can start to use the line arrays speakers we can usually end up with
as if they were point sources mixing a better sounding system. And, more
and equalising across the system as a importantly, by not worrying about
whole and treating it as if it were just changing and tweaking the line array
a set of speakers on stands, resulting elements we can have an easier and more
in a more consistent sound and better relaxed time mixing the performance.
listening experience for the audience as
Simon Meadows
a whole. While the sound checks and the is technical manager for The
performance are in process, the system Warehouse Sound, Scotlands
engineer should continue to monitor the largest pro-audio company, offering
line arrays to provide us with feedback solutions for national broadcasters,
touring firms, theatres and more.
on how it is performing.

26 February 2016

26 AMI Feb 2016 How To_Final.indd 1 01/02/2016 17:39

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As competition remains intense within the sound market and as production companies become more and more
demanding, loudspeaker manufacturers are increasingly expected to provide a renewed focus not just on the
quality of the products, but on the extended features, customer service and support that come part and parcel.

s a new year begins we asked advances are also expected to continue for high-quality loudspeakers that products out there particularly in
a number of manufacturers apace while a greater focus on software have consistent coverage through their smaller loudspeakers.
if theyd noticed any recent developments will make the use of these frequency response is predicted. For L-Acoustics the onus is on products
shifts in the market for technologies easier and more intuitive for Audiologic also believes that demand that are easier to use, faster to rig or
loudspeaker products and the end user. for better quality loudspeakers is growing. install, lighter in weight, have increased
what they thought the key priorities and The team at Pioneer Pro Audio agrees Although the technology used to make bandwidth, and are more economical to
focuses would be for 2016. that the software side of the audio loudspeaker drivers has not changed run. Its this constant demand for better,
At Meyer Sound, director of product industry will continue to evolve. I would greatly, the digital methods of controlling faster, easier that drives our R&D, notes
management Luke Jenks envisages many imagine that products are going to be them have, meaning we can achieve Stphane Ecalle, L-Acoustics director
of the driving forces in play last year to catered around the DSP functionality that greater music performance and enhanced of marketing.
carry over into 2016: Manufacturers is available, and get more compact, says speech intelligibility, says MD Simon Stoll. Overall, there appears to be a lot going
will seek to maximise the performance the manufacturers professional audio Point source is an area to watch on in this area of the industry, with so
available for every pound you have to specialist David Ferreira. according to Funktion-One founder Tony many innovative tools at the fingertips
fly in the air or pack in a truck. So we do Over at Tannoy the focus for 2016 is Andrews: There seems to be quite a lot of loudspeaker manufacturers and
expect to see more power from lighter expected to be on intelligibility in installed of people coming back to point source. distributors. Here we put some of the
boxes, he explains. Digital and networking systems, and therefore greater demand There are a number of new point source current kit under the spotlight

Funktion-One Meyer Sound Luke Jenks, director of product

management for Meyer
Sound, says that IntelligentDC

Evolution Series IntelligentDC technology offers

no-compromise audio
Since the Evolution Series was launched,
Funktion-One has reported huge demand Technology performance in situations where
installation time and costs are a
from around the world. The range boasts Meyer Sound installation loudspeakers with significant factor.
two dispersion options the Evo 6E with IntelligentDC technology are the only self- This can be any scenario
50 and the Evo 7E (pictured) with 40 powered loudspeakers available with remote DC where running AC power
horizontal dispersion. powering. Twelve loudspeakers are available with to all loudspeaker locations
Both products are fully horn-loaded this proprietary technology: two subs and 10 full- presents difficulties, such as
with 15in mid-bass, 10in Funktion- Audio Feeds Will Wright, range loudspeakers. Systems with IntelligentDC in older buildings as well as
One signature midrange and a 1.4in speaking after supplying a retain the advantages of self-powering by for temporary installations in
compression driver solely for high number of stages at Secret eliminating long loudspeaker cables and enable museums or theatrical surround
frequencies above 4kHz. The range boasts Garden Party, comments: This bi-amplification with active crossovers in two- and delay systems. Each
skeletal options, as well as grouped was our first outing for the way loudspeakers. loudspeaker can be addressed
configurations such as two-wide and Evo 6Es and I was particularly Internal amplifier modules are powered via a with its own input signal,
three-wide. excited about hearing some live remote, rack-mount power supply and distribution comments Jenks.
The applications they have been vocals through those new 10in unit, meaning installation can be achieved using
specified for are wide-ranging, covering Axheads. I was not disappointed. a single five-conducter cable with no need for conduit in nearly all code jurisdictions. The result is
live, touring, nightclubs, theatres and Frequency response was spot faster installation at costs comparable to conventional distributed systems.
sports stadiums. on, but the real excitement came IntelligentDC systems have proven successful as the primary system for small music venues,
Then there are the festivals and from the overall energy that the expositions and theatrical shows, and the technology is
events: Burning Man, Notting Hill Carnival, system seemed to deliver. The also a key component of Meyer Sounds
Space Ibiza Opening and Closing Fiestas, transients in the mid-range were cinema systems and Constellation
The Hydra, Secret Garden Party and Boom constructing one of the most acoustic system.
Festival have all been successful outings stable stereo images I have ever www.meyersound.
for the Evolution Series. heard in a live situation. com

28 February 2016

28-30 AMI Feb 2016 Spotlight_Final.indd 1 01/02/2016 17:28 PRODUCT SPOTLIGHT

The beauty of ARCS II and

ARCS II ARCS WiFo is what-you-see-is-

what-you-get, notes Stphane
The ARCS II constant curvature line source is optimised for medium-throw Ecalle, L-Acoustics director of
applications. With K1-grade drivers in a two-way active enclosure, ARCS II marketing. The directivity of
delivers high SPL, native low-frequency performance and constant tonal the boxes perfectly matches the
balance over distance. box shape so its basically point
ARCS II permits ease of use, with its constant curvature design and shoot.
particularly recommended for indoor L/C/R applications, medium-sized We are fortunate to have a
outdoor festivals or as a fill complement to large K systems. very optimised product line-up
In the enclosure coupling plane, the razor-sharp SPL off-axis rejection with one line of speakers to
is used to avoid reflecting surfaces. In the perpendicular plane, the smooth address short-, medium- and
SPL roll off and asymmetric directivity of ARCS II can be used to maximise long-throw applications. Our
stereo imaging and adjust accordingly to the audience geometry. sales are spread out over each of
ARCS Wide and Focus (WiFo) brings the sonic qualities of L-Acoustics these segments, reflecting our
Wavefront Sculpture Technology line sources into a compact, constant ability to address the needs of
curvature enclosure, optimal for medium-throw applications. ARCS WiFo the end-users.
is the workhorse of sound providers, going from single enclosure fill all the
way up to 360 in-the-round coverage.
ARCS WiFo combines high SPL, native low frequency performance and
constant tonal balance over distance.

Electro-Voice Tannoy Many steerable columns are

primarily voiced for speech
applications, but Qflex works
EKX Series QFlex equally well for intelligible
speech reproduction as well as
The Tannoy QFlex is a range of digitally pleasant and accurate musical
The EKX series is the steerable, multichannel array speaker reproduction. Also, by steering
newest member of the systems for the professional install market. and shaping a single beam,
Electro-Voice portable It is designed for applications with difficultrather than multiple beams,
loudspeaker family, acoustics such as houses of worship, QFlex provides seamless
combining legendary transportation hubs and shopping malls. coverage throughout a venue
sound quality and QFlex can be used as a standalone without noticeable changes
reliability with the latest technology all in a The loudspeakers self-powered column array device for both of response from one area
lightweight, compact package suitable for a wide QuickSmartDSP digital signal speech and limited BGM applications in of seating to another, says
range of sound reinforcement scenarios, processing control allows user- smaller spaces, where high intelligibility Ivan Schwartz, Western sales
including musicians, DJs and live/club/installed friendly single-knob control and and minimal visual impact are concerns. manager install for TC
sound applications. application presets for easy Tannoy says the QFlex is quite Group Americas.
The EKX series, positioned above the ZLX and set-up. As a result, users can revolutionary in that it is able to steer the
ELX series and below the ETX series, features fit the sound solution to their beam away from surfaces that cause reflections to frequencies
eight models (four powered and four passive), respective needs in no time, beyond 12kHz, making it the first digitally steerable array to
including 12in and 15in two-way models and 15in states Markus Schmittinger, maintain music quality over the desired area of coverage, all in a
and 18in subwoofers. product marketing manager- very architecturally pleasing package.
Markus Schmittinger, product marketing portable speakers at Bosch New features introduced on QFlex deliver more resolute
manager-portable speakers at Bosch Communication Systems. safety and monitoring facilities, making it fully compliant in
Communication Systems, says that EV-exclusive any life safety or mass notification environment. In addition
features ensure the EKX provides best-in-class performance and versatility, including EV-engineered QFlex has been weatherised for outdoor or harsh environments
speaker and amplifier components for superior sound quality and reliability as well as on-board signal without compromising on the products sleek aesthetic.
processing with user-friendly single-knob control and application presets for easy set-up.

February 2016 29

28-30 AMI Feb 2016 Spotlight_Final.indd 2 01/02/2016 17:28


Ecler (Audiologic) Pioneer Professional Audio


The XPRS15/12 have a 15/12in
ferrite LF driver, a 1.75in titanium
diaphragm compression driver
Audiologic brand Ecler has released a new and Pioneer Pro Audios AFAST
range of high-performance installation Pioneer Pro Audio recently launched the technology to deliver a clear,
speakers called ARQIS, featuring what compact, portable, wooden-enclosure clean sound with a deep bass
the company describes as architecturally XPRS Series combining Pioneer Pro range, says David Ferreira,
attractive cabinets in a variety of Audios sound engineering heritage professional audio specialist at
different configurations. with the energy-efficient power of Pioneer Pro Audio. Sound can
The range starts with single 5in bass Powersoft amps to give users what the also be enhanced for various
drivers and hi-fi-sounding, high-frequency company describes as a versatile plug- applications using the four EQ
tweeters and goes up to units equipped with and-play system that fills the room with modes with built-in DSP.
a natural sound.
The XPRS Series comprises the
The focus on this range has XPRS15 and XPRS12 two-way full range
been based firstly on providing speakers and the XPRS215S dual 15in
superb quality of sound, says subwoofer. All three feature 15mm birch
Simon Stoll, managing director plywood enclosures for a dynamic sound
of Audiologic. Too many that works across all musical genres.
systems these days are Although the cabinets are built in China,
fatiguing to listen to so a more 12in bass- and horn-loaded tops, providing the XPRS range has been designed in
laid-back sound has been suitable options for discrete but quality sound, Japan and voiced in the UK by Pioneer
achieved to ensure listeners at as well as solutions satisfying more full-range Pro Audio.
a venue enjoy every part of the and long-throw applications.
audio experience.

The loudspeaker cabinets
of the Vertical Array series
Vertical Array Series satisfy the highest standards in
terms of acoustic performance
The Dynacord TS 400 and Vertical Array series is a and wide coverage patterns,
compact and versatile loudspeaker system for mobile operational safety and
applications and fixed installations, and can be used reliability, says Boschs Markus
either full-range or in active two-way systems for Schmittinger. Meeting the
applications requiring subwoofers. requirements of a large number
The TS 400 with its vertical pattern control was of mobile applications and fixed
designed to provide smooth coverage over a very installations, the speaker family
wide bandwidth by using spaced and filtered woofers consists of three full-range
as array elements. vertical array speaker systems
The TS 400s 2.5-way design places elements at as well as four subwoofers.
both ends of the speaker column to maximise the Suitable for audiences of up
distance between them, ensuring that greater control to 500 people, the key to the
over the low frequency range is retained. The MF and high sound quality is the
HF elements are placed in the middle of the column optimal control over the
for a smooth transition between the different dispersion pattern that the
frequency areas and to achieve further control over TS 400 provides.
the radiation pattern.

30 February 2016

28-30 AMI Feb 2016 Spotlight_Final.indd 3 01/02/2016 17:28


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Key Features
n XCVI Core Generates enough power for
160 x 64 channels of processing at 96kHz
n DEEP Processing Embeds class-leading
DIGITAL MIXING SYSTEM compressors and processing emulations
directly within the input and mix channels
n Harmony user interface with single or
twin 12in capacitive touchscreens
n Fully customisable layout
n RackExtra FX
Promising power and processing tools to satisfy even the fussiest of engineers,
A&H dLive is designed to pick up where the much-loved iLive left off, which is no RRP: From $22,500

easy feat. Alistair McGhee takes it for a spin.

llen & Heath has been drive an external screen); the S5000 Each DX32 has four eight-channel connectivity using the new A&H GigaAce
making waves in the digital with 28 faders and two touchscreens expansion slots and expansion cards protocol. This is a system that takes
mixer world for quite a up to the S7000 with 36 faders and are available in analogue in with remote redundancy seriously. One of the glorious
while, mostly of late at the dual touchscreens. These surfaces mic amps or analogue out or digital in or aspects of the digital age we live in is
more affordable end of can be partnered with any of the new out in AES3 format. Further expansion getting 64 channels down a Cat5 of
the market where the GLD and Qu series DM MixRacks, which come in 32-in, is available through the new I/O ports course one of the worst things about
have been attracting a lot of attention and 16-out; 48-in, 24-out; and 64-in, 32-out three on the MixRack, two on the the digital age is putting all your eggs
well-deserved acclaim. Above these two (analogue) channel versions. In a dLive surface each of which offers 128 x 128 in one Cat5 basket. So when the show
newer product lines the iLive series has system the MixRack houses not just out at 96kHz. Thats a lot of I/O. And really, really has to go on then two Cat5s
long established itself as a solid option in most of the I/O but also the grunt. All although you can mix 128 inputs, you can really are much, much better than one.
the live world with great interconnectivity three options have the same processing route any of the 800 inputs to any of the I pulled one GigaAce out and the dLive
and a reputation for excellent sound power differing only in the amount of 800 outputs using the tieline feature, didnt miss a beat, Im pleased to report
quality and solid reliability. Now A&H has analogue input and output on offer. Each without consuming DSP resources. the show goes on. I got a bit cocky,
revealed the iLives successor: the dLive, rack can mix 128 inputs to 64 outputs and Game changer. And all this with latency so I pulled both out, and then quickly
building on the hard-won success of the all at 96kHz. If 64 analogue inputs isnt of around .6ms with all processing plugged one back in and in under two
iLive series while raising the bar in just enough you add to this via the new DX time aligned. seconds there was audio running and
about every area. 32 this is a 32-channel expander, two of Each component of the dLive system the surface responding as normal. Neat,
There are three new dLive surfaces: which can be attached to a DM MixRack features dual redundant, hot swappable eh? And in a clever bit of thinking all the
the S3000 with 20 faders and a single and one DX32 can also be connected to power supplies and the MixRacks and surfaces, MixRacks and expanders share
touchscreen (all the dLive surfaces can the dLive surface. expander offer dual redundant Cat5e a common PSU design.

32 February 2016

32-33 AMI Feb 2016 Lead Review_Final.indd 1 01/02/2016 12:42 TECHNOLOGY REVIEW

Touch and Go
The touchscreens on the dLive are Focusing on feedback from our
seriously nice bits of kit dimmable customer base and key engineers,
for you theatre guys, and daylight we have developed a new Allen & Heath
bright. They respond beautifully to
technology base for live mixing.
the touch and with pinch zoom and
The XCVI Core is designed from the
swiping options they are intuitive in
operation. Surrounding the screens are
ground up to execute our DEEP Processing
encoders with embedded multicolour algorithms from within the FPGA channel
LEDs that change colour to reflect the processor core. This unique architecture
controls available at any given moment. allows users to select various embedded
The lefthand screen is dedicated to processing models on every input and
processing. Here, the channel strip is mix channel on the fly, without burning
presented in blocks adjacent to the valuable FX slots or adding latency.
controls at the screen edges left, right Rob Clark, A&H
and bottom, with the centre section
available for the detailed information of
what you are working on. The righthand seconds; unlimited stereo input ganging
screen is your system screen here you and 16 multi-input gangs on the surface;
can handle I/O, set up the surface and four custom meter pages (please can I
MixRack and work on routing and have the custom meters that auto widen
meter presentation. (which is also divided into a central detail sends to your first four aux busses and to the screen its a 50-year-old eye
On the processing screen the centre area and three panels: left, right and you have an alternate workflow option. thing); use your iLive interface cards
detail section is tabbed and defaults to bottom) and similarly always has gate, Another area of improvement is the with adapters; iPad control and system
the bank view of showing the overview compressor and FX sends on the three MixRack speed. The first choice you editors coming soon; build quality is
of the bank of faders (12 or 8) in which pages for the righthand cheek of the have to make is configuring the MixRack very fine and all the fixtures and fittings
your selected channel lives. Next, you processor screen. Everywhere drag and for the number of groups/auxes and cry out quality.
have a global overview of the channel drop offers fast and flexible setup. matrices you need. These can all be One of the most successful aspects
and then individual sections, preamp We had some guys from local PA mono or stereo. So if you want a 52 mono of the desk is the control count large
(including routing and the ability to outfit AB Acoustics over and we aux setup, you can have it, and when enough to give you lots of instant access
remove the preamp gain from the discussed building layers on the fly you have chosen the right layout for the to tonnes of features but avoiding the
surface when youre sharing the while mixing something they do at the gig, reboot the MixRack to present the forest of knobs that induces indecision
preamp with monitors), filters, dynamics moment with pop group functionality, new configuration. I tested it with audio as you reach for the control you need
etc. However, while the centre section and the dLive has the same trick by running through the desk dont try this right now. I think the numbers will sell
changes the two cheeks and the chin allowing you to configure layers using at home I lost about two seconds of dLive the sheer amount of I/O and
remain fixed, so your preamp settings drag and drop on the system screen audio and the whole system will be back processing will surely attract the theatre
are always visible on the left cheek and while leaving the layer you are mixing up in less than 15. market but I also think the workflow
on the right you get to pick three options on and the processing screen to carry Shows and scenes are will sell dLive; it is usable in a way that
from a set that includes your dynamics, on as normal. comprehensively catered for and makes engineers lives easy, and lets
your sends and your effects. Just hit The huge flexibility of the desk is crossfades have been implemented them have it their way.
the Setup button and any configurable visible in areas like setting up sends to between scenes. You have up to 20 Allen & Heaths dLive is an ergonomic
sections of the screen displays Setup mixes. Hit the Mix key on an aux and the seconds available for cross fades triumph, in fact the whole system is a
mode and you have access to your channels flip to the Sends on Faders we and dedicated buttons for operation, Triumph a big beautiful Bonneville sort
options with drag and drop where all know and love. Tired of that, use the including a nice big GO button. And your of Triumph. Iconic British engineering
applicable. The bottom section of the Sends option in your processing screen scene list (or set list!) is always available at its best.
screen has configurable views of EQ and one button or swipe away on your in the lefthand cheek of your system
an option to view metering. Your curves
can be controlled by the respective
selected channel or hit Sends on Rotary
and use the option to switch off Sends
screen. Save out your show files to a
front panel USC socket; a second USB on
The Reviewer
controllers or by the touchscreen. Its on Faders. the front panel allows stereo playback
options and flexibility galore. Here you see the mighty leaps Allen and stereo recording.
Alistair McGhee
& Heath has taken in desk usability began audio life in Hi-Fi before
Do it your way when I looked at speccing an iLive for Conclusion joining the BBC as an audio engineer.
The really clever bit is allowing you all a job six or seven years ago, the rotary Summing up is difficult when so much After 10 years in radio and TV,
that configurability and then allowing did anything you liked as long as it was has been left unsaid: 24 DCAs; copy and he moved to production. When
BBC Choice started, he pioneered
you to nail it down for repeatability. Ben pan. Now it does gain (preamp or trim), paste channels; freezing inputs down personal digital production in
Hammond, who was giving us the once pan, sends to selected mix or one of layers; pinch zoom on the I/O assign television. Most recently, Alistair
over on the desk, always had the main four customisable buttons with access matrix a function for 50-year-old eyes; was assistant editor, BBC Radio
vocal compressor settings visible on to a myriad options. And, for a slightly assign all your inputs by dragging your Wales and has been helping the UN
with broadcast operations in Juba.
the righthand cheek of the Setup screen different cat, set the custom rotaries as finger at 45 across the I/O screen in two

February 2016 33

32-33 AMI Feb 2016 Lead Review_Final.indd 2 01/02/2016 12:42


KLANG:FABRIK When KLANG:technologies first announced its intention to introduce 3D IEM systems
IN-EAR MONITORS to the market, it certainly turned a few heads. So, does it really work? Andy Coules
gets immersed in this intriguing new technology to find out

he use of in-ear monitors
(IEMs) has become
much more common
in recent years; the
sheer convenience and
consistency of sound from show to
show coupled with a reduction in
monitor spill from the stage have made
them a firm favourite with musicians
and engineers alike. The standard model that if you plan to control the system equivalent of that moment in The into your IEMs and enables the mix
is simple and universal you get a stereo wirelessly you will require a wireless Wizard of Oz when it goes from black to respond to your head and body
mix delivered directly to your ears router (which again a lot of people and white to colour. movements on stage and thus
however KLANG has come up with a new already have to control their digital Operation is very straightforward mimic the physical position of the
system that quite literally adds another desks, etc). and the app is simple to use while still instruments, keeping them anchored in
dimension to the experience. To get your audio from the monitor being powerful; creating your 3D mix space as you move around. Theres a lot
The KLANG:fabrik system offers desk into the KLANG unit you can is as simple as setting fader levels of buzz right now about virtual reality
3D in-ear monitoring and is designed currently use either Dante or ADAT; a and moving a few icons around the but this promises virtual aurality.
to be inserted into the existing signal MADI version is planned but not yet circularstage. You quickly get carried What amazes me is how this
chain between the monitor console and available. The number of inputs it can away creating realistic mixes where technology has arrived fully formed
the IEMs (be they wired or wireless) handle depends on how many outputs you are centre stage and the band is this is not a beta version of a concept
and while the processing required is are in use if all eight stereo outputs arranged around you (which just which will improve over time but a fully
prodigious the process itself is really are in use you can only have 24 inputs proves that we all secretly want to be realised end solution to a problem none
quite simple. It fabricates the kind of whereas if youre only using three stereo the lead singer). of us knew existed. Its one of those
inter-aural delays and filtering that outputs you can have up to 56 inputs. What struck me was the degree exciting new technologies that shift
occur in the natural world, which our Once your input channels are all of separation you get it really lets the paradigm. I fully expect that once
brains decode to give us accurate present and correct and the control you hear each individual instrument people have tried it out they wont want
information on the placement of connection is in place you can start in its own space and makes the mix to go back to boring old 2D ears.
sound sources in a three dimensional to use your hardware controller to sound much more natural. After using
sound field.
The unit itself is a 2U 19in rack module;
configure the mixes via the KLANG:app.
The app has four main screens:
it for a while switching back to stereo
operation was a bit of a shock as the
Key Features
the front panel is quite sparse with just Config, Meter, Faders and Stage, mix collapsed into my head and sat
a USB port and a 5in touchscreen. The which give you access to everything boringly between my ears I had to
rear panel sports 16 XLR outputs, three you need in an interface optimised for remind myself that this is what every n Each unit can handle up to eight musicians
n Compatible with Dante and ADAT, with MADI
RJ45 sockets (for Dante and control), touchscreen devices. All that remains IEM mix normally sounds like.
on the way
BNC word clock in and out, four ADAT to do, in order to get the system up and While a monitor console is still n 16 balanced analogue line level outputs
optical ins and outs, dual IEC power running, is to connect the analogue required it is relegated to a slightly n Two locking IEC power connectors
sockets and a power switch. outputs into your IEM system and youre subservient role where it just provides n BNC Word Clock
The touch-enabled display screen is good to go. the inputs and channel processing. The
RRP: 3,190
for status feedback only (due to its slow separation you get in 3D mode means
response) so you will need some kind of In Use you dont have to work quite so hard
hardware controller in order to operate When I first donned my in-ears and to ensure instruments dont overlap
the system. This may seem annoying
to some, that the system doesnt come
fired up the system it was configured
to send a standard stereo mix nothing
and mask each others frequencies,
which should help ensure less muddy
The Reviewer
with all you need, but the assumption new there but the real moment of mixes but could make it possible
is that most people already have a revelation came when I clicked on the for non-engineers (or even the band
Andy Coules
suitable device which they would prefer 3D button. Suddenly the mix went from themselves) to mix the monitors. is a sound engineer and audio
to use, whether it be a tablet, laptop being between my ears and in my head Interestingly, KLANG has also educator who has toured the world
or phone all are catered for by the to being all around me. I expected some developed an addition to the fabrik with a diverse array of acts in a wide
range of genres.
KLANG:app software (Windows, Mac kind of 3D effect but I didnt expect it system called KLANG:vektor, which
OS, Android and iOS). Also bear in mind to be so real; it was a bit like the audio embeds a small motion tracker

34 February 2016

34 AMI Feb 2016 Review 1_Final.indd 1 01/02/2016 15:39

Full Page Template.indd 1 1/6/2016 4:02:38 PM


Key Features
n Discrete gyrator-based concept
n Each band provides 8dB of gain
n 18 selectable frequencies on each channel
n All Impedance Resonance (A.I.R)
air band enhancer
n 10Hz-400Hz hi pass filter with bypass

RRP: 4,490 excluding VAT

Following a satisfying first experience with the brand a few years ago, Nigel Palmer
EQUALISER jumped at the chance to try out the newest addition to Vertigo Sounds audio
arsenal, the Discrete Gyrator EQ.

ermany is a country with rackmount form factor. The units slope between 10 and 400Hz a useful and cuts (equally good for containing
at least its fair share of front panel is an attractive dark red facility for cleaning up the low end and general forwardness or harsh areas)
great audio design people, colour with control markings in white, concluding the roundup of front panel were exemplary and the high end had
and one such is Andreas and two identical channels of EQ with features with the power switch to the a silky quality Ive rarely heard, again
Andy Eschenwecker of three gyrator filters each marked LF, right. When powered down the VSE-2 without harshness. In fact HF boosts
Vertigo Sound whom I first heard of in MF and HF that occupy most of the continues to allow audio through in a are quite addictive and can be easy to
2008 when reviewing the outstanding panel. The boost and cut controls use true hardwire bypass. overcook at first, although familiarity
VSC-2 Quad Discrete Compressor now discrete components and are switched, with the unit soon overcomes this
something of a modern classic. A look at with amplitudes of 1dB, 2dB, 3.5dB, In Use tendency. Finally, the A.I.R. HF setting
the companys meticulous and striking 5.5dB and 8dB. The band frequency Once set up, I tried the EQ on a range works well at providing a different kind
component layouts tells you that here selectors have corresponding legends of material. My immediate impression of smooth high-end lift, and is a very
is someone who cares about detail, an laid out on the front panel in a pleasing was of beautiful, malleable sound and usable additional facility.
impression thats more than confirmed wave shape, and the 18 points are: LF a refreshingly simple way of accessing
on listening. One of Eschenweckers 40, 60, 80, 120, 160, 240; MF 315, 480, it; the VSE-2 has a delicious hint of a Conclusion
strengths is the combination of classic 640, 1k, 1.3k, 2k and HF 2.5k, 3.8k, 5k, 8k, valve quality about it without a glass In my opinion, Vertigo has done it again.
ideas with modern implementation, and 10k plus A.I.R. This last stands for All tube in sight, and this gets progressively While the VSE-2 wouldnt be my first
this may be seen in the Vertigos latest Impedance Resonance, and is a useful warmer the more you push the level, to choice as a main mastering equaliser, it
offering, the VSE-2 Discrete Gyrator EQ. air band enhancer. Youll notice the around 1% total harmonic distortion does fit the bill very well as a secondary
frequency points dont overlap while while maintaining bags of headroom broad shaper on any kind of music.
Overview this is often considered a virtue in an and low noise. Where I think it excels would be for
Originally proposed in 1948, a gyrator analogue EQ as it can, for example, allow The low band is a revelation: warm tracking as a dual-mono EQ with the
is a type of electronic network that for slightly different frequencies at and articulate without ever sounding added bonus of the powerful high-pass
can be used at the heart of equaliser crossover points to get in the cracks boomy or harsh, its possible to add filter, or particularly on the mix bus
designs as an alternative to its even of critical areas like the midrange, with considerable weight and loudness where its ability to gently nudge chosen
older wire coil predecessor, the the mostly broad shaping nature of the to a signal if you wish, and where areas in a characterful way would be a
inductor. Although inductors are still VSE-2 borne in mind I didnt miss this. appropriate I found myself boosting real gift to many mixer/producers.
popular with some designers looking The unit doesnt have bandwidth further into the upper bass/lower mid
for a vintage sound, they are expensive or Q controls, as its a proportional area than Im used to without sonic
and have inherent issues; on the
other hand, gyrators (aka simulated
Q design (Vertigo call it variable Q)
where the more cut or boost applied the
penalty. Interestingly, I didnt feel a lack
of shelf curves although shelves can
The Reviewer
inductors) can work better than the steeper the bell curve becomes. This be a useful way to lift or cut a chunk
real thing and give the designer more helps keep controls to a minimum and is of low or high frequencies without
Nigel Palmer
freedom, a factor put to work in the an effective way of working, as I know changing inner balances too much, has been a freelance sound engineer
VSE-2 to create, among other things, a from a variation on this in my own main theres something about the VSE-2s and producer for over 20 years. He
tube-like distortion spectrum. mastering EQ at Lowland Masters. Each approach that can promote a similar feel runs his CD mastering business
Lowland Masters from rural Essex.
The VSE-2 equaliser has a channel has a bypassable rotary high- but in a more positive way. Midrange
conventional, if quite deep, 19in 2U pass filter offering a 24dB per octave boosts (great on guitars and vocals)

36 February 2016

36 AMI Feb 2016 Review 2_Final.indd 1 01/02/2016 17:43

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Fp 220x290.indd 1 04/12/2015 11:40:25
12/11/2015 17:22


Ryan McCambridge
discovers why this
new Creative Hybrid
Instrument is more than
just another softsynth.

here has been a lot of
excitement in the synth
communities that I
frequent around UVIs
Falcon. Its promised a
breadth that doesnt come along very
often, which is sort of the point of
Falcon. UVI is calling Falcon a Creative possibilities, all of which can be at this point is the most users will
Hybrid Instrument in an attempt to
encapsulate everything that it does.
assigned with a simple right-click on the
parameter. This streamlined approach
really need. With its sample playback
capabilities, you can see that Falcon
Key Features
On the surface, one could view Falcon to modulation assignment is probably may want to encroach on Native
as simply a softsynth, but looking under one of Falcons best assets because it Instruments Kontakt, which has in
n 15 oscillators covering a wide range of
the hood reveals a powerhouse that runs makes programming straightforward many respects cornered the market on modern synthesis methods
the gamut from simple analogue shapes, and limits the time spent in menus. instruments for composing. Falcon will n 80 high-quality effects categorised for
through to FM, wavetable, all the way UVI has provided tools and presets load both UVI and third-party libraries, easy navigation
through to granular synthesis. There to help users quickly perform simple but only time will tell if it sticks as a n 8 modulation generators
n Native support for channel configurations
are even modules dedicated to drum tasks within the many modulators and platform for that purpose. from Mono to 10.2
and plucking sounds. Digging deeper sub-modulators. The Drunk modulator I could also see Falcon being an asset
uncovers a platform that welcomes is worth mentioning as it randomly to those who have a basic grasp on RRP: $349
third-party libraries and sounds, modulates a source, offering an easy programming but are looking to push
sampling capabilities and macros to way to simulate analogue artifacts like their abilities forward. Conceivably,
help facilitate live performance. For pitch drift. There is also a step envelope, one could use only Falcon to create a could be an incredible addition to
those mad scientist types, the rabbit with full control up to 128 steps, included song from start to finish. That said, as your synth arsenal. In fact, it could be
hole goes down even further, offering in the possible modulators, which has a with any complex instrument, there is your arsenal. But if you like specific
the capability to script custom event plethora of pre-programmed rhythms, definitely a learning curve to Falcon, but instruments for specific tasks, Falcon
generators and instruments. The if needed. Falcons modulation section the payoff is having an instrument that may be a bit overwhelming. Falcon
possibilities are seemingly infinite; that also offers a modulation mapper editor offers the kind of depth and flexibility rewards those who are willing to put
is the essence of Falcon. that runs between the modulation that will appease even the most some time into it, and I imagine that
It only takes a few notes to realise source and the parameter itself, which demanding of programmers. even the most demanding of user will
that UVI has created something quite remaps the modulation control signal appreciate the instrument.
special here. UVIs thoroughness with based on the shape of the stepped Conclusion
Falcon has resulted in an instrument
that sounds stunning, and with the 15
mapper editor. Given the number of
controls that are potentially needed
Falcon is an incredible accomplishment
and presents a great value for everything
The Reviewer
different oscillators the palette covers for a complex patch, Falcon offers tabs that it packs in. Ultimately though,
almost anything. Where Falcon truly to easily navigate between important Falcons best asset is also its biggest
Ryan McCambridge
excels though is in its ability to take aspects of the instruments and also has impediment: its incredibly expansive. is a freelance audio engineer, writer,
those raw sounds and manipulate flexible resizing of the main window, This is an instrument for synth producer and programmer from.
them. For starters, there are 80 and pop-up windows for a closer look at programmers and sound designers and He has taught audio production in
effects to mangle or polish your sonic modulation parameters. though it has some great presets, it workshops and universities, is the
creator of the production blog Bit
creations, but ultimately the modulation might scare off the faint of heart who are Crushing and is the frontman of A
capabilities are what will entice A Sound Design Ecosystem just looking to cycle through pre-made Calmer Collision. www.bitcrushing.
passionate synth programmers. There Falcon is natively surround capable, sounds. If you thrive on flexibility and com
is a nearly limitless matrix of modulation outputting up to 10.2 channels, which manipulation in your synths, Falcon

38 February 2016

38 AMI Feb 2016 Review 3_Final.indd 1 01/02/2016 17:45


The Ultimate
Professional PA
ARC COVERAGE: The ARC (Amplified Radial Curve) array

01 technology utilizes a unique angled waveguide structure

to provide 150 of horizontal coverage to reach each and
every audience member.

Everything you need and then some

for your performance or presentation.
From ultra-wide coverage to personal built-in dedicated personal monitors so you can hear
yourself better on stage, driving better performance.
monitoring to wireless control over it all,
only Reach delivers the comprehensive
solution you need.
app for iOS and Android gives you total control of your
mix including wireless music streaming.

2015 LOUD Technologies Inc. All rights reserved. Mackie., the Running Man figure, EarShot, ARC and Mackie Connect are trademarks or registered trademarks of LOUD Technologies Inc.
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Full Page Template.indd 1 10/29/2015 5:10:58 PM


MACKIE REACH valuable Feedback Destroyer features.

PORTABLE PA Its four effects Verb1, Verb2, Delay1
and Delay2 are well chosen, middle-
Key Features
of-the-road acoustic treatments
that should suit most common live
This new system packs applications. Pre-selected EQ voicings
ARC array technology for clear high-fidelity sound
Built-in EarShot personal monitoring system
plenty of punch, according are available, as are EarShot speaker n Wireless Bluetooth streaming
to Strother Bullins. selection settings; for the latter, left, n Integrated six-channel digital mixer

right, both or neither mute options n Mackie Connect app for wireless adjustment
aving recently evaluated further expand Reachs on-stage
RRP: $999.99
Mackies unique usefulness.
FreePlay Personal PA, Bluetooth features take Reach to an
the subsequent arrival entirely different level than its closest As two school representatives roamed
of a Reach portable PA competition. With the free Mackie with wireless microphones through
(PPA) system for review made a lot of Connect mixing app allowing level, the crowd, speaking over prerecorded
chronological sense. While the new EQ, effects, monitoring and other music, sound effects and such, I
century boom box design of the 11lb, adjustments Reach is truly a tether- punched the appropriate button at
battery-powerable FreePlay makes it free system with the simplest, most least a half-dozen times; Reach scanned
the easiest PPA Ive ever travelled with, logical of touchscreen mixers Ive had for the guilty frequencies, grabbing
the significantly larger Reach is entirely the benefit of using live. Usefully, it pairs them and ducking them out in literally
practical for use in sound reinforcement with OSX and iOS as well as Android a second. In more acoustically friendly
applications where a very small devices. More information about environments, one Feedback Destroyer
footprint yet comprehensive stage and Reachs Bluetooth-enabled functionality scan is all it took, and those gigs went
audience coverage is desired yet all is available on the Mackie website. off without a problem or a squeal,
from one box. You heard that right one to be specific.
Reach enclosure will deliver both main In Use Reachs EarShot monitoring system
and dual stage monitor duties quite well I utilised Reach in a wide range of is ingenious and quite amazing, actually.
in many small to medium-sized rooms. environments with a variety of input In the club gig setting, we placed Reach
Reachs size and form are probably its sources: most notably for a house of at the front of the stage, pole-mounted
most important attributes: 28.7in high by worship youth band performance; as at about head height to band members. features and attractive accessories
9.5in wide by 8.6in deep; its a skinny, tall, a portable DJ rig in a very large school Standing on either side and slightly of a thousands-more fully featured L1,
31.7lb, self-powered cabinet. It features a gymnasium at an elementary public behind Reach, monitoring the mix on which is closer to what Reach ultimately
built-in six-channel digital mixer feeding school fundraiser; as a main monitor stage was a pleasure, as the bassist offers its users.
720W of peak Class D power, which at two different small club gigs with a manned the mix via his iPhone. Only Further, both these Fishman and
pushes an impressive 150 of horizontal four-piece cover band; and in a variety the drummer complained a bit for not Bose rig examples lack Reachs input
coverage out front (thanks to Mackies of ensemble rehearsal situations. hearing the mix very well. Id simply count, effects and Bluetooth-enabled
proprietary ARC array technology) at up In each case, the Reach performed suggest adding a small powered mixing features, and the incredibly
to 121dB maximum SPL. Meanwhile, its surprisingly well. monitor for any backline players useful EarShot monitoring system. For
adjustable EarShot personal monitoring Depending only on its four- positioned too far away from the that reason, I highly recommend Reach
system consisting of dual side-to- channel internal digital mixer, Reach Reach cabinet. As such, Reach plus a for any DIY, jack-of-all-trades live audio
rear-firing two-way monitors with an impressively covers many portable powered wedge equals nearly 360 of pro, performer or band in similar gig
additional 50 of horizontal monitor mix PA applications, though I paired the combination main/monitor coverage, situations as illustrated above. Also, its
coverage per side allows performing unit with an external mixer for more all without feedback problems. I tried it an ideal PPA for institutions schools,
musicians a built-in monitor on either channels (most notably in the cover band later, and all I can say is Wow! HOWs, and other event centres as it
side of the unit when positioned slightly and HOW scenarios) with much success. Ive used Fishman SoloAmp and Bose can cover many applications, is small
in front of them. The system excelled in DJ applications; L1 systems extensively, and theyre and lightweight, and is very intuitive.
On Reachs rear panel are four XLR/ low-channel count, club-based ensemble the closest comparative products
TRS combo inputs/preamps plus
an 1/8in aux input and TRS jacks for
sound reinforcement; and typical
rehearsal room scenarios where vocals,
I can think of to Mackies Reach. At
$999 street, Reach is the same street
The Reviewer
phones output, footswitch control (to acoustic instruments and other low SPL price as the SoloAmp SA220, yet far
mute/unmute internal effects), link in sources must mix with other amplified more powerful, useful and feature-
and link out connectivity. Its interface is or naturally loud sounds (e.g. drums). packed. In direct comparison, Reach is Strother Bullins is reviews editor
intuitive, too. Simple press/hold button In the gymnasium setting, rife with incredibly bass deep. An entry-level for NewBay Medias AV/Pro Audio
controls allow level and effects send potential feedback, Reachs Feedback L1 is available at $899 street and is
adjustments, side monitor and oh-so- Destroyer literally saved the evening. very nice indeed, yet it lacks the many

40 February 2016

40 AMI Feb 2016 Review 4_Final.indd 1 01/02/2016 16:06

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Now one of the UKs top TV composers after decades spent honing his craft on shows such as Going Postal and Hotel
Babylon, two-time Emmy winner John Lunn is best known for his work on Downton Abbey, which had its grand finale
recently. Adam Savage asks him to look back on what made the show so successful and reveal his 2016 plans.
It started off quite a lot at Abbey Road
with Downton Abbey and then for
series three I think we had difficulty
getting in because they were doing a
lot of recording for The Olympics so we
went to AIR Studios and Angel Studios,
where we probably ended up doing more
recording than anywhere else.

Abbey Road was where you did the live

streaming of the music for the last
episode of Downton too, of course. How
did that go?
Pretty well I think, although I didnt really
have a chance to see it because I was
so busy. I think some people are really
surprised by certain things to do with
music and film, like how we record to
picture. Its very picture-specific and
on Downton we never used the same
So Downton Abbey has finally come to was a bit of a struggle in series one but Im sure it has developed and I can see cue twice; it was re-recorded every
an end. It must feel strange that its all it was the kind of score that couldnt the reasons for doing it [going digital]. single time.
over now? be done with sample libraries; it had to Last summer I was working on three People do try to cut corners by
It is a bit, but its still on in America so be real musicians. I ended up initially jobs at once and moving between jobs reusing cues but in Downton it just
theres quite a lot of publicity at the cutting corners, so wed only book a on an analogue desk was pretty complex didnt work because there was so
moment. Ive also done a new Downton studio to record the orchestra in, then actually. Ive just gone out and bought much dialogue in it and the music had
Abbey album, theres talk of a live tour wed take the Pro Tools session back to a new SSL AWS 948 desk to cover for to fit underneath it. We used the
and a movie and Japans only on series my studio and Id record the piano on this so Ive got some sort of recall and same tunes but they just had to be
two so even though it feels like the end, top of it. There are no samples in it at all; automation. arranged differently.
its still ongoing. obviously I used samples to write it, but
they all got replaced by real musicians. What other equipment have you been What have you got coming up now
Have you been surprised by the shows using for your recent projects? Have then? Any more big projects in the
popularity, as well as the amount of You once said you were unconvinced you been trying anything new? pipeline?
interest in the soundtrack? by digital emulations. Are you still a For The Last Kingdom, which is about Im just finishing off a second series of
I think because it became so popular die-hard analogue fan? Vikings, I used a lot of electronics. Ive Grantchester and theres a second series
and the theme tune got played more Things have possibly changed a bit really got into modular synthesisers. of The Last Kingdom, another project
and more people got to know it. Is it now but about ten years ago I moved Theres this thing called Eurorack and called Jamestown about the pilgrim
because its a brilliant tune or is it just my studio into a slightly smaller room its just exploded that whole side of fathers and set in America and that will
that sense of familiarity? Its probably a and did go down that route of trying things. Again, recall ability is a bit of keep me busy for the year.
bit of both actually. I think it works really to do everything in the box. It was a bit a problem but whats great about it is Now that Downtons finished I
well because it does kind of sum up what unfortunate because I was doing a job that its almost impossible to sound wouldnt mind finding something else
youre about to see and give you a certain that had a lot of electric guitars in it but I like anything else and I think thats what orchestral but Im also into all the
level of expectation, but I didnt know the just couldnt get it to sound good mixing Ive been constantly trying to avoid so electronic stuff so I wouldnt mind doing
whole series was going to be so popular, within Logic. many composers have gone down the a bit more experimenting as Downtons
particularly in America. Things have certainly got better and route of using the same sample libraries, taken me away from that side.
I have been surprised with some things everybodys using Omnisphere, and we What was good about doing The Last
Has your approach changed much since Ive heard that were mixed in the box all end up sounding the same! Kingdom was that it was so different
the first series? but I think I can tell the difference. I use thats why I took it on but if Im known
Not really, the size of the orchestra Pro Tools, which is a fantastic piece of Did you find yourself working across for Downton Abbey for the rest of my
has stayed pretty familiar for example. software, but most of the compression several studios for Downtown, or was it life then Ill be quite happy!
Before it was so popular, the budget and EQ we use is all analogue. all done at Abbey Road?

42 February 2016

42 AMI Feb 2016 Back Page_Final.indd 1 01/02/2016 12:45

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