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SPRING 2009

Journal of the Institute of Broadcast Sound

21st Anniversary
Edition

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LEADER

lineup Line Up celebrates its coming of age in this issue with a smart
new logo and a revised format. Also starting with this edition,
a publically accessible ‘lite’ version of the online magazine will
be published with ‘teaser’ portions of articles. The current full
online edition will remain accessible to IBS members, with
back issues in the archives. The IBS website will also be over-
www.lineup.biz hauled and greatly expanded later this year, raising the
Spring 2009 no 119 Institute’s profile and paving the way to lots more integration,
Editor interactive content and training materials.
Hugh Robjohns MIBS To help celebrate 21 years of Line Up I commissioned an
Line Up, PO Box 208,
Havant, Hampshire, PO9 9BQ article from Roger Derry, one of the founders of the Institute
Tel: +44 (0)300 400 8427 (Option 7) and the originator of this magazine’s title, amongst many
Direct Line/Fax: +44 (0)1905 381 725
editor@lineup.biz other good IBS deeds. On the day he submitted his article he
Advertising Manager was taken into hospital and died a few days later, to every-
Phil Guy one’s immense surprise and shock. Paul Newis shares his
Tel: +44 (0)1295 812 737
Fax: +44 (0)1295 812 434 recollections of Roger on page 18, but I’d like to devote the
adverts@lineup.biz
rest of this column to an obituary provided by Barry Cobden.
Design and Production Rest in peace, Roger.
Philippa Foley BA(Hons)
adcopy@lineup.biz Hugh Robjohns
Publisher
Malcolm Nelson MIBS Roger Derry passed away in February following several bouts
Tel: +44 (0)300 400 8427 (Option 2)
Fax: +44 (0)870 762 1557 of ill health. He was a founder member of the Institute and
publisher@lineup.biz
took over the editorship of IBS News from Antony Askew in
Line Up is published by Line Up 1982 until Line Up was launched six years later. He was
Publications Limited for and on behalf of
the Institute of Broadcast Sound (Est made a Life Member of the Institute in 1996.
1977). The journal provides information,
debate and comment about the art and Roger was educated to A-level at Bristol Grammar School
science of broadcast sound and related but didn’t attend university – his heart was set on the BBC,
topics. Opinions expressed are those of
the author and not necessarily those of the which he joined in 1964. After four years in the Control Room
editor, the IBS, or Line Up Publications as a continuity operator, Roger became a Studio Manager in
Limited.
1968 and later a Senior Studio Manager. Although working
Line Up is distributed free of charge to IBS
members at an address in the UK, Eire or mainly in news and current affairs, he also maintained an
continental Europe. In these areas it is also interest in music, contributing his talents to Radio 3, and he
distributed free on a strictly controlled
basis to senior operational and served on the technical committee that developed the GP
management staff with responsibility for Mk3 and Mk4 sound desks. During the seventies he became
audio in broadcast organisations and
facilities companies. an instructor in Radio Training and a lecturer at BBC Wood
Line Up is also available on paid Norton.
subscription in the rest of the World and to In 1984 Roger was appointed as Assistant Organiser,
those who do not qualify for free copies.
Production Facilities, working to ‘Dusty’ Miller who recalled
Rates for 2009
UK £50 Europe £60 World £70 “Roger had a great love of high quality sound and was instru-
mental in the early simulcasts between Radio 3 and both
BBC Television and Channel 4. He cared about radio and
never gave up trying to improve the sound we broadcast.”
Subscription enquiries
Three years later Roger applied to be Assistant Audio
Line Up, PO Box 208, Manager, BBC Wales and – to his own astonishment – got
Havant, Hampshire, PO9 9BQ
subs@lineup.biz the job. Mike Bracey said, “Roger was a very practical, helpful
person who always supported his staff. He also had a wry
www.ibs.org.uk sense of humour – often, if getting a little bored in a meeting,
Membership details page 39 he would utter a gentle “Yee-ee-es!”
IBS Secretariat Unfortunately, shortly after moving to Wales Roger was
Contact: Malcolm Johnson MIBS made redundant – but typical of the man, he continued pass-
Institute of Broadcast Sound
PO Box 208, Havant, ing his experience on to others by teaching Music Technology
Hampshire, PO9 9BQ
Tel: +44 (0)300 400 8427 (Option 1) at the City of Bristol College. In 2000 he wrote PC Audio
IBSnet Editing which, after several editions, is still relevant and very
IBSnet is the mailing list discussion forum popular today. Roger wasn’t averse to employing somewhat
of the IBS, for members and invited guests
only. To join, send a brief CV to: over-the-top solutions to domestic problems. Mike Stace
ibsnet@ibs.org.uk
recalled the industrial wiring frame in Roger’s flat intercon-
© Copyright 2009 necting his audio system!
Institute of Broadcast Sound I found Roger ebullient, mischievous, incredibly knowl-
No part of this publication may be
reproduced without the editor’s prior edgeable and helpful, and always ready with an amusing,
permission.
illustrative story. We became friends and my sympathy goes
ISSN 0953-6124 to his widow Rosemarie, the anchor of calm whom Roger
married in July 2002 and with whom he found happiness.
Barry Cobden

LINE UP Spring 2009 3


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IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK Tel: +44 (0) 20 7832 4100 Fax: +44 (0) 20 7832 4130 Email: show@ibc.org
CONTENTS
JUNIOR 6 IBS NEWS
EUROVISION
Julian Gough MIBS describes OBITUARIES 18 SOUNDING BOARD 22
working on an EBU extravaganza. Tim Field MIBS (1960-2008), John Sullivan MIBS explains
and Roger Derry MIBS (1946-2009). why your Institute needs you.

IBS MEMBER PROFILE 19 IBSNET REPORT 23


Malcolm Nelson MIBS talks with John Grove MIBS, IBSnet
Louise Willcox MIBS. Administrator, summarises some recent
IBS email forum threads.
TWENTY ONE YEARS 20
OF LINE UP IBS CODE OF CONDUCT 24
After scouring the archives, IBS The IBS Code of Conduct has been
President Adrian Bishop-Laggett drawn up by the members on behalf of
provides the definitive history of the members, and will be reviewed
SWISS PRECISION 11 the IBS Journal, while Fellow of the annually by the Executive Committee.
Institute Ron Godwyn reflects on his
IN AUDIO tenure as the longest serving editor of
Stefani Renner of Line Up, and Roger Derry MIBS
Medientechnik Presseservice recounts how it all started.

explains how Switzerland’s


very first HD-enabled studio INSIDE TRACK
was designed.

LOUDNESS 14 21ST CENTURY 25 RØDE NTG-3 26


TRANSCRIPTION SHOTGUN
METERING LOOKED Sound Recordist Ben Livingstone MICROPHONE
AMIBS describes a modern way to Hugh Robjohns MIBS takes a
AT FROM handle the transcription requirements look at Røde’s 416-killer.
of a fast turnaround shoot.
A DISTANCE
Edward de Bono and John
Emmett MIBS discuss some wo r k i n g o n l o c a t i o n
of the issues involved in
loudness metering.
THE CRUNCH BUNCH 27 QE2: DOCUMENTING 30
Calrec’s Kevin Emmott describes the THE FINAL VOYAGE
televising of American Football at the Paul Miller describes how he met the
home of British Soccer. challenges of filming the end of an era.

TA L K I N G P O I N T S

NEWS 33
● 40 Neumann Workshops at ● JoeCo Launches Blackbox Recorder
Prolight+Sound 2009 ● Coloured Visions From Rycote
● Sound Devices Wins Technical ● SBES2009 Meets the Recession
Achievement Award Challenge
● IBS Teams with Euphonix Artist ● Orbital Sound’s European Debut for
Series HME Digital Intercom
● Calrec and Snell & Wilcox Announce ● Glensound Floats High
Joint Initiative
● SpotOn Steps Up INDEX OF FEATURES 39
● Acoustic Energy Launches Compact AND REVIEWS 2008
Monitoring System

LINE UP Spring 2009 5


Junior Eurovision
Julian Gough MIBS
describes working
on an EBU extravaganza.

The Belarus act rehearsal

I
t was autumn 2007 and the BBC Proms or screen the contest. ITV did enter in the which was providing the lights and PA.
season had just finished when I took first year, 2003, but they pulled out the I was keen that I had a PA engineer on the
a call from the office asking if I could following year and the event has not been desk who I knew, and the line of
just pop over to Cyprus for a couple of seen on British screens since (unless you go demarcation was later defined so that
days. An unusual request and details were online to watch it). Procon would provide the Front of House
scarce – all I knew was that the client had PA system, and SIS LIVE all the on-stage
booked a ticket for me. In my line of It’s All in the Planning sound systems and sound crew. Procon
business in Outside Broadcasts I am used to The reason I was asked to go to Cyprus was provided a Meyer M-series line array system
strange instructions, but even so I didn’t that they had just won the bid to host the with main and spare Yamaha M7CL desks.
fully believe it until I was asked if I wanted 2008 JESC. It would be staged in Limassol SIS LIVE provided a combination of EAW
an aisle or window seat as I checked in at and shot in HD with 5.1 sound, and it was SM12 wedges on stage and EAW JFX590
Heathrow’s Terminal 1. The client turned destined to be the largest television speakers for side and front fills. The monitor
out to be CyBC, the Cypriot state production ever held on the island. CyBC desk was a Yamaha PM5D – all hired from
broadcaster, and they were staging their had contracted BBC Outside Broadcasts to the UK firm, Green-i ltd.
national final to decide the country’s entry provide the television facilities – although My visit to CyBC had enabled me to
for the Junior Eurovision Song Contest between the deal being done and the event open a dialogue with George Papadopoulos
2007. The big event itself was to be held in itself, the BBC sold its TV outside broadcast the Set Designer to ensure our requirements
Rotterdam at the end of the year. operation to Satellite Information Services were included into his set. George was
The Junior Eurovision Song Contest and the former BBC OBs is now trading as equally keen and kept me constantly
(JESC) started in 2003 and has been held SIS LIVE. The show’s producer had updated with design changes over the
every year since. It doesn’t have semi-finals requested a Sound Supervisor be sent to following year. He even made a full size
and all the singer/song writers are aged Cyprus on a fact-finding mission, and to model of an SM12 wedge in polystyrene,
between 10 and 15, but other than that the assist his local sound team on the 2007 using CAD files downloaded off the EAW
format and all the razzmatazz are exactly the national final. So after an early morning website, to ensure they would fit in the
same as the ‘grown up’ version. One other journey down the motorway to see the JESC monitor trough on the main stage.
big difference is that the host nation is venue I found myself in the Nicosia studios RF systems were also a concern. I knew
decided by a bidding process (instead of of CyBC. I was going to need quite a number of radio
being determined by the previous year’s With over a year to go, the planning for mic and in-ear monitor (IEM) channels, but
winner), to reduce the pressure on the 2008 was still at an early stage, but even the exact requirement would not be known
young performers. The JESC is not really then the team was starting to form. We had until two months before the event (which
known about in the UK, mainly because no a Director, Set Designer and the other major was the deadline for entries to submit their
UK broadcaster currently chooses to enter contractor, Procon Event Engineering, technical requirements). I missed the help

6 LINE UP Spring 2009


“That grand The Truck
The scanner in which I was based was SIS
screen making up the entire rear of the set.
One of the requirements that had sat at

piano and LIVE’s Unit 12, equipped with a Calrec


Sigma Bluefin 48-fader console and
the back of my mind throughout the
planning process was 5.1. When I think

those mic Dynaudio Acoustics BM-series 5.1


monitoring. My main outboard toy was a TC
about 5.1 coverage on a programme of this
scale I imagine the big in-your-face, blown-

stands really Electronic M2000 reverb. I also had two


Lexicon PCM91s and a Yamaha SPX2000.
away surround experience... and then
I wake up and accept the reality of the

do have to be Before the start of each song, a 35


second ‘postcard’ would be screened – a
limitations, and the issues of Dolby E,
metadata, and stereo fold-down. Since the

on stage in 30 video clip showing scenes from around


Cyprus, followed by an introduction from
vast majority of viewers would be hearing
this in mono or stereo, I decided that

seconds” the singers themselves, recorded earlier in


the week. These postcards hid the process
I should concentrate on getting that right,
and that the simultaneous 5.1 mix would
of a co-ordinating organisation such as the of changeover between the acts when the effectively be a bolt-on, and would largely
UK’s JFMG. As there was going to be quite a next set of young performers was have to look after itself.
lot of interest from news teams and shepherded onto the stage, along with mic So I opted for the simple approach and
delegations wandering around with their stands and props and, in one case, a baby placed the surround listener in the arena.
own crews and RF mics I was a little grand piano. At the same time in the The main programme appeared on the
concerned that our event could grind to a scanner, I was recalling the next snapshot front speakers. All the music, vocals, VT
halt due to a ‘piece to camera’ elsewhere in memory from the desk and for the M2000. replay on front left and front right.
the building. So I wanted to avoid all the The fast memory recall system was the Speaking, such as the presenters, originally
usual frequencies. main reason I chose the M2000 as my main went in the centre only, but as the
effects machine. It has two DSP engines rehearsals progressed I became increasing
Radio Spectrum which I worked in parallel, using engine uncomfortable with the speech from the
We were fortunate that this was a major one as a vocal plate and engine two as a centre speaker. The event was being held in
national event for the country, and although delay – although a couple of typical a sports arena, and having the voices
the Cypriot Government wanted to know Eurovision off-the-wall songs called for coming from just the single source was too
the frequencies and power outputs we some more esoteric treatments. intimate for me, so I diverged the dialogue
would be using, they gave us a fairly free All the songs were sung live to a into the front left and right a little.
reign over the spectrum we wanted to use. backing track, and those tracks, the voice- I placed two Sennheiser MKH816 rifle
The location of the venue was a few miles overs and the sound effects for the microphones high in the lighting rig, over
into the hills overlooking Limassol, so I did obligatory pyros were played from a PC the front of the stage, pointed them toward
not anticipate a crowded spectrum, but the using SpotOn software with a duplicate the back wall of the arena, and fed them
geographical location of Cyprus, close to system for backup. Triggered only to the rear speakers. This was my basis
the Middle East, made the island an ideal simultaneously and played from a dedicated for the surround sound. However, during
military base and this made me wary of output of the SpotOn, a WAV file of pre- rehearsals I became aware of a distracting
military use of radio frequencies. The IBS recorded timecode was fed to the lighting slap-back off the rear seating. In fact, the
‘Wiki’ was a useful start for my research and control desks at the back of the arena to performers on stage were also commenting
various websites linked from the Wiki drive animations projected on a huge on it too, so I was obviously reproducing
alerted me to a couple of no-go frequencies.
Fortunately we were still left with a large
amount of spectrum with which to work,
and the precise frequency plan was
calculated by our radio mic provider, Hand
Held Audio.
Our radio mic systems were 15
Sennheiser SKM5200 nickel-coloured
handheld mics with Neumann capsules, and
five DPA 4066 head-worn mics into
Sennheiser SK3063 body-pack transmitters.
In addition, we had eight channels of
Sennheiser EW300 in-ear monitoring with an
AC3000 RF combiner, 12 communication
channels, and 60 Motorola GP340 mobiles.
Despite the extensive research, I was
still concerned that we would arrive on site
and find our chosen frequencies occupied. Julian in front of
So the radio receivers were rigged as top Unit 12’s Calrec
priority to listen in to what we hoped were Sigma, making
empty channels. Fortunately our hard work sure the line-up
and careful planning had paid off and the procedure is
channels were all clear. followed correctly

LINE UP Spring 2009 7


Having settled on a country’s sound engineer made it through
mix with all of the the defences and managed to talk to me,
main programme but when he tried it again after the second
elements in the front rehearsal security were on to him and he
speakers and just was politely asked to go away. This wasn’t
atmosphere (real or EBU bureaucracy gone mad, it was really to
simulated) in the rear, enable us to get on with the job without
I was then able to set distractions from producers, managers and
the metadata for engineers, all wanting to have their input.
stereo fold-down. The rehearsal schedule allowed each
I included the centre country to have 40 minutes on stage, the
Following the EBU channel at -3dB, but first ten minutes of which was a sound
party the night before set the rear channel check. When I was happy I handed control
the rehearsals, Tim is contribution to Off; over to the director to rehearse with
convinced someone there was nothing cameras. We then had a ten minute
spiked his jelly and behind me that changeover before the next country came
ice cream I wanted to hear in the on. After two days we had seen and heard
front in a stereo mix. all 15 countries. The whole process was
real life. Initially, I hoped that when the
then repeated, but this time with just 20
seating filled up on the night this unwanted Competition minutes for each act and a five minute
effect would go away, but just in case Even though this is a junior event and
changeover – getting through everyone in a
I decided to reduce the level of those mics consequently the emphasis is placed on the
single day. By then we were humming the
in the rear channels, with the consequence taking part, not the winning, each
tunes and hearing them in our sleep – so we
that the surround ended up being a lot participating country still takes the
imposed a €1 fine on anyone caught
more subtle. competition very seriously and is keen to
singing the songs when off-duty.
With the live coverage taken care of, my see its song shown in the best possible
We had our first full run through on the
attention turned to the pre-recorded stereo light. A strict timetable of rehearsals is laid
Friday afternoon, the day before
VT inserts. I wanted the sound to leave the out, and after their performance the
transmission. This brought the realisation of
arena completely but still keep a surround delegation from each country goes to a
just how little time there was between each
feel to the programme. My solution was to viewing area to review a recording of the
item. Yes, that grand piano and those mic
feed the VT replay to one of my Lexicon TV coverage. They are able to make
stands really do have to be on stage and on
PCM91s set to simulate an arena type space, comments about the TV direction, the
their marks in 30 seconds! Friday evening
and fed the reverb return only to the rear lighting and the sound, which are
was the official dress run – all performed
speakers. The result was very effective; documented and passed to the relevant
strictly to time – and the songs were
sadly, too effective as it gave the impression people. The producer told me that I could
recorded as backup in case something
of listening to a PA in an empty sports hall. ignore any requests if I didn’t agree with
happened to prevent the real programme
So once again I wound everything down to them, but on the whole the feedback was
being transmitted live as planned. This dress
create a more subtle but still spacious feel. helpful.
run was also transmitted to all the
I’ve come to the conclusion that the best However, in spite of these clearly laid
participating countries and the voting
surround is the type that the listener out procedures, there are always some who
system was tried out with young
doesn’t really know is there until it is taken try to short circuit the system. One
spokespersons in each country reading out
away.
fictitious score points.
Christos, Adonis and Joy getting
the stage RF mics and IEMs ready Nil Points
for the contest The EBU decided to use the JESC 08 to trial
an alternative voting system. In an attempt
to answer the criticisms of geographical
voting that has dogged the grown up
version, there was a return to voting juries.
‘Musical experts’ from each country
contributed 50% of the awarded points with
the rest being derived from the traditional
tele-voting.
However, the juries’ decisions were
made based on those dress run
performances, so when the monitor desk
memory recall didn’t happen properly for
one act and one of the singers didn’t hear
the correct sound in their IEM for a few
seconds, an official complaint was made.
We were treating the dress run as another
rehearsal, specifically to iron out these sorts
of bugs in the system – so that’s an issue

8 LINE UP Spring 2009


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“Line Up brings me old friends
and new ideas in every issue.”
that would have to be John Emmett – Broadcast Project Research
taken into account if this
method of voting is to

21
work on the grown up
version.
Friday was also the first
appearance of Dima Bilan, the Russian
winner from the last grown up Eurovision.
He was there to sing in the interval before
the voting started. Unfortunately, he had
missed his flight and didn’t appear for a
sound check – the first time we heard him
was when he walked on stage during the
evening dress run. The timetable didn’t
allow time for any other sound checks, so
we only heard him once more during the
final run through on Saturday afternoon.
After that, we were on air.
The timetable for line up from 45 While Miles is on stage counting up
minutes before transmission was laid out by to two, Tim takes the controls of the
the EBU. We used GLITS on the stereo feeds monitor desk
and BLITS on the Dolby E encoded
surround feeds, both embedded into the
HD pictures. Also embedded were IEMs worked and were placed into the right
cleanfeeds and an outgoing coordination hands and the right ears; the right tracks Team Effort
circuit for use during the voting. As part of were played, and the desk memories As with any event of this scale it is a team
the line up, we also offered sound/picture changed correctly. However, there were a effort and I should give credit for
synchronisation tests and an on-screen couple of minor hiccups with the incoming everyone’s hard work. From CyBC, the
digital clock with counting seconds. The voting contributions. One young lady was stage crew comprised Niki, Martha,
purpose of the clock was for the foreign so excited that she shouted the scores at Christos, and Adonis. My team from the
commentators to read the time they saw on the top of her voice but we could only just UK were Tim Davies (fellow Sound
their monitors down their ISDN lines. The hear her even after winding the gain up to Supervisor on PA), Miles Marchment
receiving countries could then delay the the maximum available on the channel! (stage monitoring), Mark Ellis (SIS LIVE
(faster) commentary circuits until the Both before and after our trip to Cyprus, Unit 12 Guarantee Engineer and on-site
satellite-linked pictures arrived. This many people I spoke to echoed what is comms), Tim Adamson (‘Grams’
ensured that the commentators talked generally held to be the opinion in the UK: Operator), Steve Locking (radio mic
about the same pictures that everyone else that Eurovision is a bit of a non event, that engineer) and Joy Parsons (stage crew
was seeing in their home countries! the music is not much to speak about, and leader). It was noted that myself, both
The last minute before transmission quite frankly it’s all a bit silly. Consequently, the Tims, Steve and Mark were veterans
consisted of arena effects until five seconds they thought the junior version would be of the Eurovision Song Contest in 1998,
to go, then silence until the programme and even more so. However, many people in which was the last time that event was
the familiar strains of Charpentier’s prelude Europe hold these contests in high esteem. held in the UK.
to Te Deum, the Eurovision theme The production values are high and only the
(downloaded as a .wav file off the EBU very best is expected. You don’t have to
website). like the songs, but the work is challenging,
particularly so far from home. I enjoyed it
All Right on the Night and I was proud of what the whole SIS LIVE
After months of preparations, the team produced.
programme was over in a little over two
hours, and Georgia won. All the mics and

The SIS LIVE crew

10 LINE UP Spring 2009


Swiss Precision in Audio
Stefani Renner of Medientechnik Presseservice describes how Switzerland’s very first
HD-enabled studio was designed.

implemented by the staff of TPC, and the


whole installation is entirely cabled with
optical fibres. There are considerable
financial benefits resulting from the fact that
optical cables are much cheaper when
compared with copper cabling in terms of
acquisition, installation, and construction.
Quite apart from the cost savings, optical
signals are impervious to noise and
interference – hum and ground-loops are a
thing of the past. So this is a real win-win
situation.
The optical audio-cabling concept is a
perfect fit with a new Lawo Nexus digital
router, a system that has been in use at TPC
for many years. Individual Nexus
components – so-called ‘Base Devices’ – are
placed as close to signal sources and
destinations as possible, and when
combined with a generously specified core
A football programme panel discussion in the new TPC HD studio router (a Nexus Star) they form a star-
topology audio network. This means that
networked audio I/Os are available exactly
where and when they are needed. For

T
PC (TV Production Center Zurich) technologies. The switchover to HD example, in the audio control room the
supplies the technical facilities for systems with surround sound had been network I/Os handle all external FX units,
the Swiss German-language public planned for years. Once again, the outside the monitoring systems in the audio and
TV broadcaster, SF. TPC has always been an broadcast department blazed the trail with a video and production control rooms, the
early adopter of new technologies and in large HD-enabled OB truck, while a second audio PC’s and CD players, the Dolby
1996 they began the changeover to digital HD facility was installed in a studio Encoders and the equipment for
production systems. As early as 2002/2003 designed for big sports events at the Zurich multichannel recordings. As the Base
they relied exclusively on optical cabling for headquarters. This modernisation was Devices are fan-less, no specific sound-
audio and video when they acted as host driven largely by a change of operating absorbing racks were required.
broadcaster of the Skiing World Cup and methods within the sports division at TPC
the Skiing World Championships. They in which all sports programmes are now Dolby E – and yet in Sync
were also among the first to try out CWDM produced and transmitted out of the same Further Base Devices were accommodated
(Coarse Wavelength Division Multiplex) in studio and control rooms. Short walks and in the machine room on the ground floor,
order to reduce cabling requirements for close teamwork were the main using SDI cabling for combined audio/video
outside broadcasts. In Switzerland, considerations, so all of the editorial offices with Dolby E multichannel audio
innovation has always been driven are in the same corridor, while the cutting distribution. The installed audio network
principally by OB technology since OB- rooms are concentrated on the floor right offers a total of 33 HD-enabled SDI cards,
truck based productions on location play a above the editorial department. The each providing the de-embedding of all the
prominent role there. Examples of background colour design of the studio sets audio channels from an SDI or HD-SDI
assignments range from mountain biking varies according to programme type, signal, processing them on the audio router
and live coverage of ascents of the north enabling each programme format to be or units connected to it, and re-embedding
face of the Eiger, to alpine sporting events. identified at a glance. them into the SDI stream.
Other production areas covered include The big benefits of this strategy are that
cultural events such as the live broadcasting Local Audio Network one signal format is used for both video and
of a play performed on four different stages I met Alfio Di Fazio, audio-systems project audio, only one consistent type of physical
at the same time (Expo ’02) and the staging manager at TPC Zurich and the man in cabling is necessary at the studio, and that
of La Traviata at the Zurich central station. charge of the audio control room, and he transit-time differences between audio and
These posed a real challenge to the OB described the special features of the HD video are eliminated.
crew and their kit. studio to me. This new HD studio and the However, TPC doesn’t only use the
Great importance is attached to the audio system of the new control room was native audio channels in the SDI signal
continuing development of production completely designed, installed, and stream. In fact, this is the first installation in

LINE UP Spring 2009 11


Switzerland to use Dolby E decoding and
The Stagetec Aurus console in the audio control room
encoding of multichannel audio
consistently. Dolby E encoded multichannel
audio can either be transparently forwarded
on the Nexus audio network, or be split
out, using Dolby E decoders, into separate
audio channels for individual processing.
The deployment of Dolby E becomes
particularly important when producing a
sports event that includes several external
sources. As just one example, this might be
a teleconference with correspondents
reporting from multiple football stadia at
the same time. The incoming signals are
contained in a Dolby E encoded SDI
multichannel signal. To crossfade between
stadia, the Dolby E signals are fed as
‘re-entries’ over the Dolby E decoder into
the audio router. The central studio
controller, a BFE KSC Controller, not only
provides audio-follows-video functionality
but also inserts a 40ms video latency to
ensure the audio and video remain in sync would need to be sorted out. Therefore, Sticking with standard kit can be
regardless of Dolby E decoding/re-encoding TPC decided against the concept of a single beneficial in other areas of audio
latencies. At present there are no large network, and instead the individual engineering and in engineering generally.
programmes in production where this studio complexes and their control rooms This applies not only to the Nexus audio
application would be needed, but the form separate digital islands. Each of these networks but also to the Stagetec mixing
option was included to cater for future islands connects to the main switching consoles employed by TPC. Older studios
programme formats. room over MADI lines, that is, over a purely are home to Cantus consoles while large
The central studio-control unit is audio connection. This enables lossless Aurus systems are installed on the new HD-
particularly interesting and deserves a exchange of in-house as well as external enabled OB truck and in the new sportscast
closer look. The KSC Controller handles the audio signals while avoiding the drawbacks studio’s HD control room. Both types of
video and audio routers and provides, for of a big overall network. console integrate closely with the audio
example, simple monitoring-source network. The DSP mixing cards required by
selection in the video control room. Since it Audio Network and Console the Aurus, as well as the console’s
can also accommodate bundling of separate Co-ordinated CPU/controller board, are hosted in the
signals, it handles the assignments to the TPC tends to use the same standard Nexus Star mainframe, and the only thing
quad-split screens for the producer. This building blocks in many of its installations. required beyond that is the actual console
allows a video stream to be routed For example, it generally relies on an control surface which connects to the
automatically along with the accompanying intercom system from Swiss manufacturer processing farm via optical fibres.
audio which may be mono, stereo or even Hugentobler. This system, which is almost TPC opted for a large 48-fader Aurus
multichannel. unknown outside Switzerland, enables console in the Sports studio control room.
extra locations to be integrated into an This gives the engineer instant access to the
Total Networking Versus Islands intercom conference in a very handy way. faders for all crucial sources. Less critical
I’ve already mentioned that the core of the Selecting the target person on the intercom signals are assigned to another of the total
audio network at the new HD studio is the system is incredibly simple and requires of eight fader layers, which still provide
Nexus Star central router. Together with very few set-up steps. In my opinion the very fast – albeit not instantaneous – access.
the Nexus Base Devices, it forms the audio true strength of this system is that virtually Fortunately, the audio control room is
network that interconnects the control everybody in Swiss productions uses it; rather spacious, with sufficient room for the
rooms and the studio, and is the heart of the certainly all TPC personnel know about its mixing console and a decent surround-
star topology. TPC has relied on this operation, its strengths and its weaknesses. monitoring system.
technology for some time and there are Apart from a very small number of
already quite a few similar audio networks subsystems, no other intercom is in use Stereo for All – Surround for
on the premises. Certainly, interconnecting there. the Few
all of them would be possible to allow However, one exception to this rule Today, TPC routinely creates its
access to every source from anywhere on can be found in the HD studio where a productions in SD quality with stereo audio.
the campus. However, experience has small Delec Oratis intercom system is However, some live events have been
shown that this is not really practicable. installed. This is used exclusively for talking produced in HD with surround sound, and
Access to microphones in the HD studio into the mix-minus matrix for signals from examples include the live broadcast from a
from a different control room would rarely external locations, as well as for summing UEFA Champions League match from Basel
be required, and if it were, problems such the incoming signals from these external that took place in September 2008 which
as who on the network has the rights to set locations to provide a combined talkback was the first HD / surround production
parameters such as the microphone gain listen signal. made in the new sports studio complex.

12 LINE UP Spring 2009


Since then, TPC has produced around one HD / surround
programme per month from the new sports complex. In future
however, all of the control rooms at TPC will be converted to HD
and surround audio, with the new sports studio acting as a pilot
scheme for those updates. Sound Equipment Sales & Hire
Even so, although productions will be made with surround
sound in future, a majority of viewers will still receive only stereo * mixers * microphones * boompoles * kitbags
sound. At the moment there are only around 30,000 households * cables * radio mics * windshields * batteries
with surround-capable TV in Switzerland. This creates an
* chargers * adaptors * headphones
unsatisfactory situation where surround audio is mixed optimally
for only a small audience, while the majority of viewers consume * fiddly things like Tram clips *
just a by-product which is far from perfect. The intelligibility of a * Audio Ltd * Hawk-Woods * hhb * K.T.Systems
stereo mix is frequently affected when a down-mix is generated * Micron * Neumann * Ravencourt
automatically from the surround signal. TPC plans to resolve this * Remote Audio * Rycote * Sanken * Schoeps *
dilemma by making use of a very special feature of the Aurus Sennheiser * Sony * Sound Devices
console: unlike other consoles, it does not compute the pan
setting at the channel output, but only once the signal arrives at * Tram * VDB * Voice Technology
the bus input. Thus, by defining multiple buses (for example a Shop on line at
www.soundkit.co.uk
stereo bus plus a 5.1 surround bus), it is possible to produce both
surround and stereo mixes in parallel with completely
independent panning. Both versions are then processed
separately by the console and can be tweaked independently by Lots more new products
the engineer. now available on-line

For the future Soundkit Ltd


The European football championship in 2008, hosted in Austria 12 Earle Place Canton Cardiff
and Switzerland, was the first really big event produced in the Tel: (029) 2034 2907 Fax: (029) 2023 1235
new HD control room. This acted as a final production-control
facility since SF, the Swiss German-speaking public TV e-mail: martyn@soundkit.co.uk
broadcaster, and ORF in Austria, held the exclusive rights for the
event in their respective countries. Besides transmitting the
matches through the control room, the sports studio was also
used for producing interview and talks shows with a studio
audience.
Even for this major event, TPC has not yet tapped into the full
technological potential afforded by the manifold possibilities of
the new studio and its control rooms. There is a considerable
scope for the development of new production methods in the
future. Above all, the Swiss TV Production Center has equipped
the facilities in anticipation of increased use of Dolby E.

“Line Up’s authoritative news and


feature coverage has become essential reading for
all of us in the business of broadcast audio, and in recent
years has provided invaluable guidance and insight in the
transition to live surround production. Thank you Line Up
and here’s to the next 21 years.”
Mark Price – Dolby Laboratories

21 LINE UP Spring 2009 13


Loudness Metering Looked
at from a Distance
Edward de Bono and John A combined AB and LKFS meter set

Emmett MIBS discuss some of


the issues involved in loudness
metering.

F
rom the introduction, fifty years ago,
of the second television channel in
the UK there have been complaints
about the loudness of commercials. At the
time a viewing public, familiar with a single
channel without commercial breaks, was
split in its reaction to the new service.
Certainly, a significant proportion disliked
the interruptions to continuous
programming and considered the
commercial breaks to be a rude intrusion
into their viewing and listening. To a certain
extent these attitudes are still present today,
but criticism has been extended to cover
promotional material and certain types of
light entertainment programming, whilst a
new problem of digital peak levels in the all-
digital home has crept in to complicate
matters further. problem as one of differential sensory subjective test, because only sensory
loudness between short programme loudness can be metered. Any significant
Audience Research segments, the assumption can be tested perceptual element will therefore reduce
A survey carried out at the end of 1993 by subjectively. As it turned out, the subjective the effective value of loudness metering.
the British Audience Research Board test described below did much more than Although the most likely reason for
(BARB) considered sixteen attitude just confirm this assumption, so to see how commercials and promotion material being
statements on the subject of television this came about it is worth analysing some perceptually louder is that both genres have
advertising, using a panel size of around of the opinions aired over the many years more money and effort spent on them per
3,000. Four items relevant to sound levels that the loudness problem had existed. second of output.
asked respondents to agree or disagree that Foremost among these was that
television advertisements: production houses used vast amounts of The Subjective Tests
1. ‘Are louder than programmes, or are dynamic range compression in order to As far as the 40 families who took part in
broadcast with excessive sound levels’: produce high levels of effective loudness on the 1990 Thames TV tests knew, the
more than 40% agreed, and more than commercials, whilst maintaining the videotape they were offered consisted of
20% disagreed. recommended peak modulation levels. Two five bands of five 30 second promotions
2. ‘Make me turn the sound down’: factors soon killed this theory: firstly, and commercials. Each group of excerpts
nearly 40% agreed, and a similar independent sound operators could often was interspersed with programme material
proportion disagreed. confirm that no compression had been used representing a wide range of interests and
3. ‘Are too noisy’: on problem items. Secondly, excessive each family member, of which there were
around 33% agreed, 25% disagreed. loudness of promotional materials had been just over 120, filled in a form using a CCIR
So there was clear evidence that substantial found on the excerpts produced by in- five-point scale of loudness for each of the
numbers of viewers were aware of sound house teams. Clearly, dynamic range, like 25 numbered sections.
levels in advertisements and that these were peak modulation levels, contributed to the In reality there were two tapes with
seen by many to be excessive. apparent loudness but was by no means the different assembly orders, thus producing
Having established that there is a full story. A second opinion, which was two different perceptual conditions. There
problem, which the viewers have described widely held, was that the loudness factor were also two items numbered 23 in order
as excessive loudness, we need to be sure was purely perceptual – ie, in the mind of to test attentiveness. The results,
that this means the same as that which we the individual. This idea should have been summarised in Figure 1, were quite
understand by the term in the scientific discounted by the complaints statistics, but encouraging – the results for both tapes
sense. If we provisionally define the it was nevertheless a vital item for the identified the same three statistically quiet

14 LINE UP Spring 2009


well-controlled ‘themed’ loudness profile.
This is illustrated by the one-hour sample of
a log overleaf showing a popular music
radio channel (dark blue), a talk radio
channel (magenta), and a typical television
channel (yellow). The ‘permitted maximum
levels’ of all three programmes are aligned
(all three peaking to six and a quarter
(+9dBu) on an IEC type IIA (BBC) PPM.
The gated dialogue loudness traces are
shown in LeqA form, and the zero on the
dB scale has no special significance. The
ITU LKFS loudness measurement would
follow a similar line, but could be
numerically reported as averaging so many
dBs below full scale, once you have defined
the integration time and the gating level.
After a number of tests, it was found by
Subjective loudness grades of test material EBU’s Audio Advisory Group (P/AGA)
members that all loudness profiles lie in a
items and the same four statistically loud digital audio chain right through into the band encompassing no more than 8dB,
items (albeit one which was marginally so). home, and consistent comparisons of regardless of the measurement algorithm.
Sensory loudness, then, had won by a large loudness can therefore be made at any First reactions to this plot may well be
statistical margin over perceptual, so in point in that signal chain, (and accurately that the television results show the best that
theory it should be possible to build a meter across both strands and strains on all can be done, as the television content will
to measure loudness. channels). vary between the two illustrative radio
The availability of radio channels on genres and then add some that do not exist
The Proof of the Pudding these sources appears to make the loudness in radio – long periods of silence for
All the current DVB, digital satellite and variation situation worse for television, as instance. Note the television loudness
cable systems take an essentially transparent each radio station tends to have its own variations occur not just between

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LINE UP Spring 2009 15


impress a loudness ‘profile’ to suit a
particular Channel. Any later in the
transmission stage and the correction will
have to be automated.
Loudness metering used as a ‘guide’
rather than a statute should be considered
at all stages of the production process. This
would produce a more accurate approach
than the old practice of listening off-air on
the control room monitors just before going
live.

Comparative loudness between music and talks radio and TV Just When We Thought the
Problem was Solved
programmes, but also within shorter-term capture stage may be undesirable for three The peak modulation level on the analogue
inserts, promotions and commercial breaks. main reasons. First, it is not desirable during broadcast transmitters is limited by
This only goes to exacerbate the apparent capture to use too much signal processing, legislation in order to control the co-
differences. as it cannot be undone at a later stage. channel interference that would have
Clean capture at the correct signal levels is resulted from over-modulation. However, in
How We Got Here therefore most desirable aim. Second, the case of digital services the carrier audio
The actual sound level heard by the viewer different outlet channels will probably want modulation constraints do not exist, and so
is ultimately determined by the setting of to impose different loudness ‘profiles’ on the ‘Permitted Maximum Level’ (PML) is
the receiver’s volume control. The ratio of the programme anyway. And third, translated using ITU-R BS645 and the EBU
levels as measured on a PPM is maintained changing the recording techniques and recommendation R68, into a PML 9dB
but the scale is magnified by a factor hence the artistic intentions of any existing below digital maximum (0dBFS).
determined by the volume control setting. show would also create the practical While this leaves adequate headroom
It is important that a fairly constant average problem of matching earlier episodes and for live broadcast programme and transient
sound level is maintained so that the viewer archive material in any interim period. variations, in the digital home it will have to
does not have to keep adjusting the volume Similar cinema audio problems during co-exist with DVD and CD material which is
control. This should also be the the late 1990s led to the use of Dolby typically modulated to within a decibel of
requirement when changing between Digital’s ‘dialnorm’ value being recorded in 0dBFS (and is frequently highly processed
channels. Over forty years ago, in an effort DVD metadata, and where sections of audio as well). For this engineering reason alone,
to maintain this fairly constant average material from different sources need to be broadcast material will appear at least 9dB
sound level, UK broadcast companies drew butted together (as is the case in any quieter than pre-recorded consumer
up a table of recommended IEC Type IIA television channel), one consistent dialogue formats.
(BBC) PPM levels for different types of A table of recommended peak levels and dynamic ranges
programme material. This was published in
Material Normal Peaks Dynamic Range
the Technical Regulations, to ensure that
the subjective volume is consistent with the Speech, Talks, News, Drama, Documentaries, 5 1–6
Panel Games, Quiz Shows, Announcements
transmitted material whilst at the same time
preventing excessive loudness changes, and Music, Variety, Dance Music 4.5 2–6
is summarised in the table opposite. Brass bands, Military Bands 4 2–5

Orchestral Concerts 6 1–6


Listening Levels in the Home
Many hearing-related phenomenon are non- Light Music 5.5 1–6

linear, and to get some idea of standardised Pop Music 5 2–5


home listening conditions, the EBU Programmes conatining a high degree of compression. 4 2–4
published Tech 3276 Listening conditions
Commercials conatining a high degree of compression. 4 2–4
for the assessment of sound programme
material. (All EBU Recommendations, Tech
docs, and even test audio samples are freely based loudness level should be considered As if this was not enough, tests made off
downloadable without registration from desirable. Experience using metadata-based air (radio and television) a year ago exposed
www.ebu.ch). This document essentially loudness correction at US cable head-ends, PML variations of only 3dB within any one
fixes the reference SPL for listening to both has shown that the use of metadata for channel, but of 12dB between broadcasters.
two-channel and 5.1 programmes at 78dB control can make matters much worse than It was especially noticeable that those
SPL alignment level per channel. This is 7dB where none exists, especially in the case broadcasters using the severest processing
below cinema practice and recognises an when the post-production metadata is for increased loudness also seemed to use
important difference between high wrong. the highest peak modulation levels. Overall
monitoring levels and a somewhat lower The next stage in a typical television therefore, apparent loudness variations on
home listening level, which usually lies programme chain at which loudness digital services now seem to encompass
between an equivalent of 60 to 75 dB at control might be employed is dubbing. 18dB, compared to 8dB on analogue
alignment level. However, in the UK, the programme ingest services.
Any form of loudness constraint at the stage would appear to be the best point to

16 LINE UP Spring 2009


Standardisation Effort
The EBU is only an advisory body and its
P/AGA Advisory Group has had loudness
under close study for years. As with all
digital audio related issues, though, there
are many larger user groups involved which
have loudness interests with vastly different
agendas to those in broadcasting. As an
example of this, one manufacturer can
show that more loudness meters are
currently purchased for maximisation of
loudness in recorded music production,
than for actual control in broadcasting.
The ITU-R is the internationally
recognised body for broadcast standards, An example of the EBU LKFS loudness meter
and it started work on the ‘question’ of the
measurement of programme loudness in
2001. Steve Lyman of Dolby leads this least three common forms of PPM just Meter types and Standards
project in Working Party 6C, and current within Europe, along with an additional For years there has been a view that moving
activity is centred on the loudness-metering number of contradicting needle/bar colour coil meters are inaccurate, fragile and
algorithm ITU-R BS 1770 and 1771, the conventions. Therefore the EBU choice of a generally obsolete. Yet we inwardly yearn
latter including suggested meter scales cyan colour for the LKFS meter, although for the simplicity of the needle angle, easily
based on the VU meter. Loudness seeming trivial, actually goes some way to read in a quick glance. Also, in any live
measurements based on the basic 1770 harmonising the overall process. As for an broadcasting studio in the UK you will be
algorithm are designated as ‘LKFS’ ‘Aunt Sally’ appearance, for UK based presented with a familiar set of PPMs, and
(Loudness, K scale, (with respect to) Full members the one pictured above should be this greatly eases the load on the
Scale). A single-issue group (P/LOUD reasonably easy to understand. increasingly mobile and transient work
chaired by IBS member Florian Camerer) However, a couple of notes may help to force. Fortunately, the IEC realised decades
was set up by the EBU in 2008, working on illustrate the sort of detail that is still under ago that not all meters claiming to be (or
this basic data set. discussion. (1) Regardless of how many looking like) a VU or PPM are remotely
The most important point about any channels of audio are involved, there will be close to desirable or accurate in practice, so
algorithm is that once standardised, one loudness meter reading, and the the definitive meter specifications in IEC
loudness can be objectively quoted in the summation factors will be defined in the 60268-10; 1991, are still those that need to
form of numerical LKFS (or whatever) algorithm for two channel and 5.1 material. be satisfied. In order to test that a meter
measurements with respect to full scale (2) The 1770 algorithm is essentially an meets this specification, test pulses and
digital peak level. This should give an RMS B-weighted response with a 12dB per tone bursts are defined, and these are
absolute fix to what were essentially octave high-pass at 60Hz, and a 4dB shelf easiest to find in the form of digital samples
comparative measurements in the past and above 2kHz. Unfortunately this HF shelf (eg. International Broadcast Standards
to clarify this, current discussion centres leaves a residual value of 0.6dB at 1kHz, and Tests Disc sets from Canford Audio).
around the integration time and details of so a ‘fiddle factor’ has been applied in BS In the case of an LKFS meter, some of
the gating function, as well as 5.1 channel 1770 so that a 1kHz continuous tone at the vital mechanical requirements for PPM
weightings. However, within any particular -18dBFS on either channel of a two-channel or VU will be eased, so making a virtual
user sector (and broadcasters form quite a system will produce an LKFS value of -21dB. meter easier to design without psycho-
small one), the drafting of operational This equates to a reading of -18 dB for two visual impairments, but a minimal set of test
practices is almost as important as the channels both carrying continuous pulses will still be necessary in order to
technical details themselves. alignment tone, independently of the phase. build confidence, and compare different
Note also that if gating is correctly used, implementations. One way or another, it is
Displaying the Results interrupting the tone will not affect the a safe prediction for 2009 that this is
Given that the general trend in broadcast is readings. something that you will be seeing soon, and
for server-based systems it would seem (3) Holding the loudness reading during hopefully, even appreciating.
reasonable and cost effective to control periods of silence requires the input signal
loudness prior to playout. This could be to be gated at a level below the lowest
automated and could therefore look ahead dialogue level, but above the highest
through the schedule to assign appropriate background noise level (which can be quite
level control to defined elements. It would considerable, although rarely annoying).
of course be helpful to have a loudness (4) Both the BBC and Channel Four
meter in control rooms both as a means of performed tests to find the most
dealing with live output and as a safety acceptable integration time for such a “Line Up has played a crucial role in helping
check. meter. One test chose four seconds, us promote our products to the broadcast audio
If we do require a physical meter, it will the other three to ten community. It’s a totally unique publication with a
need to work in real-time for live seconds, so there is a fairly close clearly targeted audience.”
programme production. Digital audio is a agreement there. Howard Jones – Source Distribution
global entity, yet we use VU meters and at
21
LINE UP Spring 2009 17
IBS NEWS

Obituaries
knowledge with his team, and this provided with Roger (and there must have been
a solid foundation for the future of the hundreds) none of them stand out in my
audio dubbing department at Sky. memory. That says a lot for the calm and
Tim was diagnosed with MND early in organised way in which he managed the
2000 but was determined to continue studio.
working for as long as possible. Formal editing training in ‘Prog Ops’
Unfortunately, the disease took hold very was a two week stint in an edit channel
quickly, initially confining Tim to a with a trainer, and in my case this was
motorised wheelchair and then to his bed. Roger. Producers came along and you
However, this didn’t stop Tim being edited. Of course, I knew how to edit! What
actively involved with the dubbing could I learn? After a few days of me editing
department at Sky – he was always willing and Roger sitting at the back saying nothing
to offer advice to his colleagues on a wide I wondered what it was all about. He would
range of audio problems via email. fetch the tea and I would edit. Once in a
Towards the end of his illness Tim was while I would ask an opinion and he would
confined to his bed 24/7, but even though ask me what I thought… To be honest
Tim Field MIBS (1960-2008) he had no movement below his neck he I was slightly confused! But gradually he got
After a seven year battle with the continued to communicate with his friends inside my head and made me challenge
debilitating Motor Neurone Disease, Tim and colleagues via his laptop controlled by myself. Even when I thought it was good
Field passed away peacefully on 22 October eye movements. Despite all this, his enough, he would sit there and from the
2008 after 48 years on this planet. determination never waned and he was still look on his face I knew he thought I could
Tim was born in Auckland, New contributing regularly to the IBSnet forum do it better. Roger never showed me how;
Zealand, and his career in sound started at and sending emails to his friends around the I suspect he realised how intimidating that
the Stebbings Recording Centre in 1979; it world. He further amazed us all when he could be. Nor did he criticise. What Roger
was always Tim’s dream to be the best announced that he had signed up to an taught me in his quiet and subtle but oh, so
recording engineer in the world. Two years Open University course! effective, way is that you set your own
later he had a brief excursion into the world Tim cared passionately about his art, the standards, and that you are the final arbiter
of pirate radio with Radio Hauraki before art of sound. He was an inspiration to of quality in whatever it is you do.
joining Mandrill Recording Studios in everybody who met him and especially to I felt humbled that Roger asked me to
Auckland in 1983. those of us who were fortunate enough to pre-read some of his books before
The music scene in NZ was rather work with him. He will be greatly missed by publication. Those books sit on my shelf
limited so in 1986 Tim relocated to England all his friends in the industry and especially still, and are references for my students too.
to seek his fortune. On arrival Tim worked by his colleagues at Sky. Our condolences Not a ‘how to do it’ reference, not an ‘I did
briefly with record producer Tony Visconti, go to his parents Chris and Elizabeth, his it this way’ reference, but as a ‘here is my
but as much as he loved the music business sister Beth, and his wife Therese. knowledge if it can be of help to you’
it wasn’t paying the bills, so he looked at Vaughan Rogers reference – and a remit for the readers to
other sound-related opportunities. It was set their own high standards. Roger had the
during a short stint at LBC Radio in London Roger Derry MIBS (1946-2009) highest; he just never made a fuss about it…
as a studio technical operator that Tim met Roger was timeless, and as much a part of Paul Newis
his future wife Therese Birch, a presenter at the fabric of the audio world we inhabit as
the station. At the same time Tim was also sound itself. When I began working in
doing a few freelance shifts at TV-am in Programme Operations in Broadcasting
their audio dubbing suite. House in 1979, Roger was so far up (to the
Early in 1989 came the offer of a left!) on the allocation sheets that I needed
permanent position as a dubbing mixer at a decent set of walking boots to go across
the newly launched Sky Television, and it there to look at what the allocation was.
was here that Tim made his mark on the They were all ‘up there’ – the talented, the
world of audio post-production. Working temperamental, all the highly-skilled, slick
closely with veteran BBC dubbing mixer operators. Roger was none of these; he was
Tony Millier, Tim mastered his craft. His just Roger, totally unflappable, supremely
drive was amazing and he would constantly well organised and a constant reference and
push the management at Sky for bigger and knowledge-base for all of us to draw upon.
better facilities. Tim’s ability to soak up Working with Roger always felt ‘safe’ and
knowledge and information was stunning, controlled, there were never any histrionics
while his understanding of system and or tantrums and somehow the unexpected
equipment was second to none – but he always seemed expected. What is really odd
was also very happy to share that is that given all the programmes I made

18 LINE UP Spring 2009


IBS NEWS

IBS Member Profile: Louise Willcox


hired directly by the I talked to so many people, discussed best
BBC’s Natural History practice and asked for advice. Few others in
Unit to sound broadcasting notice ‘good sound,’ so it’s
supervise their live OB great to receive praise and encouragement
output and BBC from your peers.”
Training employs me
to help train What is your greatest professional
cameramen, vision achievement so far?
mixers and directors “Working as sound supervisor for Pebble
(sadly, no TV sound Mill, a programme transmitted on BBC
people). I’ve also ONE, weekday lunchtimes in the 1990s.
worked on some With a resident band, two further live bands
Radio 2 shows for the per programme and celebrity interviews in
BBC in Birmingham, on between, we had full front of house and
The Archers and as a monitoring rigs, mixers on the studio floor
dubbing mixer in post- and a 96-channel broadcast desk (not quite
production. All this is big enough!). It was a huge challenge but
interspersed with the I learned a lot very quickly – it’s the most
What got you into sound? odd corporate.” stressed, but the most satisfied, I’ve
“My late father showed me how to use his ever been.”
two-track and four-track tape machines, and What do you enjoy most about working in
when I was thirteen I saw a documentary sound? Where would you like to be in ten years?
about Abbey Road Studios; I saw the sound “Sound is what gives a programme its pace, “I need variety and it would be good to
desk and thought ‘I want to play with one atmosphere and emotion. Music can make write and record some of my own music
of those.’” the hairs on the back of your neck stand up, before I’m too old to do it; to have a chance
and no two actors say the same line with to be sound recordist on a high budget TV
So where did you begin your career? the same intonation. Sound effects and drama, or have something to do with the
“The school’s careers bloke couldn’t tell me incidental music dubbed on to a TV drama 2012 Olympics. A career development
what qualifications I needed to be a sound can manipulate the mood of an audience. attachment to Countryfile a couple of years
engineer, and I took all the wrong A levels. I’m not really interested in the bells and ago whetted my appetite for production;
After a year’s evening classes in Physics whistles of equipment; I’m motivated by but I’ve had a very interesting career in
I applied for a job as an Audio Assistant with sound as an emotionally fulfilling sound and more of the same would be
the BBC, joining the Audio Unit at Pebble experience. I feel huge waves of fine!”
Mill in 1980. After ten years I was a Senior disappointment when it is done badly or
Audio Supervisor and TV studio specialist. not deemed important.”
Following the BBC’s move to The Mailbox Louise Willcox
I was made redundant in April 2006.” Where do you get information and help? DWR Associates
“Chats with fellow professionals are what www.dwrassociates.co.uk
What sort of work do you do now? I miss most about not working for the BBC,
“I work freelance, and TV OB companies so now I turn to the IBS. Last year’s
book me as a sound assistant and DSS. I’m Residential Weekend was a revelation;

LINE UP Spring 2009 19


IBS NEWS

Twenty One Years of Line Up


After scouring the archives, IBS President Adrian Bishop-Laggett provides the definitive history
of the IBS Journal, Fellow of the Institute Ron Godwyn reflects on his tenure as the longest
serving editor of Line Up, and Roger Derry MIBS recounts how it all started.

A Potted History regarded in the audio industry. He was production side either. Jo Pearson had
Where would we be in life without to edit 69 issues of the magazine before also married and now had a young son.
serendipity? Line Up magazine certainly handing over to Hugh Robjohns MIBS at After successfully balancing family and
owes its success and longevity in some the end of 2000. ad sales for three years, she decided to
part to that! In the mid 1980s the IBS BSO Publications were taken over by take a career break in order to spend
committee had been discussing the International Thomson Business more time with her family, so in 2004 the
possibility of a glossy magazine to Publishing in 1989, and after a short search was now on for a new advertising
replace IBS News; it was a chance period with them it was eventually manager. Once again, we were lucky to
meeting at AES in London which decided that the IBS should publish the obtain the services of Phil Guy, who
presented the opportunity. magazine itself. It was serendipitous that took over the advertising book at the
IBS News was the Institute’s first the excellent Jo Pearson became end of that year.
magazine – in A5 format and edited and available just as we were looking for an And that brings us up to date. As this
produced initially by the late Antony advertising manager. Ron and Jo already is Line Up’s 21st Anniversary, I have
Askew (IBS member 001) and then for knew each other as they had worked deliberately concentrated on the people
six years by Roger Derry MIBS. In 1987 together at Link House. who were directly involved with the
Roger was unable to continue as editor, The production side was taken over magazine, rather than the IBS folk who
and so the opportunity was taken to by Jeff Liddiatt of Linden Services in played a huge part in its formation. But it
look at the idea of producing the Bristol, but after eleven issues ill health would be unfair if I didn’t specifically
magazine commercially. Fergal Ringrose, forced him to stop work. Fortunately, mention the hard work put in by Peter
then editor of International Richard Foley of Parallel Marketing in Dorey and Richard West as Financial
Broadcasting published by BSO Bristol was able to take his place as our Directors of Line Up Publications Ltd
Publications, met Roger and Richard production manager, a job that he has (LUPL), particularly in the early days
Cobourne on the done superbly and with enormous when the IBS took independent control
IBS patience, for the last 88 issues – quite a of the magazine.
record! To all the others who were involved
“Line Up has always been a great I became involved in the with LUPL [See the website version of
source of unbiased reviews from professionals Spring of 1992 and found the this article for more on who they were
actually working with equipment at the sharp end. experience of publishing a and what they did! – Ed], to our many
Sharing knowledge is what this business is all about, magazine a more pleasant one contributors, and to all those (past and
and Line Up is a great way to do that.” than I had expected. It helped present) who have worked on the
Vaughan Rogers – Sky Television that I was working with an magazine – on behalf of the members of

stand 21 efficient team who were very easy


to get on with! At the end of that
the Institute and the wider readership,
our heartfelt thanks for all that you have
at the 1987 year, Philippa Purshouse took over from done to make Line Up the huge success
AES Convention in London. Fergal was Hugo Lamb, who had designed Line Up it is today.
impressed with the content of IBS News from the beginning, and she continues to Adrian Bishop-Laggett
and together with his publisher Mike design the magazine today. Not long
Crimp (now Chief Operating Officer of after joining the team, romance was in Satisfaction
IBC) felt that they could turn it into the the air and she married our production It is hard to believe that the hardy IBS
high quality, glossy journal that the IBS manager to become Pip Foley. journal is 21 years old this issue. It seems
was aiming for. Production, design, and The team continued to work very only a year or so ago that our (even
advertising sales expertise were supplied well over the following ten years or so, more) esteemed editor was inviting some
by BSO Publications, while the IBS but I was increasingly aware that of us to have a look back over our
would supply the editorial material and I should be on the lookout for a shoulders on the occasion of the 100th
the magazine’s editor. Agreement was successor. Once again, serendipity edition of Line Up. In fact, it was in the
reached and the first four issues of played a part as Malcolm Nelson MIBS April/May
Line Up were produced with guest was about to cease his full time
editors Richard Lamont (issue 1), Fergal involvement with BBC Training at Wood
(issues 2 and 3) and Roger (issue 4), Norton. I had great respect for his
“Written by professionals for
while the search for a permanent editor managerial abilities and he and Hugh
professionals, Line Up has to be the most
went on. Eventually we were lucky already knew each other from Hugh’s interesting read in the broadcast audio industry,
enough to obtain the services of Ron days as a BBC instructor. Malcolm took and it doesn’t come any better than that. Simply an
Godwyn FIBS, at that time an editor with over as publisher in 2004. essential resource. Congratulations on 21 years!”
Link House Magazines and highly Romance wasn’t confined to the Steve Angel – HHB

21
20 LINE UP Spring 2009
“Line Up is invaluable as a forum the hub of business transactions and involved in a lot of negotiation (and
to connect with our core marketplace and unofficial information exchange, of mysterious things called ‘Heads of
does so in a very professional but personal way. course. Agreement’) with BSO Publications
That’s probably a major reason for its past Probably the most satisfying part of which led to the experimental publishing
and continued success.” the job was receiving articles from IBS of Line Up – a title I had dreamt up
Mark Hosking – Euphonix UK members. After harrying some while driving from London to Cardiff.

21 unfortunate sound man who was in the


middle of a shoot, possibly on a wet
The first edition was under the
editorship of Richard Lamont and two
Welsh hillside, it was very gratifying to more editions came along under the
receive a well written article, and on guest editorship of BSO’s Fergal
issue of 2005 that I was invited to have time (mostly). I salute all those Ringrose. I edited Line Up 4 and we
that nostalgic trawl through some contributors who somehow found it were then able to appoint our first
favourite articles. In the same issue possible, in spite of their busy schedules, permanent editor Ron Godwyn. Ron had
Roger Derry outlined how he produced to pen an article for Line Up during my been editing Broadcast Systems
the first IBS News, precursor to Line Up, tenure. I really hope that it will be Engineering for Link House Publications,
launched by member number one, possible to keep our precious journal, but before that he had started the British
Antony Askew – and John Andrews with its excellent production values and mixing console industry while he was
explained the reason for the journal and interesting articles, in existence in some with Pye Records by asking a repair
how it worked. form as we head into incredibly difficult engineer, Rupert Neve “Do you know
I was lucky enough to turn up after times ahead. anyone who makes mixing desks?” To
the first four issues of the new, shiny Ron Godwyn which he got the reply “I could make
magazine had taken shape and had the you one.”
relatively easier task of just keeping it Ambitions Despite International Thomson
going. I remembered being quite “Bloody broadcasters!” exclaimed Fergal Business Publishing’s mantra of the
nervous and more than a little pleased Ringrose, Line Up’s first guest editor. unique selling point, they never really
when my first issue appeared and I was “When you ask for an article BY a got the hang of Line Up’s ethos. I don’t
not asked to leave. Little did I realise that certain time, they think you mean AT think that they gripped why there was
I was to be at the editorial desk for that time!” no equipment on the cover. Instead
69 issues! The IBS always had a magazine. there would be a scene from a
During that time I learned a lot, met Home-made and A5; it was called IBS programme. My favourite was a young
a lot of very interesting people and had News – a title sounding like one of the lady pointing a gun out of the cover.
some fun along the way. I particularly guest magazines on Have I Got News for So it was that I found myself trudging
enjoyed the visits to the trade shows. It You. It was started by the late Antony around the 1991 APRS exhibition
gave me a chance to meet many of the Askew and was a neat amalgam of a golf announcing “Good News – Line Up is
company and PR people I knew mainly ball typewriter (with a choice of going independent.” I became the
from phone calls. Although being typefaces) and the movable type magazine’s formal publisher, Jo Pearson
approached by literally dozens of, provided by sticking down the text with (a former colleague of Ron’s at Link
perhaps unfamiliar, faces who all cow gum – a rubber glue that stuck to House) sold the ads, Jeff Liddiat looked
seemed to know my name was a bit everything. after the technical side, and Hugo Lamb
daunting – who was this, can When Tony gave up the magazine he continued to design the magazine. Since
I surreptitiously squint at his name-card? buttonholed me in the radio studio then the staffing has got tighter, and
The giant International Broadcast managers’ office and negotiated a I disappeared off the scene once my
Convention (IBC) in Amsterdam with its transfer of power. I didn’t have the spreadsheet record disclosed how much
five huge zeppelin hangers full of patience for a typewriter and so the early more profitable Line Up would be
products and stands was a special and ugly Epson dot-matrix became the without me!
challenge. Several weeks of marathon font of choice. By 1987 it had evolved to So twenty years on we are all very
training prior to the show would have proper computer typeset text, although proud of what we created, and delighted
been useful. Covering the huge spread king cow gum still mastered the layout. that ‘what’s his name’ is making such a
of exhibitors’ stands involved walking, The Executive Committee of the IBS good job as permanent editor.
possibly, some four or five kilometres a had long had an ambition to have a Roger Derry
day to fillet out the audio companies proper glossy A4 magazine, and
dotted among the sea of video. A bonus, I suppose it was BBC Wales’ fault that
of course, was working at the show with caused us to get one. Much to
Advertising Manager Jo Pearson who everyone’s surprise, especially mine,
was greeted on all sides by company I was appointed Assistant Audio
directors and sales managers as a long Manager (remember those) at “Line Up is a must-read at PMC. A superbly
lost friend – even though she was about Cardiff. Moving countries and put together magazine that reflects the passion of its
to divest them of considerable sums of a year of being ‘that gonzo readers for quality recorded and broadcast sound.”
money. She was such a huge asset to from London’ made it Peter Thomas – PMC
Line Up. Another favourite show was the impractical to carry on
Sound Broadcasting Equipment Show
(SBES) in Birmingham. This was much
smaller and cosier, and it was easy to get
producing IBS News, so ambition
fulfilment time had come. Mark 21
Yonge, Richard Cobourne and I became
round and see everybody. The bar was

LINE UP Spring 2009 21


IBS NEWS

Sounding Board
Your Institute Needs You

T
he New Year seems quite a while involved and everyone else isn’t swamped The Membership Secretary works
back now. Did you keep to your under an avalanche of e-mail! with the Secretariat to ensure that
resolutions? How about one more? Since last year’s AGM several EC membership enquiries are dealt with
Why not give some time to the IBS and members have needed to stand down promptly. This person heads up the
join the Executive Committee? mid-term for various reasons, so we need membership sub-committee which looks
There are up to 15 full members of some new people to take up co-opted at membership applications and makes a
the EC and under the rules of the Institute places until the 2009 AGM and, ideally, recommendation to the full EC.
one third of them stand down at each stand for formal election at that time. In The other members of the Executive
year’s AGM. This allows new members to particular we urgently need someone Committee all contribute by organising
serve whilst also giving stability and with some basic accounting skills to take meetings (either directly, or indirectly by
continuity. Often members standing up the post of Treasurer. asking others), helping out at exhibitions,
down are happy to serve again, but they There are some ‘official’ roles defined generating and following up on publicity,
also recognise that they may need to in the Articles and the Institute needs writing the odd article for Line Up,
stand aside to give others a chance to these to function. The Chairman chairs keeping the web site up-to-date, and
influence the direction of the Institute. and organises meetings, sets the agenda, ensuring that the Institute is providing
Although this can only officially happen and issues meeting paperwork. He or she what its members want.
at the AGM the EC has the ability to has a casting vote in situations where this As you will be aware, the Institute has
co-opt members as necessary at any time is necessary, and acts as a public face and a paid Secretariat (currently Malcolm
during the year. external point of contact for the Institute. Johnson MIBS) which runs the day to day
You may not realise that the IBS was They are also expected to attend as many business of the Institute (sorting out
set up as a ‘Company Limited by Members’ Meetings as possible and will exhibitions, first port of call for
Guarantee’ and is governed by rules introduce speakers on such occasions. membership enquiries, liaison with
called the Articles of Association (they The Chairman chairs the AGM, and is the OFCOM, postage and stationery,
make for quite dry reading, but you can first point of contact for the Secretariat membership renewals and so on) so the
look at these in the members’ section of and the Training Co-ordinator on day to EC can function without being
the IBS web site). Each EC member day matters. Tact and diplomacy are an overwhelmed by the detail. It has been a
automatically becomes a Director of the advantage! The Vice-Chairman has all the long-term goal to have each member of
Company for legal purposes, but has no same skills, and basically stands in for the the EC take on responsibility for a
financial risk other than £1 in the event of Chairman in the latter’s absence. particular area of its work (eg. meetings,
the Institute being wound up – so no The Secretary takes the minutes of publicity, recruitment, etc). The intention
worries about personal liability if that meetings and keeps the minute book. is not that such roles should be
happened. According to the Articles only Consequently, he or she needs to attend responsible for providing or organising
Full Members can be full Executive the majority of EC meetings in person these things directly, but rather that
members, and the Committee has the during the year. The Secretary will also someone is keeping a watchful eye on a
power to co-opt anyone at any time as it fully contribute to the EC in their own specific area and ensuring that people
sees fit. Although co-opted members can’t right. who have volunteered to do such work
vote on any issues that might require it, The Treasurer acts as the bookkeeper have the support to do so.
they certainly do get to express an of the Institute and will do a monthly So, how about it? If you want to know
opinion and influence the running of the reconciliation of the finances for the EC’s more please get in contact with any
Institute. The EC has a formal meeting information. The Treasurer will also member of the EC (their details are on the
one evening a month, usually in west or prepare the end of year accounts and website) or contact Malcolm Johnson
central London and lasting around 3 supporting documentation to send to the (details on page 3) and he will pass on the
hours. However, you don’t have to be official Auditors. This process has been message and get someone to contact you.
based in the South East as we have a carried out on spreadsheets up until now,
telephone conference facility and you can but we are looking at ways to get onto a John Sullivan
simply dial in – as some EC members more automated, IT-based process in the
already do. Outside of meetings, the EC first quarter of 2009. The time
uses an e-mail reflector facility, just like commitment for this post should be a
IBSNet, to carry on with day to day maximum of 10 hours per week (but
business. Where possible smaller groups might be a little more at the end of “Line Up is the most authoritative, informative,
of people take tasks away to bring a the year when the accounts are trustworthy and educational publication I receive.”
conclusion or report back to the main due in). Nick Roast – FEL Communications
Committee so that only those involved in

21
a project or issue need get directly

22 LINE UP Spring 2009


IBS NEWS

IBSnet Report
John Grove MIBS, IBSnet Administrator, summarises some recent IBS email forum threads.

W
e have just under 500 subscribers other local conditions such as customs and November when a new member was doing
who read and contribute to the security. his first 35mm job, recording to a four-
IBS’s online forum, IBSnet. This channel Sound Devices 744T. He’d been
email-based discussion group has been Equipment Experiences instructed that the rushes were being
running now for thirteen years, covering a Discussions on equipment are always very delivered to the Avid editor on DVCAM tape.
vast range of topics...mostly about sound! helpful in the forum. Contributors will have The problem in his case was that his rushes
We have countless knowledgeable people in different interpretations and experiences of contained four tracks, and the DVCAM
our midst, many of whom appear to be new products and how they might be used. rushes could only take two. Fortunately there
insomniacs. They are living or working in It’s not always good news either – like the were several well-versed experts on the
different time-zones, answering from home decision by Apple Mac not to incorporate forum – one from location and two more
or business computers, using Wi-Fi in hotel FireWire interfacing in their new MacBooks. from post – who managed to resolve the
lobbies, or even hand-held devices standing However, Ian Richardson confirmed that the matter online within one Sunday afternoon!
in the middle of a field! ‘new’ MacBook Pro does have FireWire 800 Another member got into a spot of
As a lot of IBS members are freelance, – so you’ll just need an 800 to 400 cable. bother trying to re-record some vocals that
any ‘heads up’ on new tax schemes are of Hugh Robjohns pointed out that Apple has were originally tracked in Pro Tools. Not too
interest, and we managed to sort out the announced its intentions to release future much of a problem normally, except that he
implications of the new UK VAT rates machines with the new USB3.0 spec. now only had access to Logic 8. Within ten
quicker (and cheaper) than we might have The problem of mains hum on playback minutes, Jerome O’Donohoe came along
by using an accountant. A great many equipment returned to the forum, in relation with a solution – export the Pro Tools
problems relating to employment and to using laptops for playback. It was agreed session as an OMF (assuming the DVToolkit
business finances have been resolved that feeding the output into the mixer via a or OMF options have been enabled) which
through discussions on IBSnet including DI box with the earth lifted seems to be the can then be imported into Logic.
contracts, cancellation fees, mileage claims, easiest way to solve this particular problem. Over the past few months we’ve also
tax planning – all the kind of things any self- Numerous products were suggested – Nick had discussions as far ranging as clicking
employed person might encounter, but with Ware strongly recommended the Edirol hard drives, mic stands, equipment for sale
help specifically from the point of view of FA-101 8in / 8out FireWire unit. Others (including two Fisher Booms!), a new CD
someone working in our unique business. mentioned that CPC do a very cheap USB format from Sony called ‘Blu-spec,’
IBSnet sees regular updates on the device that’s reliable too. Chris Woolf was preferences for Loudness meter needle
availability of radio microphone frequencies very quick to mention his extensive article colours, much discussion about the many
around the world, and there is an online on the causes of electrical hum in this very new flash card recorders on the market,
reference on the IBS website. However this magazine entitled Ho Hum (April-May 2008 recording explosions, waterproofing radio
is no substitute for knowledge from edition – available in the online archives at mics, and how to obtain a press pass. And at
someone who’s actually been there recently. www.lineup.biz). the end of December we found ourselves
In the past few months we’ve had requests The subject of workflow crops up fairly chatting to IBS member Julian Gough who
and answers concerning the use of radio frequently. The journey to post varies gave an insight into the fact that he would
microphones in Ghana, the Middle East, the considerably, and sometimes even actually be responsible for the bongs on New
United States, Nigeria and Spain. Put a pin in production teams are not altogether clear Year’s Eve on BBC1 this year. Without doubt,
the map, and there’ll probably be an IBS how it should be – so it’s reassuring to talk it one of those ‘sound moments!’
member who has been there! And the same over with other members of this group
contributors can often pass on advice about beforehand. One such case occurred in
© EVI AUDIO GmbH

Bosch Communications Systems · Headquarter Europe, Africa & Middle-East · EVI Audio GmbH, Hirschberger Ring 45, 94315, Straubing, Germany · UK: Telex Communications (UK) Ltd, Phone: +44 1603 454555, Cell: +44 7798 651442, Fax: +44 1603 458374

LINE UP Spring 2009 23


IBS NEWS

IBS Code of Conduct


The IBS Code of Conduct has been drawn up by the members on behalf of the members, and will
be reviewed annually by the Executive Committee. ends of the sound production process.

1. Members shall, at all times, conduct Committee promptly, and to provide such 13. Members shall inform their employer or
themselves with integrity in such a way as information concerning the conviction as client of any conflict or potential conflict
to bring credit to the Institute. the Institute may then require. This rule that may exist or arise between their
2. Members shall keep their knowledge and does not apply to a conviction for a personal interests and the interests of their
skills up-to-date through continuous motoring offence for which no term of employer or client.
professional development, and seek to imprisonment (either immediate or 14. Members shall not without proper
broaden and deepen that knowledge suspended) is imposed, or an offence authority disclose any confidential
throughout their working life. Members which is regarded as ‘spent’ within the information concerning the business of
shall also encourage those working under meaning of the UK Rehabilitation of their employer, or any past employer, or
their supervision to do the same. Offenders Act 1974 or equivalent legislation any client for whom they have acted.
3. Members shall not undertake professional elsewhere. 15. Members shall not offer improper
tasks and responsibilities that they do not 9. Members shall not use post nominals to inducement to secure work, either directly
believe themselves competent to discharge. which they are not entitled. Neither shall or through an agent. Neither shall they
4. Members shall accept personal they use the IBS logo, post nominals to improperly pay any person, whether by
responsibility for all work done by them, or which they are entitled, or other facilities commission or otherwise, for the
under their supervision, or direction. provided by the Institute to imply that they introduction of such work.
Members shall also take all reasonable steps are acting on behalf of, or with the
to ensure that persons working under their authority of, the Institute, except when In this Code of Practice and unless stated
authority are suitably equipped and conducting IBS business as authorised by to the contrary, ‘member’ means a
competent to carry out their assigned tasks. the Executive Committee. member of any category and, except
5. Members whose professional advice is 10. Members who are called upon to give where inconsistent with the context, words
not accepted shall take all reasonable steps: an opinion in their professional capacity implying the singular shall include the
(a) to ensure that the person overruling shall, to the best of their ability, give an plural and vice versa, and references to
or neglecting that advice is aware of opinion that is objective and based upon one gender shall include all genders.
any danger or loss which may ensue; the best available knowledge and
(b) in appropriate cases, to inform that information.
person’s employers, supervisors or 11. Members shall actively promote public
client of the potential risks involved. awareness of the best that can be offered in
6. Members shall not, by any unfair or broadcast and related media sound.
unprofessional practice, injure the business, 12. Members shall not make any public
reputation or interest of any other member statement in their professional “Studer and Soundcraft are pleased that
of the Institute. capacity without ensuring that: Line Up has truly ‘come of age’ and congratulates it
7. Members shall at all times take reasonable (a) they are qualified to make such on 21 years of open debate, information and comment
care to limit any danger of death, injury or a statement and on the ever-changing world of broadcast audio.”
ill health to any person that may result from (b) any association that they may Andrew Hills – Studer
their work.
8. Members convicted of a criminal offence
have with any party who may benefit
from the statement is known to the 21
anywhere in the world are required to person or persons to whom it is
inform the Chairman of the Executive directed.

24 LINE UP Spring 2009


INSIDE TRACK

21st Century Transcription


Sound Recordist Ben Livingstone AMIBS describes a modern way to handle the transcription
requirements of a fast turnaround shoot.

I
t is a minor point, but I think I’m not shoot recording some 45, half-hour
alone in loathing audio cassettes and interviews for a show called Iraq Contacts
Commission aired on Channel 4. Given a Ben Livingstone
the semi-domestic recorders that use
head count of up to eight in each interview, Location Sound Recordist
them, with their pop-out connectors, poor
we decided it would be wise to record each Tel: +44 (0)7958 311 480
channel isolation and insulting sound
quality. Unfortunately, transcription microphone separately on an Aaton Cantar,
while also sending the mix to the three Take 1 Transcription
services don’t seem to share this opinion,
Digibeta camcorders plus a Sound Devices Tel: +44 (0) 1580 720 923
and so I find myself using my tired tape
744T. In the few minutes that separated www.take1.tv
recorder all too often.
It is mainly the political shows I work each interview I was able to drag a single
channel of the mix off the Sound Devices BWF Widget
on that want transcripts, partly for their edit
recorder and onto my laptop, to be www.bwfwidget.com
sessions, and partly to feed to the press
before airing on their very quick turnaround uploaded over the Internet to the
– sometimes limited to hours. Often there transcription service (Take 1 Transcription).
is a motorcycle courier waiting to take the
cassette tapes as soon as we have cut at the Timecode Metadata
end of a scene, such is the pressure on time. However, we quickly learnt that uploading created), and automatically places that
This annoys me as it is a waste of money on 100MB .wav files was not realistic on any timecode onto the clipboard whenever
couriers – money that could never find its internet connection we had access to, so playback is paused. This is a thoughtful
way to us – and an enforced use of flimsy I first passed them through BWF Widget to feature that I can only hope is exploited.
technology that can barely handle convert them to MP3 files of about 8MB in Back to the shoot, and once I had
timecode. It is clearly a grossly inefficient size. BWF Widget places the metadata into converted the audio file to MP3, I uploaded
workflow. the MP3’s tag, so that the time stamp the track to the transcribers’ FTP site using
You’ve probably predicted how this appears in the ‘artist’ field which can be Cute FTP, and by the time we were 15
note ends, as the solution is so clear to all of viewed in any player (or by simply hovering minutes into the next interview shoot, the
us – and you can imagine my delight (do the mouse cursor over the file in MS audio from the last interview had already
I get out enough?) when I learnt that it Windows). BWF Widget is very well setup been delivered and they could start
would become a reality. Back in the for transcribers, providing a player that can transcribing down in Kent. Please, let’s not
summer of 2007 I worked on a two week display timecode (even for the MP3s that it challenge a motorcycle courier to beat that!
Clearly I’m not writing this to
tell you how to do it, but more to
reassure you that there is at least
one transcription service
working with 21st century
technology, and so perhaps we
really can forget about audio
cassettes at last. I think the main
thing stopping this approach
from working is the lack of
realisation, amongst producers,
that this way of working really is
a possibility. Surprising perhaps,
since it could save them time and
money. I’ve used the same
technique many times since that
Channel 4 shoot very
successfully, and I hope it saves
you from the dreaded audio
cassette.

LINE UP Spring 2009 25


INSIDE TRACK

Røde NTG-3 ShotGun


Microphone
Hugh Robjohns MIBS takes a look at
Røde’s 416-killer.

A
sk any sound recordist, anywhere in although for the pernickety, it is two grams Modular system and has a much chunkier
the world, which single microphone lighter and 5mm longer. The published mesh design, fits over the suspension via a
best defines their role and their art, technical specifications are also remarkably slot in the usual way before screwing on the
and it’s a safe bet that most will mention the similar, with matched self-noise of 13dB-A end caps. The suspension comprises two
Sennheiser MKH 416. However, in the and maximum SPL of 130dB (for 1% THD). 100mm hoops clamped to a long
current financial climate and where there is Sensitivity is 2dB higher at 31.6mV/Pa aluminium bar, with the mic clips
increasing pressure to minimise costs, at (compared to the 416’s 25mV/Pa), but the supported from four twisted neoprene
more than a thousand pounds the venerable penalty is a greater thirst for phantom bands – very similar to the previous
MKH416 (and its high-end competitors) power, apparently requiring 4.3mA instead generation Rycote windshields. The pistol
appears an expensive investment. There of the Sennheiser’s more modest 2mA. grip mounts to a lower aluminium bar (and
are, of course, less costly alternatives from Frequency and polar responses are almost can be adjusted for balance), while two
the likes of AKG, Audio Technica, identical, although the Rode is fractionally levers clamp the blimp between these bars.
Beyerdynamic, Røde, Sony, and others, but less bright on axis, slightly more extended The removable outer fur feels coarser than
none has offered the same all-weather at the bottom, and arguably a little more the Stroud version, but is fairly easy to fit
robustness of the classic 416... until now. ‘pointy.’ with elastic drawcords and toggle.
Testing outdoors in the recent damp Overall, the system proved effective
Mimicry weather, and indoors above a steaming without any creaks or rattles, although
Røde has been making short rifle mics for kettle (in lieu of a tropical rain forest) I suspect the supplied thick cable
some time, and the NTG-2 was reviewed in demonstrated a consistent, reliable and very transmitted some handling noise. The large
Line Up Nov/Dec 2006. However, the latest creditable performance. Wideband sounds suspension and chunky pistol grip made the
addition, the NTG-3, is the first to employ moving off-axis (such as traffic) exhibited whole kit feel a tad heavy, too. Sonically,
the RF capacitor operating principle outside the same kind of phasey colouration as the the blimp had little effect on the HF
of Sennheiser’s MKH range. This brilliant MKH416, while on-axis discrimination (or although adding the furry dulled things
technology places the capsule in a low- ‘suck’) proved as good. In fact, I doubt few, more noticeably, but practical testing in
impedance RF tuning circuit, making it if any, recordists would be able to tell the recent gales demonstrated the impressive
virtually immune to the effects of humidity difference between the NTG-3 and an efficiency of the system, which was
which can cripple conventional high- MKH416 once it’s inside a windshield. comparable to the Rycote original.
impedance AF capacitor capsule Although many aspects of the NTG-3
configurations. Shockingly, the NTG-3 Dead Cats and its accessories seem curiously familiar,
manages to do it at half the price of the Which brings me neatly to Røde’s there is no denying that this is a good
German standard-bearer. accessories. If the almost clone-like nature quality, effective location microphone
The NTG-3 is supplied in a vinyl pouch of the NTG-3 raised an eyebrow, the system. It may not quite equal the
with a stand clip (and 3/8-inch adapter), a windshield accessories will positively make established benchmarks in all areas, but the
foam windshield, an instruction leaflet, and you squirm! The PG2 Pistol Grip and WS7 substantial price differential will negate
a registration card for the ten-year warranty. Deluxe Windshield will look instantly such concerns for most! It is a bargain,
But the mic itself is further protected in a familiar as a ‘Softie’ look-alike, but they are undoubtedly, but I can’t help wonder if this
classy-looking (if rather over-engineered) well made and proved effective. The pistol copycat approach will challenge the field
aluminium tube with screw caps and O-ring grip feels comfortable to hold (if a little leaders to raise their game, or stifle
gaskets! The NTG-3 looks and feels more heavy), incorporates a neat cable tidy/XLR expensive R&D altogether.
solid and well made than some previous holder, and is provided with two rubber
Røde mics, and I was intrigued to notice suspensions to suit mics of 19-20 or
that pin 1 of the integral XLR connector is 21-22.5mm diameter (swapping them Details
actually swaged into the mic chassis, requires an Allen key which isn’t supplied). Rode NTG3 £468.70
suggesting good attention to screening. Two cable clips at the base of the rubber Blimp £199.13
Indeed, I’m pleased to report that switching suspension are intended for 5mm (or Deluxe Windshield £43.47
on a mobile phone right next to the NTG-3 greater) cables. PG2 Pistol Grip £52.17
produced no nasty noises at all. The Blimp is a full ‘basket and furry’ (All prices ex-VAT)
It’s not only the build quality that stands windshield, featuring the same pistol grip
comparison with the MKH416. This fitted with a 5mm cable and Switchcraft Source Distribution
Australian offering is almost identical in size AAA-series XLRs. The basket, which appears Tel: +44 (0)20 8962 5080
and weight, too with a 19mm barrel – to be larger than the equivalent Rycote www.sourcedistribution.co.uk

26 LINE UP Spring 2009


wo r k i n g o n l o c a t i o n
2007, CBS took over for 2008. Extremely
experienced and impeccably organised,
CBS sent its own team of specialist staff to
ensure the game was produced and
distributed to the exacting high standards
demanded by American armchair fanatics.
“Covering the match in 2007 was an
enormous advantage; I would say it gave us
a 70% head start,” said Bill Morris. “We had
talks with CBS in the run up, and
understood all the jargon unique to the
NFL! It is unlike any other sport we cover.
One of the main differences is that it is
dominated by ad breaks – the TV
production gallery actually talks to the
referee who cues the play between the ads!
Calrec’s Kevin Emmott describes the televising of “CBS sent a whole team: announcers
American Football at the home of British Soccer. and reporting staff, an A1 (Audio
Supervisor) and A2 assistant (to look after

THE CRUNCH
the announcers and effects mix), four
cameramen (out of a total of 12), as well as
graphics and production personnel. CTV
supplied the rest – most of the crew having

BUNCH
worked on the game in 2007.” In the US,
every single NFL game is covered by a
Calrec console – independent research by
the Sports Video Group claims Calrec is

C
runchier than a mouthful of gravel, wide range of LE, accounting for 50% of installed in 48% of US HD trucks. “The A1
the NFL is high-octane, high-impact their annual workload with shows such as was delighted to be using an Alpha as it is
entertainment. In sporting terms it’s the BRITS and the BAFTAs. the same desk he had used for the
about as close to actual war as you can get, “CTV has used Calrec desks in various Superbowl. In fact, he even used his own
except with pumping rock music and versions for over 15 years,” said Morris. “We standard desk setup from his USB stick.
cheerleaders. After the 2007 New York own and operate practically every version US operators tend to use a lot of VCA
Giants vs. Miami Dolphins game, the 2008 from our first S1 (serial number 001), to S2s, groups, and on this show the VCAs were
Wembley clash sold out within 24 hours to Alphas and Sigma with Bluefin desks. ridden pretty hard! The A1 also used a good
a capacity crowd of 83,000 fans to see the Reliability, ease of use and functionality are number of automatic cross-fades using the
New Orleans Saints take on the San Diego consistent features throughout every desk’s GPIO functions, predominantly for
Chargers. Thankfully the rain also held off, incarnation.” The glitz, the glamour and the graphic stings. OB9 has more space than
dispelling the myth to our American cousins grunt of the NFL clash was captured on four the operator was used to with about twice
that London is the wettest place on earth. Calrec consoles, across four of the UK’s the area of any other OB unit on the road in
But despite the relentless aggression leading OB facilities. CTV were present the UK, and is an excellent environment for
and enforced brutality, the television with their flagship OB9 (with a 72-fader monitoring 5.1.”
coverage was planned down to the last Alpha), providing feeds for CBS and the NFL The actual audio coverage easily met
nosebleed. It was, in the words of CTV’s in America, as well as for broadcasters in the high benchmark created last year. The
Business Director Bill Morris, “an extremely Russia, Belgium and France, for Sky and the physicality of the sport is conveyed with a
busy show; very well orchestrated, very BBC. Sky Sports, which broadcast over 125 number of different mics and mixed to
controlled. It’s absolutely awe-inspiring.” live NFL games last season, contracted NEP maximise the impact – both the impact on
When the teams trooped out in November Visions’ HD2 unit (64-fader Sigma with the viewers at home and the actual impact
for last year’s international NFL League Bluefin) to cover the game, and Bow Tie of the players on the field! “The CBS Team
game, CTV were again contracted by the TV’s Unit 2 (48-fader Sigma) was contracted knew how to maximise the sound with a
host broadcaster to facilitate the broadcast. to provide NFL Screens with in-game replay tried and tested format,” said CTV’s Head of
CTV is well versed in both sports and coverage on Wembley’s pitch-side screen. Sound Ian Smith. “They relied on a lot of
light entertainment – covering the broadest The BBC was also on-site with SIS OB’s parabolics with standard Sennheiser MKE 2
mix of programming of all the UK OB Unit 11 (Calrec S2). capsules to capture the crunches when
companies. In addition to Sky cricket, Golf, players collided. The CBS A2 sub-mixer
Sky Boxing, HBO Boxing, Tennis, Bowls, NFL Switchback handled the pitch effects, seated with the
Cross Country, Soccer, Equestrian and The NFL switches network every season, commentators and using a 16-channel desk.
Aquatic sports events, CTV also covers a and while Fox was the host broadcaster in Each of the parabolic operators covered a

LINE UP Spring 2009 27


The CBS NFL presentation team from the Main Outputs. As Morris attests, NFL audio is acquired
CTV’s primary CBS mix was in a completely different way to the staple
Dolby E encoded and sent UK sports, and the NFL comms network
to the US for distribution was also “the most comprehensive and
with channels 7-8 carrying complex I have encountered in a sports
mono programme and operation.” All audio networking used
mono clean effects. The 5.1 Wembley’s substantial permanent copper
signal was downmixed in and fibre cable rig, but the pitch-side runs
the US for the majority of had to be laid. On top of this, the teams had
viewers watching in stereo. their own substantial comms systems for
Sky’s mix was which CTV provided the infrastructure. In
completely independent of addition to the 12 main cameras, each team
the host broadcaster, using also had their own dedicated cameras
a variety of different mixes which they could access in private replay
quarter of the pitch, so that the action
and component feeds from the CTV truck. booths to help develop strategies whilst the
could be captured wherever it occurred.
“We mix our sports for the UK differently” game was in progress! This complex
Each operator had comprehensive in-ear
said Sky Sport’s Operations Manager Keith rigging was achieved by CTV in two-days,
monitoring facilities, combing source
Lane. “We took a full mix as well as a clean with the OB facilities up and running in just
material and talkback from the A2 balancing
effects mix, plus the parabolics and the one day – no mean feat, and testament to
the game effects. An array of additional FX
referee mic.” the meticulous planning between CBS and
mics included two radio mics worn by
The mix on CTV’s Main Output 2 had a CTV in the months leading up to the game.
referees which the A2 used to supplement
more eclectic distribution. “This clean mix The NFL continues to push the
his effects mix. The referee is always at the
was destined for NFL International, NFL boundaries of what is possible in their quest
centre of the action, and his mic could
Production and NFL Presentations, who to place the viewer right in the centre of
capture elements that might be missed by
sold it on to broadcasters all over the world the action. For example, the December NFL
the directional mics.” The final element of
via the international distribution area built clash between the San Diego Chargers and
the effects mix was the 5.1 crowd atmos.
for them,” said CTV’s Bill Morris. “All the Oakland Raiders was broadcast in 3D-HD,
Whereas Sky uses a SoundField mic within
feeds were in SD, HD and PAL 4:3, with and shown in movie theatres in New York,
the stadium to create a surround bed,
stereo or embedded 5.1.” Boston and Los Angeles. NFL UK claimed a
standard practice for all CBS American
The BBC, broadcasting the game live for 40% increase in British viewing of the sport
football games is to derive the surround
the first time after 2007’s edited highlights, after 2007, and there are even whispers of
mix from front and rear stereo coincident
took the full 5.1 mix from the truck’s main the NFL scheduling two London fixtures in
pairs.
output for live transmission, and mixed that 2009. However it is covered this year, the
New for 2008, a directional mic was
with their own presentation, but also took a increase in awareness is good news for Sky,
added to the SkyCam. Devised by the chap
clean effects mix, clean commentary, and which already broadcasts most games, and
who patented the Steadycam, SkyCam is a
the PA feed and crowd mics from the Sky is good news for the NFL, too. But it is great
computer-controlled, gyroscopically
truck. The Bow Tie truck just took the news for those of us who enjoy watching
stabilized flying camera system suspended
clean effects feed, along with some innovative, exciting and superbly
on cables with four control motors. With
additional camera feeds for their contract orchestrated sports broadcasts, with or
free reign over the field of play, the SkyCam
with NFL Screens. This was used locally for without cheerleader routines.
makes sports coverage look like an Xbox
replays on Wembley’s giant screens, mixed
360 demo. At Wembley, CBS attached a mic
with additional PA from the Stadium.
to the SkyCam and used it to access any
conversation on the pitch. Players gone into
a huddle? No problem. Discussing tactics?
We know about them before the play.
(Thankfully it seemed not to affect the
performance of the Saints, who suffered a
stoppage almost exactly 12 months
previously in a game against Seattle
Seahawks, when the SkyCam made what
has been referred to as a ‘controlled
descent’ onto the field as a result of human
error. No-one was hurt.)

Multiple Mixes
In the CTV unit all the effects were mixed
with commentary, music stings, graphic
effects and audio beds to run under
announcers – all cued up using SpotOn, the
first time the American A1 had used it. Sky
took some of these audio sources directly
from the desk via MADI and AES discreet The spacious sound gallery
feeds, but the BBC took the full 5.1 mix in CTV’s OB9 truck

28 LINE UP Spring 2009


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W
orking as a freelance sound band) from an Australian company, I was looking forward to taking advantage
recordist is an amazing Ricsonix. Being relatively high in the of the 744T’s automatic Record-Run mode
experience. I’m sure we’ve all spectrum the wireless link would be more which puts the drive into record when it
endured the highs and lows of this rather directional and as a consequence I was receives a timecode signal on its 5-pin Lemo
tempestuous lifestyle, and it is not always advised that it may not cope quite so well in socket, and Ian took me through the
easy to balance commitments, friends and situations where the camera and wireless operation of this.
family. However, in my relatively short receiver were in one room and the mixer I also decided to take something that
experience I have always acknowledged and transmitter were in another separated I could use with Free-Run timecode if
that the privileges we sometimes by walls. However, bearing in mind it necessary, and I opted for the Denecke SB-T
experience far outweigh any negative would be well away from the normal Tri-Level Sync generator box, which I’d
aspects; filming onboard the QE2 on its final marine frequencies it was a compromise used before. I felt this would give more
voyage from Southampton to Dubai for the I was willing to try. I was also attracted by flexibility on location if I ever needed the
BBC’s Timewatch strand being one of them. the fact that I could conveniently manage hard drive operating on its own without a
Thinking about the equipment setup the wireless link using just one stereo stereo link to the camera, whilst also giving
I would be using during the voyage, transmitter and one stereo receiver, instead me another timecode sync system should
I suggested to the director Mike Wadding of the mono pairs I normally have to use. one fail onboard in the middle of the ocean.
that being onboard a potentially pitching As for microphone choice, I had the
and rolling ship with many passengers, Post Preferences workhorse Sennheiser MKH416 as my main
rooms and corridors, the use of separate The next thing to think about was the mic, but decided that in addition to having
sound would be the preferred choice. He timecode requirements, and I made another mic as a backup it would be
agreed and I decided that the most suitable enquires about the post-production prudent to have a good stereo mic as well.
product would be the ever-reliable Sound preferences. I was quite happy to supply The Sennheiser MKH418 seemed perfect
Devices 744T hard disk recorder which I’d the numbers they wanted and suggested the because it was similar to the MKH 416 if
used on many occasions. Turning my common routes of Free-Run or Record-Run I needed to use it as a backup, but could
attention to the radio link needed to timecode. Being essentially a single camera also be used as a stereo mic which, of
transmit audio from my mixer to the shoot, production preferred record-run course, I made full use of. The remainder of
camera, I was aware that many marine timecode, and although I explained that my kit consisted of Audio Ltd 2020 radio
vessels use VHF frequencies and was using record-run timecode via a radio link mics, Entel HT446 walkie-talkies, a Zoom
concerned that my Audio Ltd 2000 diversity might be prone to greater unreliability – due H4 handheld audio recorder, and an Apple
radio mics that I normally use for this to loss of transmission/drop out – they were Macbook.
purpose might encounter interference quite happy to take this into account. In the The whole lot fitted into two big Peli
problems. So I had a chat with Nigel end I used a Black Box timecode cases: a 1620 and a 1650. It was the first
Woodford at Richmond Film Services who transmitter/receiver kit courtesy of Ian time I had ever taken the 1650 on a job that
suggested some new technology I could Coles of Visual Impact, who kindly loaned involved flying and I was concerned that it
take advantage of – a new stereo wireless me the kit and ‘saved my bacon’ whilst my might not be accepted by the airline for the
link using bluetooth technology (2.4 GHz Ambient Timecode tx/rx kit was on order. flight home because it was too big. So

QE2: DOCUMENTING THE


FINAL VOYAGE

Paul Miller describes how he met the challenges of filming the end of an era.

30 LINE UP Spring 2009


The author, fully equipped

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I sought special dispensation from British Airways who advised that


they will make exceptions for bulky media equipment, as long as
you let them know beforehand.
I had planned to capture and store audio on several different
machines so that there were plenty of backups. Firstly, I had the
stereo audio being transmitted from my mixer to the Sony 450
camcorder using DVCAM tape stock. If the link failed at any point
I had it all backed up on the 744T which recorded simultaneously
on both to the internal hard drive and an 8GB Compact Flash card.
In this way if the drive crashed for any reason or developed a file
corruption there was, perhaps, the chance to retrieve the audio
from the CF card (which has no moving parts to go wrong). All the
audio from the trip – 17 days in total – was stored comfortably on
the 744T’s 80GB internal hard disk, and every evening I transferred
the day’s audio rushes to the Apple Macbook., I also duplicated the
files to a separate Maxtor external hard drive. In total I had four
separate storage mediums/devices to call upon in the event of a
problem.

All Ashore Who’s Going Ashore


It wasn’t long before the 11 November final departure date was
upon us. This would be the last time the QE2 sailed away from
Southampton, the place it had called home for decades. As I awoke
that morning I heard the newsreader announce “The QE2 has run
aground on its final entrance to Southampton.” Michael Gallagher,
the QE2’s PR representative, very fondly interpreted this as the
ship’s way of letting us know she didn’t want to leave the UK!

LINE UP Spring 2009 31


The Ricsonix stereo radio link transmitter
For my part, I had to make sure that
I could capture the audio from various
places around the ship at a moment’s notice
without too much re-plugging and faffing
around. I’d already solved the requirement
of recording the ‘tannoy’ announcements
with the Zoom H4’s auto-record facility, but
there were also two other important PA
systems I needed to be able to tap into
without warning. These were in the Grand
Lounge and the Queen’s Room, where
speeches or bands could be heard – and we
often entered at a moment’s notice.
Amanda Wilson and Rodrigo Thomaz led
the Entertainments Team responsible for
these rooms, and they allowed me to plug a
cable into each mixer’s auxiliary master
output, one in the Queens Room, the other
in the Grand Lounge. I was also allowed to
create my own mixes on the appropriate
aux sends, and by leaving the cables
permanently connected throughout the
We set off from the dock and were whilst remaining insensitive enough to avoid duration of the trip, I could walk into the
treated to a fantastic fireworks display, and recording low level line activity. room, plug in an Audio 2020 radio mic
a flotilla of all manner of vessels following All in all, the kit worked well together transmitter to the end of the cable, and set
alongside. I could witness the obvious and I was impressed with the Ricsonix the balance as I needed. This arrangement
fondness the people in their little boats had system which provided trouble-free allowed me full control with the ability to
for the QE2. They all sounded their horns operation throughout the trip. I particularly fade the PA audio into the mix immediately
and sang on deck, waving at us as we left liked the fact that the receiver has distinct when called for, whilst also permitting me
harbour, and the QE2 replied in bargraph meters for each channel, giving to work closely with the camera, PSC style.
acknowledgement with the might of its instant visual feedback as to whether a signal Once this setup was rigged and I knew the
distinctive and very bassy horn. As the is being received at the camera. One minor radio frequencies were reliable I was much
flotilla disbanded, the QE2 gave one last criticism I would have is that the casing is happier at moving between the rooms,
blast and we were officially ‘at sea.’ constructed from plastic, as are the antennas knowing that I could just plug in and go.
During the next few days we began to which I considered rather clumsy because Surprisingly, it wasn’t long before our
become familiar with the ship and settled they were totally inflexible apart from the final day of the voyage came and we had
into a sort of routine. One of the key things one-way articulated joint at the base. As a arrived at port Rashid, in Dubai. After
I wanted to capture was any result, the rather long aerials couldn’t bend filming the handing over of the ship to its
communication between the bridge and easily and the plastic aerial casing was very new owners, and some GVs of the empty
engineering, and any ‘tannoy’ easily ripped off by on board security decks, it was time for us also to leave and
announcements to the public. I spoke with scanners on entering and exiting the ship! make our way back to the UK.
the Chief Electrician who agreed that I could A makeshift aerial casing made from lighting We had experienced one of the last
have a look in the Electricians Workshop gel rolled in a cylindrical fashion solved the great ocean liners, representing not only the
room where many of the amplifiers for the problem. end of an era but the conclusion to many
public address and communication systems very personal stories of both passengers and
were kept. I discovered that I could connect Filming the Voyage crew. Here was a ship that was visualised,
my Zoom H4 recorder using a standard I had to be as flexible as possible with my kit designed and constructed to cater to
headphone output, and by powering the because, although there were passengers with the height of luxury in
machine from an AC power supply and predetermined elements to film, there were mind, unfaltering in its mission to achieve
setting it to ‘auto record’ any also many aspects of the QE2 that we could this regardless of the often flaky economic
announcements triggered a recording. This only learn about whilst actually on the climate that it would survive and even
left me free to get on with the filming voyage – so we could find ourselves thrive in. There was no cost-cutting here,
elsewhere, safe in the knowledge that my anywhere on the ship, with anyone, at any no half-measures, no compromises and it
H4 was working its little socks off when moment. Michael Gallagher (ship’s PR) was reflected in a ship that stood the test of
required. Initially, though, I had the auto would meet us every morning with new time, not only physically but also
record threshold set too low which meant leads, stories and a selection of possible economically with a cheerful demeanour to
that crackles were enough to trigger a contributors, and along with Michael boot! Whilst I was saddened that we were
recording – the H4 tirelessly created many Wadding (Director) and James Gray relinquishing a golden slice of history,
files, of which most would be unnecessary. (Assistant Producer), would devise a rough I could not help but feel privileged and
However, after a little trial and error schedule for the day – making sure there even proud that we were given the
I managed to set the threshold to an ideal was enough flexibility built in just in case opportunity to experience her grace and
level such that it always began recording fast things changed rapidly (which they often style for one last time.
enough to capture that first vital word, did).

32 LINE UP Spring 2009


TA L K I N G P O I N T S

NEWS
40 Neumann phones in home recording Sound Devices designed specifically for multi-
studios, voice training for vari- track location productions and
Workshops at ous musical styles, optimal Wins Technical features a significant expansion
Prolight+Sound monitoring, and measures for Achievement of input and output capability:

2009
improving room acoustics. The
recording acoustic guitars and
Award eight full-featured microphone
inputs and twelve tracks of
guitar amps workshops given by recording – all in a design that is
Peter Weihe, perhaps the best- compact and lightweight.
known studio guitarist in To accommodate the larger
Germany, promise to be particu- data storage requirements of
larly interesting. Seminars will multi-track recordings, the 788T
be held on all four days of the comes equipped with a 160GB
trade fair, from 0945 to 1800, internal hard-disk drive. This
and the complete programme on-board storage provides up to
can be found at www. 30 hours of 8-track, uncom-
The Berlin microphone manu- neumann.com. Participation is pressed 24-bit audio recording
facturer will be offering trade fair free and no pre-registration is The Sound Devices 788T digital of industry-standard Broadcast
visitors a program of 40 short required. recorder has won the Cinema Wave files.
seminars focusing on ten differ- Appropriately, at this year’s Audio Society’s (CAS)
ent topics, all delivered by Prolight + Sound Neumann is Technical Achievement Ard in Sound Devices
experts, at its stand (C30 in Hall presenting the KMS 104 plus, the production category: a www.sounddevices.com
4.1). The Neumann workshops an enhanced stage microphone repeated honour as the 744T
will cover not only general ques- that is especially optimised to won the same award back in Shure Distribution UK
tions concerning the use of meet the requirements of rock 2006. These awards recognise Tel: +44 (0)1992 703 058
microphones in the studio and and pop performances. innovations in recording tech- www.shure.co.uk
on stage, but also specialist nologies, including both hard-
topics such as the amplification Sennhesier UK ware and software products that
of choirs, the creation of band Tel: +44 (1494) 551 551 are used by sound mixing pro-
Pdemos, the use of digital micro- www.sennheiser.co.uk fessionals. The 788T is

The New Lawo mc 56 2


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The new mc 56 mixing console from Lawo offers superb
2
So it is hardly surprising that with these and many other
performance in daily operation, with well thought-out design and features, the mc256 is rapidly establishing itself as the benchmark
intuitive user guidance. A console that features reduced control mixing console for Outside Broadcasts and OB vehicles.
density and, in particular, a compact frame construction.
Yet, with plenty of concentration on the ‘basics’, the new 256
Lawo mc256 in the UK by Preco Broadcast

PRECO
console conforms fully to the proven mc2 series in terms of quality
and performance. The mc256 is based on current Lawo HD core
technology, and guarantees maximum reliability, functionality

25
and DSP power. EXCELLENCE IN BROADCAST PRECO
19 8 3

www.preco.co.uk T: 020 8644 4447 F: 020 8644 0474 E: info@preco.co.uk


2008

THE UK’S LEADING DISTRIBUTOR OF BROADCAST EQUIPMENT SUPPLY • INSTALLATION • SYSTEM DESIGN ANNIVERSARY

LINE UP Spring 2009 33


NEWS
IBS Teams with audio professionals working providing professionals with cut- I nstitute of Broadcast Sound
within all aspects of sound pro- ting-edge media controllers that Tel: +44 (0)300 400 8427
Euphonix Artist duction and post production, not can be used with virtually any (Option 1)
Series just the broadcast environment. audio or video application, any www.ibs.org.uk
The two-month long promo- time, any place.”
tion, running throughout March The Artist Series uses the Euphonix Europe
and April, will provide all new high-speed EuCon control pro- Tel: +44 (0)20 8561 2566
customers of the Euphonix Artist tocol, developed by Euphonix, www.euphonix.com
Series with the opportunity to which enables simultaneous
join the IBS, free for a year, control of multiple applications
representing a saving of up to and workstations over Ethernet. Calrec and
£75. New members will need to
register their Artist Series and
This allows comprehensive con-
trol over Pro Tools, Logic Studio,
Snell & Wilcox
Euphonix Europe has provide the IBS with proof of Nuendo and many more soft- Announce
announced a joint initiative with
the Institute of Broadcast Sound
purchase within the promotional ware applications, providing Joint Initiative
period. unmatched flexibility and
(IBS), aimed at increasing “The IBS represents to me enabling the instantaneous
awareness of the organisation the benchmark in dedication, switching between multiple Mac
and the benefits it offers today’s experience and professionalism workstations – perfect for pro-
audio professionals. within the UK pro-audio market. jects involving dedicated audio
Membership of the IBS is Euphonix has always been a and video workstations.
widely recognised within the company to innovate and look to Furthermore, the small footprint
broadcasting industry as a mark the future, and to join with the of the MC Control and MC Mix
of competence and profession- IBS to reach out to the future of allows these media controllers
alism, and its training initiatives the industry is a privilege,” to be integrated easily into any
are increasingly highly regard- stated Mark Hosking, Euphonix studio, fitting perfectly between
ed. With the changing technolo- Sales Manager. “The power and a computer keyboard and Snell & Wilcox has implemented
gies and delivery media now flexibility of the Artist Series is screen, or in a central location Calrec’s remote protocol to
available, the IBS has grown to the perfect match for today’s on a larger console. enable remote control of fader
become an important forum for diverse workflow demands, modules on any Calrec digital
!

Shotgun Mics: The killer package


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“After just a few weeks of use, I’d rate the “I was sufficiently impressed to buy the NTG-3 and “The winner of these shotgun shoot-out tests is the NTG-3
NTG-3 as an essential bit of kit.” Audio Media price was not the determining factor.” Resolution and for its price it is an amazing piece of kit. Focus

Exclusively distributed in the UK & Ireland by Source • www.sourcedistribution.co.uk/rode • T: 020 8962 5080

34 LINE UP Spring 2009


NEWS
console by its Kahuna SD/HD SpotOn configured for 5.1 or 7.1
surround sound.
distortion, and compression-
multi-format production optimised performance charac-
switcher. The protocol gives Steps Up teristics to match the acclaimed
Kahuna operators seamless Sigma Broadcast AE22 nearfield monitor.
control of up to 192 faders on Tel: +44 (0)870 350 6820 The AE ProSat is a four litre
the Calrec digital console to www.sigmabroadcast.com active closed box monitor
select any number of audio employing a 130mm bass/mid
channels and provide individ- driver and 25mm ring-radiator
ual control of faders, fade rates Acoustic high frequency driver with ampli-
and PFL. This integration
allows a single operator to
Energy fiers rated at 50 and 25 Watts,
respectively. Third-order
control both the audio and Launches Bessel-function active filters
video levels, which can min- Compact integrate the drivers at 2kHz.
imise staffing for smaller pro- The ProSat offers both balanced
ductions, significantly reducing Sigma Broadcast is currently Monitoring and unbalanced inputs along
production costs. The develop- beta-testing the next major System w ith i np ut s e ns iti vity, lo w
ment follows Calrec’s 2008 update for SpotOn which is due frequency extension and high
collaboration with Ross Video, to be released in a few weeks frequency equalisation options.
which resulted in the integra- time. The update will include The AE ProSub comprises two
tion of Calrec consoles with many new features, such as 250mm anodised aluminium
the Ross Overdrive system. microfades, a timecode genera- cone drivers in a 34 litre closed
Calrec Audio has also tor and timecode trigger lists, box, powered by a 200 Watt
secured an order for three 48- FLAC and Ogg file decoding, amplifier and mounted in
fader Sigma with Bluefin con- auto topping and tailing of audio mechanical opposition to min-
soles from Spanish state when loading tracks, 5.1 imise vibration. The ProSub
broadcaster TVE (Televisión surround panning control, and offers low frequency extension
Española). The desks are direct CD burning. to 25Hz and incorporates both
bound for three newsrooms Sigma Broadcast’s recent balanced and unbalanced
which are being rebuilt and re- sales of SpotOn include CBC in inputs along with 70Hz or 100Hz
equipped at TVE’s broadcast Canada and UBF Media in the second-order high pass filtering.
facility in Torrespaña, Madrid. Netherlands. Gearhouse The ProSub is also suitable for
All three newsrooms and Broadcast Rentals in the UK use with the AE22 or AE1
desks will be linked by a and MNET television in South Acoustic Energy Pro has Classic monitors.
Calrec Hydra audio network. Africa have both purchased sys- expanded its product range by The ProSub and ProSat will
Work on the three Torrespaña tems fitted with the Audio introducing the ProSat and be available through Acoustic
newsrooms is due to be com- Science ASI5044 soundcards ProSub professional compact Energy Pro’s worldwide distribu-
pleted later in the Spring. (pictured) which Sigma active monitoring system. The tion network during the first
Broadcast distributes. The 5000 Pro Sat and Pro Sub join the quarter of 2009. The suggested
Calrec Audio series soundcards are proving existing AE22 and AE1 Classic UK retail prices are £375 for the
Tel: +44 (0) 1422 842 159 increasingly popular with broad- in using closed box bass load- ProSat and £625 for the ProSub
www.calrec.com casters, including Sky, 021, ing. With thermally bonded, (prices exclude VAT).
Telegenic, Visions, CTV, and black anodised aluminium bass
the BBC due to the high perfor- and bass/mid driver cones, the AEPro
mance. Specifically, the 5044 ProSub and ProSat are Tel: +44 (0)1285 654 432
interface card provides four designed to offer surround and www.acousticenergypro.com
stereo analogue outputs, compact ‘desktop’ monitoring
mirrored in AES or they can be users similar time domain,

Features
• 5.1 Surround Sound Channel Identification
• OB Truck, MCR & Studio applications
• BLITS can run continuously or just once
• Conforms to conventional meter layout
The BLITS tones are available in the latest release of software from
DK-Technologies, software issue 5.3 and above and is compatible
with all MSD600M++.
“Solutions in Audio & Video”
Email: info.uk@dk-technologies.com • Web: www.dk-technologies.com • Tel: +44 23 92 59 61 00 • Fax: +44 23 92 59 61 20
DK-Technologies (UK) Ltd, Coles Yard Barn, North Lane, Clanfield, Hants., PO8 0RN

LINE UP Spring 2009 35


NEWS
JoeCo out needing time-consuming file
conversions or transfers. In
Coloured events,” continues Hooper. “We
now use white windjammers
Launches addition to 24 channels of Visions From near Sony adverts, green near
Blackbox 24bit/96kHz recording in a 1U Rycote Heineken ads, red for Vodafone
box, the Blackbox Recorder also ads (pictured), and blue for
Recorder has extensive synchronisation Ford. The results look great, and
facilities and a keyboard inter- the event sponsors love them,
face to enable file renaming. as there are more objects on
Clocks can be synchronised to screen harmonising with their
an incoming AES3 or S/PDIF corporate colours, not detracting
signal, whilst LTC provides time from them.”
stamping of recorded files. A Rycote has now supplied
MIDI input supports both MTC NEP Visions with two sets of
synchronisation and MIDI coloured windjammers, each for
machine control (MMC), and the use in one of Visions’ various
unit can also accept standard large-scale HD OB vehicles.
Sony PII protocol 9-pin com- “Just because our windjammers
mands. A footswitch facility can UK Outside Broadcast are supplied in standard-issue
be used to mark the intervals specialists NEP Visions had a Rycote grey by default, doesn’t
between songs in a live set, cre- problem: at many of the large mean they all have to be that
Almost a year after relinquishing ating separate files for each sporting events they were cov- way,” explains Gabby Davies,
the reins at SADiE, the company song. There is also a head- ering for Sky and other broad- Rycote’s Sales and Marketing
he founded two decades ago, phone output for individual mon- casters, their beautiful wide Manager. “If you could benefit
Joe Bull, former managing itoring of each input, as well as shots of pitches, stadia and from a special run in different
director of Studio Audio & Video to provide a rough ‘mixed’ output track events were being marred colours, contact us.”
Limited, is back in the music for confidence checking. Eight of by an abundance of shaggy
scene. His new company, the analogue inputs are looped grey shapes: Rycote wind- Rycote Microphone
JoeCo Limited previewed its through to auxillary insert points shields, to be precise. Windshields
new Blackbox Recorder at the allowing external equipment to “We couldn’t do without our Tel: +44 (0) 1453 759 338
NAMM Show this January. The be placed into the live signal Rycote windshields, but at some www.rycote.com
new product is a high perfor- chain. events, there seemed to be an
mance multitrack capturing
device designed for the 21st
The user interface has been
designed for ultimate simplicity
awful lot of them on camera,
especially in our wide-angle
SBES2009
century and is aimed primarily at allowing the engineer to concen- shots” explains NEP Visions’ Meets the
the live music market. It records trate on the live mix secure in the
knowledge that the Blackbox
Deputy Head of Sound Neville
Hooper. “So we wondered if
Recession
24 channels of hi-res audio
directly to a USB2 drive and can Recorder is capturing the perfor- Rycote might be able to custom- Challenge
be plugged directly into the mance. Following extensive produce them in colours that
insert points on any console, field tests the Blackbox would blend in a bit better.”
enabling it also to provide virtual Recorder is expected to be Not only were Rycote happy
sound checking facilities. available from April 09. to custom-manufacture some
Recording to standard Windjammers in a different
external USB2 disks formatted JoeCo Ltd colour, they suggested supply-
with FAT32 in Broadcast WAV Tel: +44 (0)1223 911 000 ing NEP Visions with a variety of
file format, the material can be www.capturingperformance.com tones. “We then realised we
used immediately in any digital could potentially match colours To meet the challenge of these
audio workstation (DAW) with- to suit the sponsors at our difficult times SBES2009 will

36 LINE UP Spring 2009


NEWS
become a one-day event, taking ensured that draught beer will
be back in the bar at SBES2009.
Orbital Sound’s ment-sector products, and this
place on Tuesday 3 November first European showing for the
2009, at the NEC Pavilion, With sterling weak against the European compact DX121 follows its
between 1000 and 1800. This dollar and the euro, travelling to Debut for HME worldwide launch at the
will be a welcome change for the bigger overseas shows can beginning of February.
many, as exhibitors and visitors be a costly exercise. Based in Digital Comprising a BS121 base
alike will once again be able to the centre of the UK the SBES Intercom station and a charger for a
meet and greet friends old and has become the ‘not to be BAT41 battery pack, the DX121
new on the same day at this missed’ event in the sound system is designed for maximum
specialist niche event. Point broadcast industry’s calendar, flexibility, with applications in pro-
Promotions, organisers of and will have all the major man- duction studios and control room
SBES2009, has made this deci- ufacturers and suppliers repre- operations, as well as for live-
sion against the background of sented under one roof. Visitors event crews. The system
slow markets and difficulties for will be able to see, hear and exhibits the same clear-thinking
many businesses in our touch equipment and services design and bullet-proof technolo-
industry. for all types of sound broadcast- gy as the rest of HME products,
Holding SBES on just one ing: radio, TV sound, post- and features an integral charger
day has advantages for visitors production, internet radio and for remote Communicator batter-
and exhibitors. Visitors can be audio streaming, community Orbital Sound, the leading ies to allow the unit to continue to
sure that all their old friends and and hospital radio, student and sound and communication sys- operate during a power outage.
colleagues will be there on the school radio and, of course, tems specialist for the broad- In addition, its compatibility with
same day. For exhibitors it sound recordists. cast, event and theatre markets, HME’s DX200 and DX100 digital
means reduced costs and this unveiled the new DX121 One- wireless ranges provides an
too may attract some who have SBES2009 to-One digital wireless intercom extremely cost-effective route for
found the cost of a two-day www.sbes.com from HM Electronics (HME), at expanding the system and
show too high, thus making the the Broadcast Video Expo 2009. enables customers to get the
event even more exciting for vis- Orbital is the exclusive UK maximum from their comms
itors. Point Promotions has also distributor for HME’s entertain- inventory.

LINE UP Spring 2009 37


NEWS
The DX121 provides flexible Glensound utor network is indicative of

ADVERTISERS
wireless connectivity for studio broadcasters’ desire worldwide
or OB environments, simply Floats High to have Glensound’s products
plugging into a standard inter- available and supported locally. INDEX
com station or belt-pack headset I expect to be able to make
jack, or connected to a matrix announcements of further distri-
intercom system via its four-wire bution deals this year as the
interface. It enables wireless increase in world broadcasters’ AON ....................................... 15
intercom links to be established interest will mean that local dis-
quickly and easily, extending an tributors will want to offer AUDIO TECHNICA ............... 2
operator’s range by up to 300 Glensound’s products.”
metres. An assignable relay clo- CALREC ............................. OBC
sure offers further versatility, Glensound
allowing the appropriate matrix Tel: +44 (0)1622 753 662 DK AUDIO ............................. 35
channel to be selected from a www.glensound.co.uk
belt-pack. A single DX121 can EUPHONIX ............................. 31
support up to four HME remote
Communicator Beltpac or Glensound is buoyant at the BROADCAST PRODUCT
Headsets, while the system’s moment with recent expansion RESEARCH ........................... 19
FHSS Spectrum Friendly tech- of the company’s key staff, of
nology offers partial-band selec- purchasing a further 2000 HAND HELD AUDIO .............. 36
tion, enabling up to eight DX121 square feet of land for new
wireless intercoms to be used offices and manufacturing, and HARBETH ................................ 37
simultaneously for multi-channel launching two new product
applications. The DX121 can be ranges with th e T3 A udio HHB ............................. 9, 34 & 38
packaged with any of HME’s Console, and the GDC 6432
remote communicators, such as Digital Commentary System IBC ............................................. 4
the BP200 Beltpac, the WH200 (pictured). Marc Wilson looks
All-In-One Wireless Headset, or forward to a good 2009, ME GEITHAIN ......................... 37
the WS200 Wireless Speaker “Product and customer aware-
Station. ness is developing superbly well PRECO ................................... 33
with Glensound at the moment,
Orbital Sound and we believe the broadcast RICHMOND FILM
Tel: +44 (0)20 7501 6868 market is still buying equipment
SERVICES .............................. 13
www.orbitalsound.co.uk in the areas in which we
SONIFEX ............................... 31
operate. The addition of
Swiss company
“Congratulations SOUNDKIT ............................. 13
Defitechnique
Line Up on coming of age. You have
been such a wonderful source of expert a n d
STAGETEC ............................ 29
information and entertainment. Let’s hope the next Concilium
generation will continue the tradition and maintain the in South
TELEX ..................................... 23
integrity. Happy Birthday.” Africa to
Ralph Dunlop and Pete Wandless – Sound Network our distrib-
VORTEX ... ............................. 24

21 WAVE ...................................... 38

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7HFKQLFDO &RQVXOWDQWV LQ


6RXQG 6WXGLRV
79 6WXGLRV
7      6SHFLDOLVW $FRXVWLFV
ZZZZDYHVFLHQFHWHFKQRORJ\FRXN %HVSRNH $9 6\VWHPV

38 LINE UP Spring 2009


INDEX OF FEATURES
AND REVIEWS 2008
Features
A CONSOLE FOR ALL SEASONS Andrew Hills Nov/Dec p30 SOUNDING BOARD: MEMBERSHIP MATTERS John Sullivan Sep/Oct p42
A NEW MEETING PLACE FOR THE IBS Bob Conduct Sep/Oct p41 SPACED MID AND SIDE PAIRS: WHAT THEY CAN OFFER Mike Skeet Sep/Oct p14
A VERY BRITISH COUP Kevin Emmott Jun/Jul p26 THE PETE THOMAS INTERVIEW PART 2 Hugh Robjohns Sep/Oct p38
AES AMSTERDAM REPORT John Willett Jun/Jul p18 THE SOUND OF DEMOCRACY Chris Maclean Feb/Mar p9
AUDIO WAVEFORMS AND METERS Mark Yonge Apr/May p 30 WAVE SCIENCE TECHNOLOGY Apr/May p25
DIALOGUE NOISE SUPPRESSION Peter Best Nov/Dec p18
DIGITAL MICROPHONES: RECORDING THE LSO AT ABBEY ROAD Reviews
Grant Bridgeman Sep/Oct p10
DK TECHNOLOGIES LOUDNESS METERING Hugh Robjohns Nov/Dec p32 AMBIENT A-RAY Steve Swinden Nov/Dec p28
DOLBY E Mark Pascoe Jun/Jul p14 AUDIO SPROCKETS: A&D SYNCROGENIUS Chris Woolf Jun/Jul p23
DUBBING DOCTORS Louise Wilcox April/May p10 BEL HD AUDIO MONITOR Hugh Robjohns Feb/Mar p20
HO-HUM Chris Woolf April/May p26 BEYERDYNAMIC MC930 Gerry Fursden Feb/Mar p28
HUSH THE ADS Chris Maclean Nov/Dec p34 BLUE SKY’S BIG BLUE Hugh Robjohns Sep/Oct p36
IBS MEETING: DOLBY DIGITAL AND DOLBY E Bob Conduct Jun/Jul p36 BLUETOOTH LINKS FROM JK AUDIO Simon Jones Nov/Dec p24
IBS MEETING: What Happens to my Sound in Post? COMPUTER UTILITIES Ian Sands Apr/May p39
Grant Bridgeman Apr/May p20 DIGITAL SOUNDFIELD Hugh Robjohns Sep/Oct p20
IBS MEMBER PROFILE: ALAN HILL Malcolm Nelson Apr/May p43 DPA MICROPHONES Simon Jones Feb/Mar p30
IBS MEMBER PROFILE: CHRIS MACLEAN Malcolm Nelson Sep/Oct p43 FEL MICBOOSTERS Chris Woolf Jun/Jul p30
IBS MEMBER PROFILE: GRANT BRIDGEMAN Malcolm Nelson Feb/Mar p37 GENELEC DSP MONITORING SYSTEMS Gerry Fursden Sep/Oct p40
IBS MEMBER PROFILE: KEVIN DARBYSHIRE-BRYANT Malcolm Nelson Nov/Dec p37 HOW TO BUILD A RADIO STATION Gerry Langford Apr/May p40
IBS MEMBER PROFILE: PAM SMITH Malcolm Nelson Jun/July p35 IZOTOPE RX Grant Bridgeman Feb/Mar p22
IBS RESIDENTIAL WEEKEND Simon Jones Apr/May p15 JK AUDIO PHONE INTERFACES Simon Jones Sep/Oct p16
INTERNATIONAL FOOTBALL Alistair Owen Nov/Dec p10 ME GEITHAIN RL944K1 Hugh Robjohns Nov/Dec p27
IS THE EMPEROR IN THE ALL TOGETHER? Kevin Duff Feb/Mar p14 MICROTECH GEFELL UM 930 Hugh Robjohns Feb/Mar p26
LOCAL RADIO AT THE RHS CHELSEA FLOWER SHOW John Reynolds Jun/Jul p9 NAGRA VI LOCATION RECORDER John Willett Sep/Oct p25
MONITOR SPEAKERS: YOU GET WHAT YOU DESERVE Alan Shaw Sep/Oct p31 NTI DIGIRATOR Terry Nelson Sep/Oct p22
MORETON IN MARSH IBS RESIDENTIAL WEEKEND John Sullivan Nov/Dec p38 NTI MR-PRO MINIRATOR Terry Nelson Jun/Jul p 21
NOISE AT WORK REGULATIONS Gerry Langford Apr/May p36 RYCOTE LYRE SUSPENSIONS Hugh Robjohns Feb/Mar p32
PMSE TO LOSE CHANNEL 69 Malcolm Johnson Nov/Dec p14 SENNHEISER MKH 8040 Hugh Robjohns Feb/Mar p34
RADIO 3 CHORAL EVENSONG Steve Swinden Feb/Mar p16 SOUNDFIELD ST350 IN ACTION Simon Jones Nov/Dec p22
SCOTS SOUND Colin Macnab Feb/Mar p12 TRINNOV OPTIMIZER Hugh Robjohns Apr/May p23
SONOSAX CELEBRATES 30 YEARS Terry Nelson Jun/Jul p12
SOUNDING BOARD: GETTING ON John Sullivan Jun/Jul p34 You can search the archive of Line Up articles online at www.lineup.biz. Copies of most
SOUNDING BOARD: INTERACTION John Sullivan Feb/Mar p36 features and reviews, apart from those in the latest issue, are available to download as PDFs.
SOUNDING BOARD: MODERNISING THE IBS Peter Almgill April/May p42


 :  :

  
 scan demonstrate a breadth of
 , as well as 
hey Institute's 
  
 

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 
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  
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WHEN THE CURTAIN GOES UP
calrec.com

TRUST CALREC AUDIO TO PERFORM

There are no second chances in live broadcast. That’s why Calrec


desks have been delivering the world’s most memorable entertainment
events - from Hollywood award ceremonies to the world’s biggest music
festivals - since 1970.
Whatever the show, you can rely on us to produce an outstanding performance.
All our consoles give you the flexibility to set up and handle multiple sources
instinctively, access pre-sets, network your i/o and control the whole mix without
missing a beat. And our Hydra network system enhances creativity for operators
and studio managers.

With automatic redundancy and incredibly intuitive control surfaces – Calrec has
everything you need to get on the air fast, and stay on the air.

Many broadcasters won’t entertain the idea of a live broadcast on any other
console. Find out why at calrec.com Putting Sound in the Picture

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