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SPRING 2009
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
7
10
on B 2 xhi
C1
us NA e e
d
at ll b
wi
e
W
t
si
the content
creation • management • delivery
experience
Conference 10 - 14 September
Exhibition 11 - 15 September
RAI Amsterdam
www.ibc.org
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.
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
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
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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
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
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
Individual.
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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
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
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
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.
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
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
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.
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.
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
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
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
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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
Paul Miller describes how he met the challenges of filming the end of an era.
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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
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
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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
Features
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The BLITS tones are available in the latest release of software from
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DK-Technologies (UK) Ltd, Coles Yard Barn, North Lane, Clanfield, Hants., PO8 0RN
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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
: :
scan demonstrate a breadth of
, as well as
hey Institute's
WHEN THE CURTAIN GOES UP
calrec.com
With automatic redundancy and incredibly intuitive control surfaces – Calrec has
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Many broadcasters won’t entertain the idea of a live broadcast on any other
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