September 2015 www.audiomediainternational.com

International

TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

GEO FOCUSWe fi nd out why things are hotting up in the UAE p16

REVIEWPutting A-Ts new System 10 PRO through its paces p44

INTERVIEWChris Burdon on mixing The Man From U.N.C.L.E. p54

With more theatres now investing in upgrades to their sound equipment, how are audio companies coping with the problems often presented by these venues? p18

SHOW BUSINESS

01 AMI Sept 2015 FC_Final.indd 1 27/08/2015 16:36

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Considering the level of outcry almost every time we let one fall into disrepair, it seems Im just one of many who think we should be

doing all we can to preserve our historic buildings. Maybe its because Im lucky enough to live near one of the worlds top cities, known for its fascinating past and centuries-old tourist attractions, but Id like to think of myself as one for keeping our oldest structures in good condition for as long as possible, even though it can turn into a costly exercise at times.

And thats where it often leads to an easier said than done situation, particularly with theatres and their aging audio installations. Preventing these venues from becoming unfit for purpose or crumbling to dust entirely requires money, and in many cases there isnt enough to go round to give the place a new lick of paint, let along beef up the sound system a process that is often far from the top of the priority list.

But now that we seem to have come

through the worst of the financial turmoil weve been battling for several years, are theatres starting to warm more to the idea of an upgrade? And if so, what are the main challenges suppliers are facing when it comes to introducing new audio technology into these environments? Is it possible to blend the old with the new without causing too much harm? To discover the answer to these questions and more, turn to Page 18 where youll find a Feature on this very topic.

Staying on the subject of sound systems for theatres and other indoor venues, weve got a review of the new LEOPARD line array from Meyer Sound this month as well our first line array test which our live sound specialist Andy Coules got the opportunity to try out at this years Montreux Jazz Festival.

Also, you may have noticed our recent online interview with sound designer and re-recording mixer Paul Hackner on creating creepy material for the new horror flick Sinister 2 well, in this issue we catch up with another film sound expert, Chris Burdon, to talk about his latest project The Man From U.N.C.L.E., which required crisp, clear dialogue, rather than blood-curdling screams on this occasion, but as youll see it was still no easy task. Flip over to the inside back page for that one, but dont forget to read everything else in between, of course.

September 2015 3

WELCOMEwww.audiomediainternational.com

1 Color - 100 White

Adam Savage EditorAudio Media International

Iain Betson is a BBC trained engineer with experience ranging from being a station engineer and studio consultant to a presenter and company board member. He has worked in the broadcast industry, both in the UK and internationally, for nearly 30 years.

Andy Coules started his career in the industry as a tea boy in a studio, working his way up to studio engineer before developing a taste for live sound. He has toured the world with a diverse array of acts, often in the role of sound engineer/tour manager.

Joel Elwar is technical manager at Studiospares, a major UK-based supplier of pro-audio equipment to trade professionals and end users.

Paul Nicholson has been a sound engineer and tour manager for 30 years and runs Salisbury-based audio production company Midas Prosound.

EDITORAdam Savageasavage@nbmedia.com

MANAGING EDITOR Jo Ruddockjruddock@nbmedia.com

STAFF WRITER Matt Fellowsmfellows@nbmedia.com

COMMERCIAL DIRECTORDarrell Carterdcarter@nbmedia.com

ADVERTISING MANAGERRyan ODonnellrodonnell@nbmedia.com

ACCOUNT MANAGER Rian Zoll-Khanrzoll-kahn@nbmedia.com

HEAD OF DESIGNJat Garchajgarcha@nbmedia.com

DESIGNERTom Carpentertcarpenter@nbmedia.com

PRODUCTION EXECUTIVEWarren Kellywkelly@nbmedia.com

Press releases to:ukpressreleases@nbmedia.com

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

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

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

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

Circulation & Subscription enquiries Tel: +44 (0)1580 883848 email: audiomedia.subscriptions@c-cms.comPrinted by Pensord Press Ltd

Front Cover: L-Acoustics

Experts in the issue KEEPING IT FRESH

03 AMI Sept 2015 Welcome_Final.indd 1 27/08/2015 16:40

September 20154

CONTENTS www.audiomediainternational.com

PRODUCT NEWS

PEOPLE

6 Universal Audio unveils BX 20 plug-in

7 New Nuendo crossgrade o er

12 OPINION Paul Nicholson highlights the issues he feels are holding the festival sound sector back

14 GearSource Europes Keith Dale o ers his thoughts on the used gear market

54 INTERVIEW Re-recording mixer Chris Burdon discusses his work on The Man From U.N.C.L.E.

ALSO INSIDE8 SHOW PREVIEWS: IBC, Game Music Connect, PRO

10 Pro Sound Awards Rising Star shortlist announced

16 GEO FOCUS: UAE We test the temperature of this growing market

FEATURES18 THEATRE SOUND: Pro-audio suppliers are enjoying something of a boom time in the theatre market but are structural issues and preservation orders hampering progress? We fi nd out

38 BROADCAST FOCUS: Rob May of Sitting Duck discusses remote working, audio branding and more

39 INSTALLATION FOCUS: AMI takes a trip to the National Gallerys Soundscapes exhibition

TECHNOLOGY40 EXPERT WITNESS Studiospares technical manager Joel Elwar provides some tips on getting a classic sound in the studio using valve gear

42 AMI RECOMMENDED IBC Whats new from RME and Dan Dugan

REVIEWS44 Audio-Technica System 10 PRO48 Steinberg Nuendo 750 Meyer Sound LEOPARD52 PreSonus Studio One 353 Sandhill 6011A

10 38

12 44

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September 20156

PRODUCT NEWS www.audiomediainternational.com

Radial Engineering has announced that the Space Heater 500, a single-wide tube overdrive module for 500 series racks, is now shipping.

The new unit is designed to deliver natural crunch to drums, character to voice, and natural compression to bass and acoustic guitar.

The design begins with a single-wide 500 series module in a fully enclosed

steel enclosure. A three-position HEAT switch enables the user to choose between 35V, 70V or 140V for the desired level of tube distortion. Distortion is further adjusted using the combination of a drive control and a level for make-up gain.

The plate voltage is generated by an internal charge pump while the Radial Workhorse or 500 series 16V supply provides the 12AX7 tube with the 12V needed for the heater.

A Jensen transformer is employed at the output to bring a more vintage character to the signal path while benefi ting from galvanic isolation to reduce hum and buzz caused by ground loops.

To further refi ne the sonic response, the Space Heater 500 is equipped with both high-pass and low-pass fi lters, while the EQ can also be applied to the signal path either pre- or post-tube for even greater tonal fl exibility.

www.radialeng.com

RADIAL TURNS UP THE HEAT

Universal Audio (UA) has released the AKG BX 20 Spring Reverb plug-in for its UAD-2 hardware and Apollo interfaces an emulation of the AKG BX 20 spring reverb originally introduced by the mic maker in the late 1960s.

Universal Audios hybrid delay network/convolution design provides the only plug-in representation of this mechanically controllable, acoustic ambience system. To that end, UA emulated a golden unit BX 20 from legendary producer, Jon Brion.

In addition, the AKG BX 20 plug-in features a range of plug-in only controls for modern digital audio workstation workfl ows, and presets from AKG BX 20 users, including Patrick Carney of The Black Keys; Vance Powell, who is best known for his work with Jack White; Jacquire King of Kings of Leon, and more.

Exclusively licensed and endorsed by AKG Acoustics and designed by Universal Audio, the plug-in models the BX 20s dual tank TTL (Torsion Transmission Line) reverb unit and R20 Decay remote control,

featuring original dual spring tank confi guration, plus Mk II stereoized A/B Tank Select, Direct signal defeat, and BX 10 Tone controls.

The BX 20 promises dark and dense spring ambience for reverb busses or individual sources, with Digital Only features including Decay, Volume and Pan, Link, Dry/Wet blend, Predelay and Low Cut Filter.

www.uaudio.com

UA UNVEILS BX 20 PLUG-IN

PreSonus has launched the DigiMax DP88 8-channel microphone preamplifi er and A/D/A converter.

The unit combines eight remote-controllable, high-headroom mic preamps with remote control features, superior connectivity, and integration with the new Studio 192 audio interface, PreSonus says.

Eight digitally controlled XMAX Class A preamps employ true analogue circuitry, with a separate digital volume control circuit. Phantom power is individually switchable for each preamp. Each channel is equipped with an eight-segment LED input meter and phantom power indicator.

In addition to off ering front-panel control, the DP88s preamps use simple MIDI CC messages to control level, phantom power and direct ADC

input, making MIDI management from any DAW easy and intuitive.

When connected via ADAT Optical to a PreSonus Studio 192 audio interface, the DigiMax DP88s preamp controls are also accessible from PreSonus Studio One DAW and UC Surface control so ware for Mac OS X and Windows. No additional setup is required; the DigiMax DP88 becomes a natural extension of the Studio 192 inputs and outputs.

Eight balanced direct outputs are provided on a DB25 connector, as are eight balanced DAC outputs that expand interface outputs for monitor mixes or speaker switching. Also included is MIDI I/O on a multi-pin connector and breakout cable and word clock I/O on BNC connectors.

www.presonus.com

PRESONUS PRESENTS NEW DIGIMAX CONVERTER

New from QSC is the TouchMix Control Android App for Android-based tablets and smartphones.

Like its iOS predecessor, the Android app off ers users comprehensive control of the TouchMix digital mixer, eff ectively replicating the on-mixer touchscreen interface. The full compliment of features is available to tablet device users on both platforms. On Android smartphones or Apple iPhone and iPod Touch devices, the app operates as a compact, personal stage monitor AUX mixing solution.

Up to 12 external devices comprising any combination of Android or Apple iOS smartphones or tablets may be connected at once to a TouchMix mixer. In multiple wireless device operation, the TouchMix operator may allow or restrict access to functions on a per-device basis from the mixer.

We are very excited about the Android release, stated Jon Graves, QSC TouchMix product manager. Wireless mixer control is an extremely important and powerful feature of the TouchMix and now that we off er both iOS and Android apps, customers throughout the world can enjoy the full compliment of TouchMix features and benefi ts.

The TouchMix Control Android App is initially released as a beta due to the large number of Android-based tablets and smartphones on the market. It is available on Google Play now.

www.qsc.com

QSC BRINGS TOUCHMIX CONTROL TO ANDROID

06 AMI Sept 2015 News_Final.indd 1 26/08/2015 16:04

September 2015 7

Symetrix has launched three new products designed to allow integrators to quickly and easily add extra inputs and outputs to their SymNet DSP systems.

The fi rst, Symetrix xIn 4, is an audio input expander for SymNet Dante-scalable systems featuring four mic/line inputs with +48 VDC phantom power. Likewise, Symetrix xOut 4 is an audio output expander featuring four line outputs, designed to capitalise on the surplus processing power of a SymNet Edge or Radius DSP to bring overall system costs down.

The third new device, Symetrix xIO 4x4, is an audio input/output expander for SymNet systems sporting four mic/line inputs, including +48 DVC phantom power, and four line outputs.

All three are confi gured using SymNet Composer so ware, thereby eliminating any requirement for hardware DIP switches,

front panel menus or third-party so ware. Featuring the performance specifi cations of SymNet Edge and Radius DSPs, the products come supplied with PoE injectors while rack mount and surface mount kitsare sold separately.

The new xIn, xOut and xIO options increase a systems analogue input and/or output channel capacity, resulting in a reduction in overall price per channel, commented Brooke Macomber, managing director, global sales and marketing at Symetrix.

www.symetrix.co

SYMETRIX DEBUTS TRIO OF EXPANSION DEVICES

Steinberg is giving Avid Pro Tools users the chance to crossgrade to Nuendo 7, the latest version of its dedicated audio post-production so ware, until 30 November 2015.

Owners of Pro Tools HD/HDX version 7-12 can now crossgrade at a special price of 999, while those on Pro Tools Native version 9-12 can do the same for 1,199.

Those looking to crossgrade will need to provide proof of ownership of one of the above products, such as a licence card or purchase invoice.

Nuendo 7 off ers a number of new

features for the rapidly growing game audio sector, along with enhanced facilities for the post-production industry.

One notable new feature for the gaming industry is Game Audio

Connect, which allows easy and fast transfer of audio assets from Nuendo 7 to Audiokinetics Wwise interactive sound engine, saving hours of manual import/export and fi le location work.

This is complemented by Render In Place and Render Export features, new VCA fader functions tailored to audio post-production workfl ows, editing enhancements and several new additions to assist with day-to-day workfl ow.

www.steinberg.net

NEW NUENDO CROSSGRADE OFFER

PRODUCT NEWS

C

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CM

MY

CY

CMY

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NUGEN_halo_half_vertical_OL95x270.pdf 1 8/11/15 10:48 AM

07 AMI Sept 2015 News_Final.indd 1 26/08/2015 16:17

Calrec will use IBC 2015 to showcase the first technology release developed in conjunction with DiGiCo since the

formation of the Audiotonix pro-audio group in August 2014. DiGiCo consoles can now integrate onto the Hydra2 network via a Hydra2-enabled DiGiCo Multichannel Interface (DMI) card. DiGiCos range of cards converts audio from one transport protocol to another and can be placed in DiGiCos anything in, anything out Orange Box, or directly into the back of the companys newest digital mixing console, the S21. Calrec will also debut two compact aluminium expansion units, its new Fieldbox I/O range and H2Hub switch point, which can be used to expand and distribute a Hydra2 network.

Bel-Digital will be unveiling the first Dante audio monitor. The BM-A1-64DANTE, which provides audible monitoring as well as visual signal strength indication, is designed to provide a simple and effective way of

monitoring the audio present in Dante networks. It provides a visual indication of signal strength on all 64 selected Dante channels. Each individual channel can also be audibly monitored, or the operator can combine up to 16 channels to provide a unique stereo monitor mix. Housed in a rugged, compact 1U rack chassis, the BM-A1-64DANTE features a redundant power supply as standard and offers full audio redundancy over a Gigabit Ethernet network.

Visitors to IBC will also get the chance to explore four audio worlds on the joint Sennheiser and Neumann stand in Hall 8 (#D50).

ENG (Electronic News Gathering) World is where Sennheiser will preview a brand new wireless product, while there will also be a typical radio station environment, TV broadcast studio and dedicated sports broadcasting set-up to check out four showcases that together provide a complete overview of the two audio companies broadcast offering.

Dan Dugan Sound Design will demonstrate three new products for management of live microphones in unscripted talking situations the Dugan Model M and Model N automatic mix mixers, as well as the Model K tactile control panel.

NUGEN Audio will be showing its Halo Upmix tool at IBC 2015. Halo Upmix is designed for creating a stereo-to-5.1/7.1

downmix-compatible upmix with optional dialogue isolation in the centre channel. It will be available in Avid AAX, VST and AU formats.

Were relentless in making sure that we cover the full gamut of loudness standards, and at IBC well show why NUGEN Audio continues to be the go-to provider of loudness software solutions. In addition, our new Halo Upmix tool will be a radical new approach to upmixing that not only provides the downmix compatibility for TV surround production, but also provides enough creative malleability for film audio professionals. Its another example of how we use our innovative approach to solve a wide range of audio issues faced by TV and film post-production professionals, said Jon Schorah, founder and creative director at NUGEN Audio.

Taking pride of place on the CEDAR Audio stand is the companys DNS 8 Live dialogue noise suppressor. Designed for live broadcast and live sound, it offers eight channels of noise suppression, and is quick and simple to use, especially when coupled with CEDARs browser-based remote control system.

Also new is the CEDAR Studio 7 suite of plug-ins. Never shown before at a major European tradeshow, this now offers no fewer than eight processes including Retouch 7 and DNS One with Learn, which together can greatly reduce or even eliminate all of the common audio problems encountered in film and TV post.

The d:facto Interview Microphone will take centre stage on the DPA stand.

It features an omnidirectional 2006V capsule, based on DPAs original 2006, but with sensitivity adjusted down 12dB to accommodate typical interview mic and wireless handle sensitivities.

The manufacturer, in conjunction with its Dutch distributor Amptec, will also be running a daily competition to win a microphone. Visit the DPA stand to find out more.

Yamahas flagship mixing console, RIVAGE PM10, will be the subject of one-to-one demonstrations by technical staff on stand 8.A69. Visitors will also be able to get their hands on Nuage version 1.7 software, featuring support for Steinberg Nuendo 7.

Riedel is set to showcase the latest addition to the MediorNet line of real-time signal networks. MicroN, an 80G media distribution network device, is a high-density signal interface with a complete array of audio, video and data inputs and outputs, including 24 SD/HD/3G-SDI I/Os, two MADI optical digital audio ports, a Gigabit Ethernet port, two sync reference I/Os, and eight 10G SFP+ high-speed ports. It offers routing and processing capabilities that can be tailored for productions of all sizes and complexity. A single unit serves as a stand-alone point-to-point router and processor, while multiple interconnected units support scalable decentralised video routing.

Rolands OHRCA M-5000C digital mixing console will make its European debut at IBC. Measuring under 30in in width and weighing 70 pounds, the compact M-5000C offers all the flexibility and power of the M-5000 console but in a smaller footprint making it suitable for touring, broadcast, theatre and live performance. It also uses the same OHRCA platform as the M-5000 and offers a 96kHz sampling rate, 72-bit summing bus, newly designed, discrete analogue circuitry and redundant power supply.

LOUD AND CLEARWith over 50,000 people preparing to descend on the RAI in Amsterdam, we highlight some of the key product launches for the pro-audio professional in attendance.

September 20158

SHOW PREVIEW: IBC 2015

www.ibc.org

www.audiomediainternational.com

Riedels MicroN 80G media distribution network device

The DNS 8 Live will be on the CEDAR Audio stand

08 AMI Sept 2015 IBC Show News_Final.indd 1 26/08/2015 16:22

SHOW PREVIEWSwww.audiomediainternational.com

September 2015 9

Now in its third year, the international video game music conference Game Music Connect (GMC)will be held at The Purcell

Room at Londons Southbank Centre on 15 September. The event promises a day of informative sessions aimed at composers of all backgrounds and experience levels, each tackling the art, science and business of contemporary video game soundtrack composition.

GMC is hosted by award-winning game and TV composer James Hannigan and game audio director, composer and industry commentator James Broomhall, who have over 100 triple-A game credits between them.

The days sessions bring together a range of industry figures, from video game composers to the developers who work with them, in a series of keynote speeches, presentations, interviews, Q&As and more.

The day kicks off with a keynote from Sony Computer Entertainment Americas director of music Chuck Doud at 10am. He will address Sonys current and future vision for videogame scoring as well as the importance of sound in interactive entertainment experiences.

Creating Virtual Orchestras begins at 10:30am, where the core team at orchestral sample library creators Spitfire Audio provide their insight on best practice in the creation and deployment of sound production and composition tools.

Immersive video game audio takes centre stage at 11:45am with Virtual Reality and the Meaning of Music, where the Sony music team working with the Project Morpheus VR Headset will take an exclusive show and tell approach to exhibiting the aesthetics and functionality of sound in virtual reality gaming.

Another session not to miss, The BAFTA Interview: Alien: Isolation gets going at 2:30pm, bringing together the in-house sound team at UK developer Creative Assembly and composer team The Flight to discuss their BAFTA-award-winning work on survival horror hit Alien: Isolation.

Alistair Lindsay, music production manager at SCE Worldwide Studios, said of the event: Having a full day event dedicated to video game music with some of the industrys top composers and audio directors is not to be missed. Lifting the lid on how both composers and developers work together will give a rare insight for anyone wanting to get into the industry or even if they just have an interest in video game music.

GAME ONGame Music Connect returns to Londons Southbank Centre, bringing with it a day packed with invaluable presentations and discussions for videogame composers and enthusiasts of all levels.

www.gamemusicconnect.com

The second annual PRO show will be hitting Birminghams NEC this September for three days of product showcases,

insightful seminars and networking opportunities.

From 12-14 September, PRO 2015 promises to bring modern, forward-thinking ideas to visitors from the across the pro-audio, lighting, video and effects technology industries.

Sharing the venue with BPM, labelled as the worlds biggest DJ and electronic music production event, the two shows will together cover 15,000sqm across three halls, and for the first time, visitors can access PRO from a separate dedicated entrance.

The event will have a range of industry gear on show from brands including Sennheiser, beyerdynamic, QSC, Audiologic and Polar Audio, giving

visitors a hands-on taste of the latest tech in the entertainment sector.

One of the main highlights of the event is sure to be the PRO Audio Demo Space, a large area off the main floor where visitors can hear large-format audio systems at realistic levels in a dedicated audio arena. Each participating brand will have three slots each day to demonstrate their products, while systems will be further grouped into two categories: Live Sound and Install/Club Sound another first for the event.

And if that wasnt enough, make sure to keep an eye out for the events many pro-audio-focused training sessions. First point of interest for audio professionals is Saturdays Introduction to Live Sound Engineering at 2pm, which aims to offer learning opportunities and practical advice for both young and experienced live engineers.

Yamaha presents The Benefits of using Networking Technology for Sound on Sunday at 1:30pm, and newly appointed Audio-Technica ambassador, live engineer and studio owner Ben Hammond, will pass on his touring wisdom in the session Tour Essentials on Monday at 1:30pm.

Set to bring the show to a close is Audio in an Outdoor Environment,

a panel session discussing outdoor loudness, levelling, positioning and weather issues, with insight from Martin Audios Andy Davies, Britannia Row Productions managing director Bryan Grant, SSE Audio Groups Miles Hillyard and Nitelites Andy Magee.

www.visitpro.co.uk

PROFESSIONAL MATTERS

09 AMI Sept 2015 Show News_Final.indd 1 26/08/2015 17:07

September 201510

RISING STAR SHORTLIST www.audiomediainternational.com

The Pro Sound Awards aims to recognise excellence across the entire pro-audio industry. One highlight of the night is

the Rising Star Award, sponsored by Soundcraft, which is presented to an up-and-coming figure currently working within the world of pro- audio who is worthy of recognition.

The AMI team has worked through the nominations submitted to compile a shortlist of ten potential winners. Find out who picks up the award on 24 September.

Stuart Allen-HyndAllen-Hynd joined Soho-based post-production facility Jungle at the age of just 18. His work on brands such as Mercedes, FIFA and

Acer, featuring stars including Kiefer Sutherland, Pharrell Williams and Brian Cox, earned him the distinction of becoming the first transfer engineer to receive the facilitys Employee of the Year award.

Dean CrossFormerly head technician at Bucks Students Union where he led a crew of

six, Cross now works freelance on a number of projects including FOH at Cowley Road Carnival, Oxfords Truck Festival and Nocturne Festival with artists such as Van Morrison, Skindred, Newton Faulkner and Andy C.

Andy EgertonAn alumnus of Glyndwr University, Egerton has blazed a trail on the live

scene with his work as a monitor engineer, touring with big name bands like The Wombats and The Maccabees. He currently looks after Mumford & Sons on their arena tours.

Stanley GabrielPrior to his graduation from the University of Surrey, Gabriel worked

stints at Strongroom and Abbey Road Studios, later working as a freelance engineer for artists including Kate Bush and Ladyhawke and on TV shows such as Fresh Meat and Poirot. In 2012 he joined Spitfire Audio, where he holds the post of production director.

Steve Goodison Operating out of Old Pig Farm recording studio in Sheffield, University of Huddersfield

ONES TO WATCHThe Pro Sound Awards returns to Ministry of Sound in London for the third year running on 24 September, and Audio Media International has been given the honour of choosing the winner of this years Rising Star Award. Here, we reveal the shortlist.

graduate Goodison has tackled national and international projects with UK artists, working FOH for New City Kings and recording with The Drink and Dead English Gentlemen.

Jonas Andreas JensenWinner of a BAFTA and a NFTS Sound Design Award, Danish-native Jensen has worked on a number of award-winning

and Oscar-nominated projects, from animations to audio installations. He currently works with Sony Creative Service Group London as a sound designer on its Project Morpheus Virtual Reality headset.

Riley MacIntyreBeginning his career in Canada, MacIntyre travelled across the Pacific to become an assistant

engineer for producer Paul Epworth at The Church Studios in London, where he has worked on projects with Adele, Lianne La Havas, U2, Thurston Moore and Band Aid.

Zoe MartinFOH and monitor sound engineer Zoe Martin currently works nationally and internationally with acts

including Bonobo, Maverick Sabre and The Radiophonic Workshop. She also uses her time in between tours to teach at the college where she previously studied: the BIMM Institute in Brighton.

Eric MilosFollowing his graduation from Bostons Berklee College of Music, Milos worked his way up to an assistant

engineer position at Henson Recording Studios in under two years, before becoming the owner of Clear Lake Recording Studios in North Hollywood, California at the age of just 24 in 2012.

Sam TurnerOne half of audio production partnership SoundQuake in South Wales, Turner helped form

the company immediately following graduation and has gone on to tackle advertising projects for Mercedes, Only Boys Aloud, ESTRONS, Paint Happy and Fireroad.

There are still a number of sponsorship opportunities available for the event, contact rodonnell@nbmedia.com for more information.

Get involved

Tickets are now available for the Pro Sound Awards for just 49. Visit www.prosoundawards.com/buy-tickets/ or email gblake@nbmedia.com

Join us!

www.prosoundawards.com

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AMI editor Adam Savage with last years Rising Star John Webber

Rising Star sponsor:

10 AMI Sept 2015 Rising Stars_Final.indd 1 26/08/2015 17:10

The Caf DAnvers installation comprises the GS-WAVE series

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Theres no SPL limit, the PA is perfectly tuned, the system tech really knows their stuff and the weather forecast is rain and wind free then the

alarm clock wakes you up.Ive just got back from my eighth

festival of the summer and it was the most problematic so far. I was mixing FOH for the headliner and managed to arrange a quick virtual sound check before the arena opened. Running a multi-track certainly gives you a good idea of what the system can deliver and my immediate reaction was one of disappointment. You can always tell within a couple of seconds what the issues are, but how do you fix them all quickly under revolving door festival conditions?

Although my mix is very dynamic it peaks at around -3dB on all the songs and this made it easy to gain match my Roland V Mixer output to the system hub desk in just a few seconds. Out of the box the system EQ was way off, but rather than fix it then and there I just walked the field during the day, listened to all the other bands and put together a curve for our slot. I find this approach works well and I dont have to bother the system tech while they are busy setting up for the long day ahead.

Then came the big question: whats the noise limit, are there any frequency issues and how long is the Leq? This is where things always start to go pear shaped.

Why at the majority of festivals is there always some young guy or girl straight out of college waving their diploma in the air and telling everyone that to all intents and purposes they are in charge of ruining an event for 35,000 paying people and a bunch of experienced sound engineers, who are getting paid to do a great job for their employers? And why do they always blame the festival organisers for having to set the limits unreasonably low? Its never their fault. Im not interested in politics and I dont want to get involved in any blame game, I just want everyone to hear my band and go Wow!

the Live experienceA lot has been said about audience sound expectations and how everyone wants CD quality (which as we all know is not a great standard) wherever they go because that is what they listen to at home, in their cars and through their earbuds. Sorry, but I dont buy into this. State-of-the-art car sound systems are useless once you add in the road noise and passengers, and as for buds dont even get me started.

No, what people want from live is to experience a soundscape that they cannot replicate themselves. This is why the industry strives to provide us with the tools to replicate the emotion of being right there with the band, and not an MP3 equivalent. Vast amounts of R&D know-how, buckets of cash and heaps of marketing go into providing systems that will transport everyone to audio nirvana for a few hours, so why cant we use them effectively?

Is there any point in installing 32 FOH line array boxes, 12 outfill cabinets and 16 delay boxes when the college kid says 92dB? Either organisers start to gaffa tape the miscreants to the front of the lighting truss where the audience can show their appreciation while we ramp up the sound a few dB to a workable level, or systems become smaller so we dont upset a couple of locals for a few hours each year. Thats the stark choice. Why have a system thats capable of 140dB and run it at a fraction of its capability. Imagine Lewis Hamilton having to race in a Dacia you get my point.

Dont get me wrong, I really enjoy festivals so why cant we make the audio experience better for everyone? Personally, I believe they should be curated more effectively at the technical level. Perhaps having a specialist embedded between the organiser, sound company, local community and environmental fundamentalists would work?

Just a final thought for the hard-working PA companies and crew: whenever possible I always bring a self-contained system to festivals and mix FOH and monitors from a very small footprint mixer. All we require is a couple of Cat5s, a few rolling risers and some power. You can then leave the rest to me and my good friend, the college kid.

THE FUNDAMENTALS OF FESTIVAL SOUNDSound engineer Paul Nicholson examines the issues that he feels are holding this sector of the industry back.

PAUL NICHOLSON

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

September 201512

OPINION www.audiomediainternational.com

12 AMI September 2015 Opinion 1_Final.indd 1 26/08/2015 15:42

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How would you describe the current state of the used gear market, and how is business generally at the moment for GearSource?The used equipment market is buoyant and GearSource Europe continues to thrive in all areas, across all continents.

Is there still as much of a demand for used equipment as there was, say, 10 years ago?Weve only been going since 2007 but demand is greater now than it was back then. The industry has matured tremendously over the past eight years and there is not much difference between the countries we trade in as there once was. It is very discerning; the internet having ensured that everyone is, or strives to be, at the same level.

How competitive is the market for selling used equipment? Are there more or less sellers out there these days?There are many more sellers compared to a few years ago so it takes a lot of effort to stay ahead of the others. We know what our strengths are and how to use them.

Is it a bit of a challenge to convince people to buy used when theres always such a steady stream of new gear coming out that claims to be so much better than what came before?A lot of what we sell is due to sellers rationalising their inventories,

streamlining the equipment they keep and moving on items that no longer meet their new strategic requirements. The arrival of new gear, especially items like sound desks, causes the market to dispose of the previous model. There comes a point though where there are only so many potential buyers for certain older models and, as the market saturates, the price falls. This is not something we like to see but it is inevitable.

Sometimes, though, the performance of new products or technologies from a major brand will invigorate sales of older product its like magic dust! Sometimes we see a resurgence in older technologies, like analogue desks or large wattage film lighting you cant knock quality.

What about internationally? Have you noticed any trends as to where used gear is most/least popular, and why do you think that is?Its difficult to really pick a trend as we sell such a wide variety of equipment to so many countries. Continental Europe and the UK are still strong markets; Africa is expanding and the Middle and Far East along with Australasia continues to perform well. If we were a manufacturer of, say, a relatively small range of amps, speakers or desks the picture would probably be clearer.

What kinds of products are your customers showing most interest in in terms of audio? (Microphones? Speakers? Mixers?)Our sales portfolio embraces almost everything in sound reinforcement, lighting, video and staging. Speakers continue to sell well as do their lighting equivalent fixtures. If I was to turn your question around and ask what have our customers been least interested in Id say sound desks; the fast-paced development of new consoles has left a lot of recent product languishing on the shelves.

What are the main things people should look out for when looking for quality used gear? Most used gear is purchased based on

simply the specification and photographs on our website listings, with additional feedback as required. Only very, very occasionally will buyers inspect equipment regardless of the cost.

Because of this Id say people should only buy from a company that is well versed in moving equipment around the world, recognises that problems do occur from time to time, and has the means to put things right. The overwhelming majority of buyers and sellers in our industry are very honest, but when problems do occur both parties need expertise to resolve potential conflicts for the good outcome of all.

Is it difficult to spot kit that should be avoided? Id say that there isnt anything that should be avoided as such because most items are sold at price points that reflect their age, usage or current desirability. More importantly is the need to purchase items that are matched to the commercial and technical needs of the buyers business. For example, dont buy inexpensive and older equipment if you dont have the ability to maintain them you wont be saving anything.

What would you say to those who are reluctant to dip into the used market because theyre worried about

reliability, the products history of use and other issues?We always try to convey the condition of the product so there are no surprises; no one wants to be disappointed buyer, seller or us in the middle. As said previously, selling used equipment is not just about selling old equipment, it is also about helping companies re-stock their inventories, so a lot of what we sell might only be a few months old. One additional point we can make from experience is that there are many occasions when buying used can be less stressful than buying new, as any bugs have already been ironed out.

Where do you see the market going in the next decade or so? Do you see it changing much?Probably the greatest change on the horizon could be the UKs position within Europe in comparison, anything else could be trivial. Other than that, certain new markets will continue to mature, new products will continue to arrive and old ones continue to sell.

HOT SOURCEKeith Dale of GearSource Europe gives us his thoughts on the state of the used gear market at present, and predicts how it could change in the near future.

KEITH DALE

Keith Dale was previously founder of Celco, marketing director at Electrosonic and spent time at Kisska Design. He joined GearSource in 2008.www.gearsourceeurope.com

September 201514

INTERVIEW www.audiomediainternational.com

Fast-paced development of new consoles means older models can prove more difficult to sell on

14 AMI September 2015 Interview_Final.indd 1 26/08/2015 12:11

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HEATING UPThe United Arab Emirates is among the worlds ho est locations in more ways than one. Ma Fellows discovers how the vast amount of wealth fl owing through the region has aff ected its pro-audio industry.

September 201516

GEO FOCUS: UAE

A hub of tourism and business, the United Arab Emirates is famous for many things: its sweltering climate, its

fl ourishing petroleum and natural gas industry, and its intensely cosmopolitan environment; of its estimated 9.4 million residents, almost 8 million are expatriates, leaving just 1.4m indigenousEmirati citizens.

However there is one thing the country is less known for, but is, albeit in smaller circles, no less commi ed to. The UAEs pro-audio industry is well patronised by a wealth of distributors, rental fi rms and installation specialists, and these are further supplemented by a range of trade shows and expos held in the region, a racting and consolidating business from further afi eld.

But does such a commitment foster a strong regional industry? And is it supported by a healthy, encouraging economic climate?

It seems some professionals are remaining cautious: Malek Ghorayeb, general manager at Systech Middle East, a ests that the market in the UAE is still stable when viewed in light of recent uncertainties in the region and beyond in the wake of the global economic crisis. However, Ryan Burr, technical sales manager at Sennheiser Middle East, argues that the climate is more than just cautiously stable and that things have been looking up recently, despite unfavourable economic conditions.

The UAE has seen a spurt in activity over the last 12-18 months, he begins. Gone are the remnants of any recession eff ects that were felt in the country and back are the announcements of mega-projects, most of which have extensive audiovisual requirements.

The UAE was no exception to the downturn experienced by the rest of the economic world, but a combination of the regions resilience and the grim state of the wider market has allowed

it to regain a position of strength with a promising outlook, according to Burr:

The UAE did suff er from the eff ects of recession, although not as pronounced as in other parts of the world, but it has bounced back with gusto. This quick recovery has seen an infl ux of skilled workers, including in both the AV industry and the live events market, which has led to an improved standard of projects and events. The obvious key reason for this is the lack of work in other parts of the world; motivated and skilled people will go where the work is rather than wait for it to come back to them.

Ghorayeb sheds more light on the story, adding that, while the climate is slowly improving, economic complications in the pro-audio industry and beyond have prevented the market from achieving its full potential: A er the 2008 crises, the UAE recovered gradually, but I think many factors related to the situation in the region, as well as the fuel market, adversely aff ected the

resulting growth which was expected to be remarkable.

2020 VisionAhmed Magd, Riedels general manager, ME and Turkey, agrees that the economy is on the up, and believes that the future of the UAE pro-audio market is going to enjoy a particularly lucrative period over the next fi ve years as a result of several big upcoming events on theindustry calendar.

In the Middle East in general and the UAE especially the market is growing, he tells us, and a lot of projects are expected to come in as there will be a lot of big events in the UAE such as the AFC Asian Cup in 2019 and Expo 2020, which is going to drive the growth in spending.

Seen as many to be a beacon on the horizon for the regions many industries, the UAE fought out the competition to claim the Expo Dubai 2020 and become the fi rst Middle Eastern destination to host the event.

Population:9.4 million

16-17 AMI Sept 2015 Geo Focus_Final.indd 1 26/08/2015 12:35

September 2015 17

www.audiomediainternational.com

The pro-audio market here is very competitive because many industries like broadcast, post production, rentals and recording are available in the region. Thats why most of the conferences, like InfoComm, CABSAT and PALME are held here in UAE because it is also accessible to other GCC countries.

How would you say thepro-audio market is currently faring in the UAE?

GEO FOCUS: UAE

The show is predicted to galvanise the UAEs market, generating a projected 277,000 new jobs and an injection of almost $40 billion, and thus represents a tremendous boon for the economy.

Ghorayeb acknowledges that for many in the business, expectations are high for the event, but notes that its execution may not be a simple aff air due to the UAEs complicated climate: In the UAE, there are high hopes for the Expo in 2020 along with the development for the event, but it is a li le bit unpredictable in the region because it is related toso many factors.

While its importance is clear, predictions regarding its success remain uncertain; its eff ects on the industry, while potentially vast, could end up somewhat muted, with the country missing out on the lucrative platform it may need to truly pull itself into economic prosperity.

Broadcasting doubtAs a result of advancing technologies outpacing the development of suitable infrastructure in the region, an issue is looming that has the potential to seriously disrupt the work of those who rely on wireless technology, which is particularly problematic in the broadcast sector:

One of the trends that is sure to have an impact on the Programme Making and Special Events (PMSE) industry is related to spectrum allocation, Burr explains. Currently, in the UAE and most countries across the Middle East, wireless PMSE devices are

operated in the Ultra High Frequency (UHF) band. This includes the range of frequencies from 470 to 862MHz and is used for digital and analogue television distribution in addition to PMSE. However, as new technologies emerge, this spectrum is continuing to shrink.

More recently, the allocation of spectrum for 4G mobile broadband services has meant shrinking of the higher end of the UHF spectrum. As less and less bandwidth becomes available for PMSE, the production and coverage of events will become a major challenge.

Looking forward, Burr identifi es yet another trend which looks likely to aff ect the UAEs pro-audio industry: One of the key trends that we see emerging for the pro-AV industry is the convergence of audio and IT networks. This is something that is already coming to the forefront with many manufacturers choosing one format or another to transportaudio directly out of their products using existingIT infrastructure.

This is going to become a lot more prevalent in 2016 and we believe it will force the integrated systems market into deciding on a universal format to do it, he continues. Working with the IT system integrators will become increasingly important and the AV industry will need to adapt to that change were already seeing examples of large IT SIs buying established AV SIs in order to bring that competence within their organisation and we see this as an important trend over the coming years.

Best BehaviourDespite some predicted shi s that look likely to create bumps in the road, that road is still looking optimistic according to Magd: I think it will continue its growth, driven by the coming events and the ambitious plans for this sector as the region has more weight in the global market than before. I think this will continue to happen at least until 2022.

Despite some disagreement among industry professionals, the outlook for the UAE pro-audio market seems a stable and promising one. And this is not surprising when the one thing the industry seems unanimous on is the regions resilience and drive.

The UAE strives to be the best at whatever it does and this generates an environment of innovation and a thirst to improve, whatever the industry, believes Burr. The pro-audio market in the country is a benefactor of this with new technologies and products more willingly accepted perhaps than in other parts of the world where there is sometimes a be er to stick with what you know a itude, particularly in times of austerity.

The UAE market is known for its desire for the best, latest and state-of-the-art products and solutions, echoes Magd. Thats why the UAE leads the charge, in many cases by far; this can be compared to the advanced markets in Europe and US, with the advantage of having allocated budgets to drive growth.

One thing is for certain the region is ready to fi ght for the honour of calling itself the best.

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

Other

1 2 3 4 5 6

Slow payments

Govermentlegislation

7 8 9 100

Falling budgets

Economicuncertainty

16-17 AMI Sept 2015 Geo Focus_Final.indd 2 26/08/2015 12:35

September 201518

FEATURE: THEATRE SOUND

Despite ever-increasing competition for the publics attention and income, attendance at theatres throughout

the UK and Europe is at a buoyant level. While the economic gloom that pervaded the 2008-2013 period certainly had an impact, a combination of crowd-pleasing comedies, jukebox musicals and inspired revivals of more serious dramatic works witness, for example, the rapid advance sell-out of the Benedict Cumberbatch-starring production of Hamlet at Londons The Barbican Centre is helping to keep audiences coming back for more.

In particular, recent data suggests that the appetite of younger people for the theatre has undergone a renaissance, with a 2013 report collated by Ticketmaster indicating that 87% of 16-19 year olds were likely to attend a theatrical production compared with 66% of 45-54 year olds. Initiatives like the Travelex cheaper tickets scheme pioneered by the UKs National Theatre have undoubtedly played a starring role here.

But while there is plentiful evidence that audience profiles are experiencing

substantial renewal, the same cant always be said of the theatres themselves. The UK, in particular, has an aging network of venues, with many sites in Londons West End dating from the Victorian or Edwardian eras. The collapse of a ceiling at Shaftesbury Avenues Apollo Theatre during a production of The Curious Incident of the Dog in the Night-Time in December 2013 prompted a wider debate about the state of the capitals theatres but the reality is that in many cases, preservation orders and/or structural issues limit what can actually be done.

Nonetheless, within these parameters, there has been a surge in the number of upgrade projects taking place and the good news for audio suppliers is that improving sound quality is at the core of many of them.

Market conditionsAs the founder and MD of a company with a 20-plus-year specialism in supplying and installing audio systems in theatres, Orbital Sounds Chris Headlam is ideally placed to observe that we are emerging from a period of drought in terms of new installations in

theatres. During the downturn a venue that was contemplating spending 100K on a technology revamp would be very inclined to wait it out. But now people are starting to re-equip.

In particular, Headlam points to healthy levels of interest from smaller London and provincial theatres with notable recent projects including audio upgrades at the Battersea Arts Centre and Wolverhamptons Arena Theatre

while noting that the traditional heartland of the West End also continues to do good business for us.

Theatres long-running need to accommodate more traditional productions as well as visiting musical acts and more unusual one-offs

means that there needs to be capacity for hired-in systems alongside permanently installed specifications. Not surprisingly, then, this means that a lot of recent projects have revolved around networking and connectivity upgrades with the objective of ensuring that venues remain as flexible as possible.

Cabling challengesNick Chmara, technical director of cabling and connectivity specialist VDC Trading, confirms the high level of demand for upgrade projects at UK theatres, pointing to recent installations at two landmark venues in Londons Hammersmith the Lyric [see Box] and, on a supply basis only, the Eventim Apollo.

It would be correct to say that the greatest challenge [in this area] is dealing with the intricacies of the existing infrastructure, says Chmara. A venue like the Apollo might have had plenty of work done but it still has its art-deco element inside, and that has to be respected.

Minimising the visual and practical impact of cable runs is one enduring consideration, then, but that isnt the

UPSTAGED BY AUDIO?

An upturn in projects involving both provincial and major city theatres means that this is generally a productive period for pro-audio suppliers. But are restrictive preservation orders and an over-emphasis on tradition inhibiting the prospect of further progress, asks David Davies?

SSE Audio Group was responsible for the L-Acoustics PA installation at the Eventim Apollo in Hammersmith, London

Audio systems must be capable of covering the

requirements of many different kinds of performances while

still integrating visually in the building design.

Henning Kaltheuner, d&b audiotechnik

18-20 AMI Sept 2015 Feature_Final.indd 1 25/08/2015 15:30

September 2015 19

FEATURE: THEATRE SOUNDwww.audiomediainternational.com

only aspect in which you frequently have to get creative. For example, the faceplates will often need to be as unobtrusive as possible, and that can require working very closely with the theatre owner/operator to identify the right solution.

Chmara remarks that accommodating the needs of visiting acts can be another critical factor, as in the case of the SSE Audio Group installation of a new L-Acoustics PA at the Eventim Apollo. To accommodate a range of options for tying into the installed fibre optic multicores (in the words of SSE installations director Emma Bigg), SSE engaged the services of VDC Trading to assemble the HMA connectors and opticalCON fibre optic connectors that will enable quick and hassle-free changeovers.

Cosmetics and fascias and so on are one element, but a lot of the driving force for these projects is determined by whether these venues are going to have in-house systems set up continuously, or whether they will be set up for bringing in external systems on a regular basis, says Chmara. For example, a venue like the Eventim Apollo is used for everything from theatrical productions to comedy and rock gigs.

Although the company is rarely involved at present with new-builds in the UK I would say there is more potential for that overseas the current level of interest from existing facilities is very encouraging, confirms Chmara.

Making life easierMore generally, upgrade projects are often underpinned by a desire to make life easier for system operators an increasing number of whom, it should be noted, have grown up on a purely digital workflow-based diet. For example, Headlam points to the burgeoning interest in utilising Audinates Dante media networking technology.

In all honesty we have been very pleasantly surprised by how strong the demand is for Dante. It makes sense as its become pretty much universal across manufacturers, does what it says on the can, and the infrastructure is highly cost-effective.

Some of the same impulses lay behind the now habitual selection of the latest generation of audio consoles and, in particular, their incorporation of user-friendly and accessible interfaces. Allen & Heaths experience of the market is a case in point. The customisable surface concept that we offer with the iLive and GLD [digital mixing systems], allowing complete strip layout changes per show, per user log-in and per scene, has gone down particularly well with theatre technicians and operators, says Allen & Heath brand manager Leon Phillips.

More generally, physical size and ease of use are among the key requirements when theatres are selecting new consoles. Often there are several operators driving the sound, with different levels of experience, says Allen & Heath product manager Nicola Beretta, who adds that scene

management is another area where theatres are particularly demanding. [For example] our iLive system offers in-depth scene editing and the possibility of partial scenes to store selected parameters only, plus the ability to import scenes from visitors showfiles without disturbing the venues output patch and configuration.

Loudspeaker selection is also driven by a need for quality, flexibility and mass acceptance. d&b audiotechniks head of business development and market intelligent, Henning Kaltheuner, explains: Audio systems must be capable of covering the requirements of many different kinds of performances while still integrating visually in the building design. This again emphasises the demand for compact systems that provide a high-SPL headroom with an uncompromising sound quality.

The same trend for more varying programmes in the theatres also means that touring productions are becoming more relevant to the portfolio of a venue. Accordingly, this requires that systems are accepted by the sound designers and engineers of touring or temporary productions.

In terms of microphone capabilities, the primary objectives for theatres can be summarised as durability, consistency, quality and flexibility, says DPA Microphones product manager Mikkel Nymand.

Many multipurpose venues must be able to meet different needs, but the demand for optimal audio experience remains, he says. That is why moving microphones closer to performers and also acoustic instruments has become more and more common, and the need for high-quality bodyworn and

Waxing LyricalOriginally established in the 1890s but subsequently demolished before being faithfully recreated during the late 1970s, the Lyric Theatre remains one of Londons most influential theatres, hosting a wide range of dramatic productions as well as comedy performances and live music sets. Accordingly, the theatre is currently in the midst of an expansion and development programme to ensure it serves all these needs and more into the future.

One aspect of this work centres on the 550-capacity Main House, where a production of Bugsy Malone was the final cue to invest in a large-format digital console and accompanying fibre optic infrastructure, as head of sound Nick Manning explains: I had tried out a number of different consoles over previous years, in particular during panto season, but it was the realisation that the cost of hiring [for this long run] was virtually the same as purchasing a desk permanently that provided the prompt to go ahead.

Impressed by his experiences with various DiGiCo consoles, Manning ultimately opted for an SD10 desk and SD Rack, supplied through

Autograph Sales and installed with all corresponding infrastructure, tie-lines and so on. It basically means everything is built into the structure of the theatre so, for example, there is no need to ever run lots of multicore around the place, he says.

Alongside this project, Manning and his team in conjunction with long-term collaborators VDC Trading have also been implementing a flexible audio infrastructure in a new building constructed at the back of the existing site. There are rehearsal rooms, TV/edit suites and more, all geared towards giving opportunities to young people, he says.

Not uncharacteristically in a project of this kind, ongoing work has

revealed the need to change some things about and bring in additional cabling. But collaboration with VDC as well as contractors such as Base Build Services and theatre/acoustic consultants Charcoal Blue has made this as smooth a process as possible, says Manning.

Next on the agenda for Mannings team is some work on the other primary space in the older building, the 110-capacity Studio theatre. We really want to think about improving and upgrading that as some of the cabling is 40 years old and frankly sounds like it too! But looking at the Lyric as a whole, we have definitely made a lot of improvements, he concludes.

18-20 AMI Sept 2015 Feature_Final.indd 2 25/08/2015 15:30

September 201520

FEATURE: THEATRE SOUND

clip-on mics has grown so much. Earlier you needed to orchestrate the music and ensemble to fit the venue; now more is expected from either smaller ensembles or crossover ensembles.

Closer collaborationWhile the specific layout of individual venues might herald significant logistical challenges, there is general agreement that the standard of co-operation between all the stakeholders involved architects, venue operators, sound suppliers, consultants and so

forth is now of a more consistently high standard than it was, say, a decade ago.

There is more conversation and at an earlier stage, that is true. Maybe its down to too many bad experiences [for theatres] in the past, suggests Headlam.

Nowadays consultants and architects are generally well aware of audio requirements in new buildings, often working together with the integrator towards a sensible compromise of performance

and intelligibility on one side [and] architectural design on the other, Beretta continues.

Kaltheuner strikes a tone of slightly greater reservation, though: For the high-end installations it has become easier to have the requirements for acoustics being respected [earlier on] in the planning process. However, many venues are still too lively with very long reverb times. Sometimes this is quite useful for a manufacturer like d&b offering solutions that provide good results under critical conditions with regard to reverb times.

Listing limitationsAlthough venues are certainly engaging with new technology and not just on the audio side, since home theatres and gaming are among the factors leading theatregoers to expect an evermore sophisticated visual experience several interviewees believe that there are some longer-term questions that will need to be addressed if they are to be made fully fit-for-purpose.

Great improvements can be made, but I think there is a balance to be struck between theatres being both monuments of performance as well as

monuments to architecture, comments Chris Headlam, for whom the primary problem can be traced to too many preservation orders that prevent venues from moving with the times. And whats more, its a bit of a UK problem; there are fewer limitations in Europe, where as a result they have a greater number of both technically superior and audience-friendly venues.

Debate around the preservation of all manner of post-19 century architecture in particular, the listings awarded to 1960s Brutalist concrete structures that may or may not be viewed as aesthetically desirable means that this is only one part of a far wider conversation that needs to take place. For now, theatres can perhaps be grateful that technology suppliers and installers are thinking evermore astutely about subtle but enduring improvements that can be made within sometimes limited parameters.

www.allen-heath.comwww.dbaudio.comwww.digico.bizwww.dpamicrophones.comwww.l-acoustics.comwww.orbitalsound.comwww.vdctrading.com

d&b is seeing healthy levels of interest among smaller venues such as the Battersea Arts Centre in London

Blake Addyson (left) production supervisor at the Long Center for the Performing Arts in Austin, Texas alongside Bill Mester of StageTech and an Allen & Heath GLD-112

18-20 AMI Sept 2015 Feature_Final.indd 3 25/08/2015 15:30

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Welcome to the latest Audio Media International Buyers Guide, which sees us switch our attention to the Monitors & Headphones sector.

Your headphones and monitors might sit at the end of what is usually a very lengthy signal chain, but many would argue that this category of equipment is the most important of the lot. After all, whats the point in splashing out on the best microphones, preamps, converters and interfaces, only to end up critically listening to your work through a pair of inferior speakers or cans?

Deciding which models to invest it can be difficult though, which is why weve assembled this Guide to help make the decision process that little bit easier.

As well as a number of promotional articles from manufacturers, weve gone back to studio design expert Carl Tatz to tell us more about the best way to set up a pair of monitors in a control room, following his popular contribution to the May issue of Audio Media International.

Weve also found another three experienced pros to explain what they look for in a pair of monitors or headphones and share their top tips: audio engineer Dean McCarthy of the SAE Institute in Oxford; Frank Morrone, a veteran re-recording mixer known for his work on Lost and current hit TV series The Strain, as well as Neil Pickles, owner of mastering house Reveal Sound.

Our series of 2015 Guides concludes later in the year with a look at the Consoles market.

Adam Savage, Audio Media Internationalwww.audiomediainternational.com

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Monitors & Headphones

Produced by:

International

TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

InternationalTECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

THE

THE

BUYERS GUIDE

BUYERS GUIDE

Guide 2015

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Q&A

As a continuation of AMIs series of Q&A articles with top audio professionals published in our previous 2015 Buyers Guides on Microphones and DAWs & Plug-ins, we requested the assistance of three more audio experts to share their views on headphones and monitoring equipment. Step forward Dean McCarthy, audio engineer and degree programme leader in audio production and music business at the SAE Institute in Oxford; re-recording mixer Frank Morrone (Lost, Sex and the City, The Strain) and mastering engineer Neil Pickles

What do you look for in a set of monitors?McCarthy: Clarity, transparency, punch at low and high levels and a neutral frequency response. I like to work on a range of different monitors during production. Recently Ive been using a pair of Unity Audio Boulders, which have a wonderful transparency to them. For a few years I worked on PMC IB1s, which can make most things

sound fantastic. For near-fields I tend to work a lot on Genelec 8040s and also reference my mixes off Yamaha NS10s. I consider these my warts and all monitors, often revealing some of the other gremlins hiding in the mix.

Morrone: When I listen to monitors I always audition them with material I know intimately, that has a wide dynamic range and full spectrum material from the low to top end. I test them with film and music mixes.

A good monitor will maintain its efficiency at low and high volumes and especially at higher volumes will not alter its flat response and get colored or boosted in the mid range.

Im immediately aware of monitors that boost the top or low end to make them sound punchier. This is a big problem for me when you are mixing because you will adjust your mix to compensate and then it doesnt translate to the outside world.

Pickles: I like speakers that are non fatiguing over a long period of time, that deliver a good sound at all volumes, not just loud this is

crucial and are quite neutral, though enjoyable to listen to.

And what about headphones? What are the most important factors to consider when picking a pair?McCarthy: Firstly, I prefer to go for open-back units. I find the frequency response and the feel to be more similar to monitors than closed back. I also find I can listen for longer periods and not feel as fatigued.

Secondly, I need to consider comfort. Sometimes you might find yourself wearing these units for long periods, so ensuring they fit nicely is important. Ive found both the Sennheiser HD650 and beyerdynamic DT990 units are very comfortable and they dont bother me after hours of editing.

Morrone: With headphones I look for exactly the same criteria I use for monitors. They need to be a reference monitor on my ears. I also look at the comfort factor. When using them for five to

For Your Reference

Still on the hunt for that perfect set of monitors and/or headphones? Our trio of experts are here to help.

26 September 2015 The International Guide To Monitors and Headphones 2015

Neil PicklesPIcture: Mike Banks

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eight hours they need to be light or well padded to not feel them on your ears. Too much pressure and you have to take them off after a couple of hours and give your ears a break.

Pickles: A lot of consumer headphones are designed to have a smiley curve-type response. Again, they should be neutral and comfortable for long durations of wearing/listening and closed not open for sound isolation, and to avoid spill into microphones.

What are your favourite monitors at the moment, and why?McCarthy: The Unity Boulders have been in our main studio for a while and they are very nice. They have a great frequency response with an amazing amount of detail in the high end. They retain a lot of punch and detail when monitoring mixes at low levels. However, I still have a huge fondness for PMC; every unit I have tried from them has been fantastic. I think the IB1s have one of the clearest midranges Ive heard from any speaker.

Morrone: I have been using the Genelec 8250A in a 5.1 configuration with a 7270A subwoofer. I became a fan of these after using them to do a show in LA and had them installed on my stage at Technicolor. I like them as nearfields because of the detail you hear, especially on the dial. Using their GLM calibration software I find them to match really well to the main monitors. As far as the mains I have always preferred the Meyers. The Acheron 100 is a fantastic main reference monitor.

Pickles: My current speakers are Focal SM9s. I tried a lot of speakers in my room and these are the ones that suited me. The Focals have a smooth top end that I did not find fatiguing, they extend down to 30Hz accurately and they have an amazing focus mode whereby the bass gets disabled and the mid and high speakers (which are sealed) switch to a new crossover for an atypical bookshelf NS10-like speaker.

Which headphones do you use most currently, and what made you choose

those? Do you like to have a number of options available for different projects, or do you use the same pair for more or less everything?McCarthy: For critical listening I often use the beyerdynamic DT990s. I find they have a nice frequency response and are really comfortable. Another pair I was very surprised with was the M-Audio Q40s. Although lower budget and closed-back, I tend to check my projects through these a lot. If it sounds good here, its likely to sound good on most consumer-grade headphones.

Morrone: Currently Im using the Blue Mo-Fi on the mixing stage. They are well designed and have everything that I need as far as comfort, dynamic range, frequency response etc, and when I switch over to my main monitors they match so there are no surprises. The isolation is incredible. I can be listening to dialogue offline while my mixing partner is on the mains.

Pickles: I use Focal Spirit Professional in the studio as they have a very neutral tonal balance and extend quite low. They are great for identifying clicks and pops, detailed editing and ignoring the room when mixing. A lot of people listen with earbuds these days so its important to check your mixs stereo imaging. I use beyerdynamic DT150s for tracking for musicians and live recordings/location work as they give the best noise isolation and offer ultimate comfort on very long sessions, but still sound good.

How crucial are your headphones/monitors as part of your set-up? Some consider monitors to be the most important thing of all do you agree with that?McCarthy: Its difficult to say what is the one most important thing, but they are certainly very important. Theres no point having great monitors if you have terrible room acoustics, there is no point having great converters if you have terrible monitors, etc. I believe its about finding a balance within your budget and within the space you have to work in. Very good monitors tend to have a lot more longevity than many of the other parts of your studio signal path. Computers, converters, software and most other things in the digital domain have a shelf life which could cease when a supplier decides to end support for it. Analogue kit doesnt have the same issues, so a good set of speakers may last you longer and be a better investment.

Pickles: The most important thing is that your room dimensions are acoustically OK, after that find the speakers that fit you and the room treatment is easier if the room ratios are

good. Its all about the room. If your room has issues that cant be fixed easily, you may want to consider new technology like the Genelec 8260A with auto calibration or the Trinnov system; these are excellent, but a better room is always the best place to start. The headphones must work for you, if you find yourself fighting them you dont have the right ones. Everything is important; its all part of one very big chain. A weak link lessens the worth of everything else.

Do you have any tips on using monitors effectively that youd like to share?McCarthy: Having a consistent monitoring setup is key, while also making sure to check your mixes against other reference sources like your car and home hi-fi. Dont listen too loud and for too long take regular breaks and dont make big decisions when feeling fatigued. I often listen to mixes at low levels to get another impression of how a mix is balanced. I sometimes also turn it up but take a walk just outside the control room to see if any other warts in the mix appear.

Morrone: I think its important that you feel totally comfortable with your choices and the only way to do that is by trying them and then taking your mixes to other studios to see how they translate. Also, always have two references if not three in the studio to compare your mix against. With music I always go between small, medium and large monitors, with the small being the Auratones. Each gives you a different perspective on how the mix will sound in the real world.

Pickles: Yes, if working on full-range speakers you need to check your kick drum and bass on smaller systems, which is why I like the focus mode on the SM9s, which have a limited frequency response of 90Hz to 40kHz. People listen to music these days on laptop speakers and cheap earbuds so your massive bass drum could disappear for 90% of your intended listeners as these systems roll off below 90Hz or even higher, and you really need to boost a higher harmonic not the fundamental to get it back for these listeners.www.athingcalledmusic.comwww.frankmorrone.comwww.revealsound.com

Dean McCarthy

Frank Morrone

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OPINION

There are many elements to consider whensetting up a control room monitoring system, such as room symmetry, proper placement of absorption panels at the monitors first reflection points, acoustic treatment to calm down reverberation and ultimately subwoofer integration and digital processing.

However, if I were to be asked what one desert island do-it-yourself piece of advice I would share with an audio professional, it would unquestionably be what I have coined The Null Positioning Ensemble the acoustic trinity between the speakers, console and listener. Nothing you do will offer a more impressive result than applying this concept to your existing

set-up, and is an important element to Carl Tatz Designs proprietary monitor tuning protocol, the PhantomFocus System.

The accompanying diagram is fairly self-explanatory. You will want to pick up a large 60/30 triangle and use some console tape stretched between the outside corners of your speakers while you place the triangle between the speakers and tape as you work towards getting your 30 angle. The operative word here is work because as soon as you change the angle on one speaker, the distance between the two tweeters will change and a sort of see-saw effect will have you quite busy for a while. It takes my assistant and I an entire day to lock them in using a four-

As a follow-up to the How-To article in the May issue of AMl, studio designer Carl Tatz explains why his Null Position Ensemble should be adhered to when arranging monitors in a control room.

Carl Tatz is the award-winning studio designer and principal of Nashville-based Carl Tatz Design.www.carltatzdesign.com

The NULL POSITIONING ENSEMBLE For Near-Field Monitoring

30 67.5 Tweeter To Tweeter 30

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MONITOR SET-UP 4 Null Positioning Ensemble

67.5 67.5

6 Console

Focus Triangle 18 Listen More To Music 60 Apex ` Listen More To Speakers

Monitor tweeter height should be approximately at ear level or slightly above typically between 48 and 50.

6666 Brookmont Terrace, Suite 1109 Nashville TN 37205 Telephone 615.354.6242 Fax 615.356.4791 www.carltatzdesign.com

Monitor tweeter height should be approximately at ear level or slightly above typically between 48in and 50in

e NULL POSITIONING ENSEMBLEFor Near-Field Monitoring

Tatz helpfullaser system weve developed. You should be able to get them reasonably close within a couple of hours or so. Remember it is critical that the tweeters are adjusted to the engineers sitting ear height usually around 48-50in.

The apex of your 67.5in triangle should be 18in in front of the console bolster. The listening position is approximately 6in in front of the console bolster as indicated in the diagram. Placing a mic stand at the apex will facilitate getting your distance. Of course, before you start you will want to make sure the console is centred in the width of the room and that your apex is positioned at the centre of the console.

Incidentally, I am frequently asked about the specific 67.5in distance from tweeter to tweeter and how I arrived at the measurement. Frankly, this measurement could deviate an inch or two without having the protocol collapse. It was originally distilled from the meter bridge near-field mounting position on an SSL 400G Plus console. Weve found that it works quite well with any console or workstation and the reason we keep to the exact measurement is because it allows all our near-field PhantomFocus System installations to be totally consistent all over the US.

Most of you will be using speaker stands and you will likely need to have your speakers cantilever over the console or workstation to get them into position. A suggestion here is that you find a way to adhere your monitors to the stands with some sort of no-slip rubber or even two-way tape, otherwise the speakers will be constantly moving around as you pull the tape across them and you will be chasing your tail.

Careful adherence to the specifics in the diagram is required to experience the desired results. Ball parking the angles, height and distances wont render the pop that youre looking for. Like finding the pocket for thevocal or guitar in a mix, youll know whenyouve found it.

If you have taken into consideration the other elements mentioned earlier in the May issue of Audio Media International about your control room acoustics, then the results of your labour will be the best imaging possible because you have obeyed the laws of symmetry and physics. The centre image will be very strong as the speakers will seem to d