Audio Pro Issue 15 January 2009

LIVE • COMMERCIAL • RECORDING • BROADCAST www.audioprointernational.com

Issue 15 January 2009

AVAST! MONACO JAZZ FESTIVAL RAZORLIGHT HOUSES OF WORSHIP: TOP GEAR IN CHURCHES AROUND THE WORLD

High Calibre Audio Amplifiers Built for a life on the road, E Series amplifiers combine audio quality and assured reliability. Featuring a lightweight aluminium construction, robust digital power supply, advanced protection technology and intelligent limiter, E Series amps deliver their

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E Series. Touring Class.

www.mc2-audio.co.ukWARRANTY

CARRY ONSCREAMING On the road with Britain’smost rock n roll band

01 API15_FINAL 17/12/08 14:27 Page 1

api template:bb18 28/10/08 13:54 Page 1

RAZORLIGHT 12MONACO 30Engineers from the Razorlight crewand the Monaco Jazz Festival give aninsight on gear and techniques usedfor the live environment.

LIVE SOUND

CONTENTSREGULARS: STUDIOS 40 PEOPLE 42 DISTRIBUTION 43 PRODUCTS 44

NEWS 4-6

COVER FEATURE

PRIMAL SCREAMGer Colclough gives an inside lookat mixing monitors for the UK rockand roll party band, PrimalScream.

FEATURESAVAST! RECORDING CO. 26Stuart Hallerman talks about thehistory of one of America’s bestindependent recording studios.

VERTIGO 28London’s hottest new nightclub iskitted out with KV2 speakers.

AUDIOPROINTERNATIONAL

audioPROINTERNATIONAL

ISSUE 15 JANUARY 2009

EVENTSISE 8NAMM 9Previews of two shows set to kick off the 2009trade show season with a bang.

We were saddened to hear the recent newsthat EMI Studios Group will soon closeLondon’s legendary Olympic Studios. With a

legacy spanning half a century, Olympic has hostednumerous rock and pop super bands and artistsover the years, including The Rolling Stones, LedZeppelin, Jimi Hendrix, Oasis and Spice Girls.

EMI has been making headlines ever since the takeover of TerraFirma, mainly by its angry artists complaining about slashed budgetsand the new corporate feel of the company. From the firm’sperspective, it is trimming the fat, a trend that has plagued the proaudio industry across the board. Smaller post production budgetshave forced music and film editing under one roof and madecomposers collaborate with their computers rather than working withactual musicians, the banking crisis has diminished the amount ofmoney for installation work and gas and production costs havecreated the need for smaller equipment and less crew.

Many people who have worked in the industry for years see it as thelawyers and accountants selling the soul of the industry. Whether yousee it as selling out or eliminating superfluous costs, the industry hashad to react by making products leaner, faster and more efficient.

It will be interesting to see the industry’s latest reaction to theseongoing changes in 2009 at big shows like NAMM, ISE and Prolight +Sound. Although many will miss the big, manly gear that has broughtgreat music to us for decades, the innovation and technical expertisethat goes into the gear created today is a culmination of years ofsuccess and failures, resulting in a super breed of products aimed atsatisfying the rockers and accountants alike.

Another upside to modern technology is that manufacturers areforced to listen to the people who are using the gear and are tasked withdeveloping technologies that reach the highest levels of sonic quality insmaller and more efficient packages. This will be an interesting year byall accounts; with more companies fighting over smaller budgets, onlythose offering the most for the money will rise to the top. Andrew Low

Editor

[email protected]

If you would like to receive your own copy of Audio Pro International, please email oursubscriptions department on: [email protected] or call 01580 883848A

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The latestNEWSSTRAIGHT TO YOUR MOBILE

With more companies fighting over smallerbudgets, only those offering the most forthe money will rise to the top.

03 API15_FINAL:APi Feature 17/12/08 14:57 Page 1

Glade seeking new location for festivalTHE GLADE Festival has

been forced to move to a

new location due to

inflexible noise restrictions

enforced by the Berkshire

County Council, Music Week

reported in December.

The festival has been held

in the woodland at Wasing

Estate in Berkshire for the

past five years.

The organisers have

already set the dates for

next year’s event as July 16th

to 19,th and they are

desperately looking for a

new site with suitable

transport channels that can

adequately host the needs

of the 10,000 regular festival-

goers that visit the annual

dance event.

“Wasing has been a great

home for us for our first five

years, but as part of the

natural evolution of Glade

we have decided to find

another beautiful bit of

England, in particular

somewhere we can run it

later on all nights, including

Sunday, and make some

proper noise,” said Glade’s

creative director, Nick Ladd.

2008’s festival ran for

three days and featured well

over 100 acts on eight

stages, covering every

conceivable style of dance

music. Updates are available

from the website

gladefestival.com

Organiser of dance gathering to make some ‘proper noise’

A news

4 January 2009 www.audioprointernational.com

NEWS

DK introduces Dolby coding

DK-TECHNOLOGIES(NYSE:DLB), has confirmed

that the PT0760M can now

handle Dolby E decoding,

either from embedded audio

within the HD/SD video or

through separate AES inputs

via Dolby’s Cat. No. 552 OEM

decoder module.

The PT0760M can also

provide analog or AES audio

outputs with integral level

control. This allows the

PT0760M to provide a solution

for managing and monitoring

Dolby 5.1 coded audio signals.

Launched at NAB 2008, the

award-winning PT0760M is

effectively four HD/SD

waveform monitors in one

box. This lightweight and

easy to operate unit is aimed

at outside broadcast vehicles,

production studios, master

control rooms and camera

control units.

Its unique feature set

includes four separate auto-

sensing HD/SD inputs that

allow for the simultaneous

display of four individual

waveform monitors showing

G, R, B, Y, Cb, Cr and

Luminance, as well as an

included vectorscope.

The PT0760M has a DVI

output that enables the user

to view multiple screens on a

single external display. The

images can comprise of all

four waveform monitors and

the selected audio metering.

Ease of use is key to the

new meter and DK has

provided 11 user presets, user

definable Gamut error

settings and ten user

definable soft keys for fast

set-up. Horizontal and vertical

zoom is achieved via an

inbuilt jogwheel and the unit

also has an internal memory.

The PTO760M incorporates

DK-Technologies’ MSD range

of audio software, which

features the company’s

unique Jellyfish and Starfish

displays for stereo and

surround sound monitoring.

This combination of video

and audio metering includes

HD/SD audio de-embedding,

surround sound metering,

peak programme level

measurements of up to 32

audio channels and seven

selectable scales to conform

to in-house standards. Users

choosing this combined

option also benefit from DK’s

ITU 1770 loudness meter,

which uses an approved ITU

algorithm, covering stereo

and mono audio signals.

dk-technologies.com

Confirmation that PT0760M now handles E technology

Nigel LubyNIGEL LUBY passed away

at his Eel Pie Island home

on November 29th, 2008.

He was 53.

Luby was best known for

his work as a sound

technician for Yes and for

his studio work with bands

such as The Alarm, Marillion

and Mike Oldfield.

Rick Wakeman of Yes

remembered Luby as being

part of a new breed of

musicians in the 1970s and

one of the first to gain a

deep understanding of

musical electronics.

He stated: “As technical

advancements raced ahead

as regards equipment,

there was a need for more

knowledgeable people to

work with bands and

musicians and so the ‘tech’

came into being and Nigel

was at the forefront of that

new movement.

“He was extremely

knowledgeable in sound

recording and all the new

technical aspects of the

industry that were

appearing thick and fast

and racing ahead of the

musicians who really just

wanted to play.

“Nigel worked exclusively

with [Yes bass player] Chris

Squire for many years and

also became involved on

the periphery of many of

the classic Yes recordings in

the late 1970s.

“After moving on from

Yes he made a well-

deserved name for himself

in the world of studio

recording and has left a

legacy behind him of some

classic music that he played

an important part in

producing. I shall

remember Nigel with

considerable affection.”

Luby was considered by

many as one of the finest in

the country and as well as

his work with Squire, he

worked on the Francis

Dunnery Fearless album

and with many other iconic

musicians includingThe

Who’s Pete Townshend.

In 2005 he recorded the

reformed Syn concert (a

super-group including Chris

Squire on bass and top

musicians from the likes of

Oasis).

Luby’s funeral took place

on December 19th at the

Mortlake Crematorium.

1955 to 2008

04,5 API15_FINAL:Layout 1 17/12/08 16:14 Page 1

24th RS conference breaks records

THE 24TH Reproduced

Sound Conference was hailed

a roaring success, with some

125 delegates attending,

including 24 students – the

highest percentage yet.

The RS committee brought

together a wide range of

speakers on the theme of

Immersive Sound. Kicking off

with a tutorial and Q and A

session on the general topics

of rooms, loudspeakers,

intelligibility and practice

attracted over 60 participants

there to test the experts.

Sam Wise, the committee

chair, officially opened the

conference and called on the

President of the IOA, John

Hinton OBE, to present the

Peter Barnett Memorial

Award to Dr David Griesinger,

a physicist who works in the

field of auditorium acoustics,

auditorium and room

acoustics and

psychoacoustics.

Griesinger received the

award for his research and

advancements in the fields of

reproduced sound and

concert hall acoustics, then

talked through the conflicts

that arise when balancing

reverberation ratio and its role

in the perception of

localisation, clarity and the

sense of audience

envelopment of the sound.

Some demonstrations using a

JBL 5.1 system exhibited the

issues Griesinger brought to

the fore.

In the intervening coffee

breaks delegates quizzed

presenters on various aspects

of the subjects covered.

Delegates heard from

researchers, academics,

manufacturers and

consultants talk about issues

as diverse as modelling

methods for optimising room

design, loudspeaker

transducer design, various

techniques for deriving stereo

mixes from surround sound

formats, and the evaluation

of bass transducers using

modulation transfer

functions.

Phil Nelson of

Southampton’s ISVR kicked

off the second day with a

review of multi-channel

sound reproduction, followed

by some similarly detailed

papers relating to immersive

sound fields and their

manipulation and related

transforms.

Peter Mapp showed the

breadth of electroacoustic

knowledge needed to plan

deaf aid systems, while others

described issues involved in

modelling intelligibility in the

real world of reflections and

frequency response errors.

Measurements and

practical issues constituted

the final session.

Seven companies took up

exhibition space at this year’s

conference.

reproducedsound.co.uk

Highest ever percentage of student delegates attend the Institute of Acoustician’s event

NEWS

BRACE AUDIO has

announced the release of its

2.4GHz digital wireless guitar

system: the DWG-1000. This

system represents a

breakthrough in wireless

performance by utilising

digital technology operating

in a frequency band that

provides better quality and

ease of licensing problems.

The system is guaranteed

to be 100 per cent

impervious to white space

RF interference in the UHF

frequency band used by

most wireless mic and

instrument systems on the

market today. Since recent

FCC ruling allows

broadcasters to use this area

of the UHF frequency

spectrum, this is of

paramount importance to

the integrity of wireless

performance.

On November 4th, 2008,

the FCC voted five to nil, to

approve new uses for white

spaces, thereby silencing

opposition from

broadcasters in the US. It is

hoped that within a year this

new access will lead to more

reliable Wi-Fi and other

technologies. Brace Audio’s

technology is digital and

operates at 2.4GHz – outside

the UHF frequencies that

have been used widely by

both the broadcast industry

and manufacturers of

wireless microphones.

The Brace Audio DWG-

1000 is currently shipping,

distributed in the US by

RJMG Distribution.

rjmg.com

SPECIALIST SOUND rental

company Audio Alliance has

continued its expansion

with further increases in

stock and more new

members of the team. This

follows a move to a larger

premises and increase in

staff and stock last year.

Additions to its product

portfolio include ten UPJ-1P

compact Vario

loudspeakers and a number

of UMS subs from the

Meyer Sound range as well

as a Cadac S-Type mixing

console, which has already

seen service on a new

concept in corporate

entertaining and creative

business development, The

Great Northern Cook Off.

The company has also

appointed Pete Stanbank as

warehouse manager and a

formed an association with

sound engineer Steve

Phillips to ensure that it is

well positioned to cope with

the 30 per cent year-on-

year growth it has seen over

the last four years, a pattern

which is set to continue into

this year.

“Audio Alliance

concentrates on the

corporate sector,” said

director Oliver Driver.

“Demand for our services is

high, with regular work

coming from a selection of

European-based production

companies.”

Recent jobs of note

include a three-day

conference that was

attended by 1,500 people at

the ICC for National Cancer

Research, where AA

supplied systems for 15

breakout rooms to

augment the NICC’s house

system. The company also

supplied the system that

delivered the coverage for

The Royal Television Society

North West Awards.

audioalliance.com

Audio Alliance expands furtherSound rental company adds more staff and increases stock levels

5www.audioprointernational.com January 2009

Brace Audio releases DWG-1000White space-proof digital guitarwireless system available in US

Griesinger (right) receives the Peter Barnett Memorial Award

The Royal Television North West Awards show

04,5 API15_FINAL:Layout 1 17/12/08 16:15 Page 2

FAIRLIGHT’S XYNERGIController has won the EDN

Australia Innovation Award

in the catagory of Best

Application Of Design

Software. Presented

annually, the EDN Awards

recognise those companies

that demonstrate

technological innovation

and design creativity.

This is second award

Fairlight has received in

recent months.

In October, its Pyxis

Multitrack Recorder/HD VTR

picked up a Par Excellence

Award during the AES

Convention in San Francisco.

These awards, hosted by

Pro Audio Review, are given

to companies who

introduce significant new

products at the AES

Convention.

Tino Fibaek, Fairlight’s

chief technical officer, said:

“We are delighted that both

Xynergi and Pyxis have

been recognised for their

excellence and technical

innovation. It is especially

good to know that we are

winning accolades from

professional end users

because it has always been

our intention to create

products that make life

easier for our customers.”

Designed for a wide

range of applications, from

multiple room commercial

audio post facilities through

to aspirational home studio

owners, the Fairlight

Xynergi is targeted at users

looking for a professional

grade audio finishing

system to create

multimedia projects. It has

already been installed in

key broadcast and post

production facilities around

the world including NHK in

Japan, Sonacom in France

and Grand Central in

London.

fairlightau.com

Fairlight wins bigAustralian accolade for softwaredesign follows AES Pyxis award

YAMAHA COMMERCIALAudio UK has initiated a

series of training seminars to

introduce theatre audio

professionals and students

alike to the key digital audio

protocols, while raising

awareness of the possibilities

that are now available to mid-

and small-scale productions

Presented by deputy

general manager Karl

Christmas and installation

manager Scott Fraser, the first

of these seminars took place

at London’s Central School of

Speech and Drama.

“As a company, we have

extremely broad knowledge

of audio networking

technology,” said Christmas.

“The half-day course is

intended to be a thought-

provoking introduction to the

subject, covering a range of

digital protocols and

examining which is best for

any given situation. The

theme of the seminar is ‘from

air to air’ – in other words,

examining signal flow from

microphone to speaker via

the digital audio protocols:

CobraNet, Ethersound, optical

and MADI.”

Topics such as digital radio

microphone technology,

stage box solutions, digital

mixing, audio networking,

matrixing and monitoring are

covered, including Aviom

personal mixing systems.

As well as examining the

expected areas like audio

quality and the wide range of

digital mixing options, the

course looks at less obvious

issues, for example the

reasons for choosing Cat5,

copper or fibre optic for

cabling, the pros and cons of

using radio mics with different

stage box solutions, the

potential cost savings

between different digital

systems and so on.

“This is something that is

currently right at the forefront

of the sound industry,”

continued Christmas.“20

years ago someone could go

and learn the basics of analog

audio, then go into any

situation and apply that

knowledge. Nowadays that’s

not the case because the

sheer speed of progression in

digital audio systems. It can

be a lot to get your head

round, so this will help.”

yamahacommercialaudio.com

Theatre audio students and professionals introduced to key digital audio protocols

A news


NEWS

AUDIO TECHNOLOGYEngineering (ATE), a German-

based innovator in the

acoustic speaker market, has

developed the P2C, a

speaker cone made with

laminated Victrex APTIV film.

APTIV has a number of key

acoustic properties, including

lower distortion and ringing,

no break-up-modes, very

simple crossovers, and a

flatter frequency response in

comparison to cones made

from conventional materials,

such as polypropylene, paper

and aluminum cones. The

manufacturing process is fast

and efficient, allowing it to

be used in high volume and

cost-conscious applications.

Norman Gerkinsmeyer,

general manager of ATE,

said: “Our work with Victrex

on the implementation of

APTIV film, with its ‘tunable’

acoustics, has been integral

to the success of our P2C

cone design. APTIV films also

offer properties for a range of

other applications including

diaphragms, domes, and

voice coil bobbins.”

John Getz, APTIV film

commercial leader at Victrex,

said: “We are encouraged by

the results that ATE is

achieving. The inherent

acoustic, high temperature,

mechanical, fatigue and

processing attributes of the

film are well suited for use in

acoustic applications and

present opportunities for

OEMs, designers and

processors in the

manufacture of high

performance systems.”

ATE is targeting the

automotive speaker market,

but the technology is

suitable for a wide range of

design and performance

speaker applications.

Notably, APTIV films meet

the long term fatigue

performance required for a

speaker diaphragm. The

semi-crystalline nature of

Victrex’s ‘Peek’-based

polymers provide a relatively

high modulus from the

crystalline phase as well as a

degree of damping from the

amorphous phase. Speaker

diaphragms can be designed

in different thicknesses, giving

them a great deal of

flexibility during the design

process. In examples where

metal foils have been

replaced, the lower density

film allows a faster response

and less mass of inertia in

the whole speaker system.

aptivfilms.com

ATE develops P2CPioneering cone made with laminated APTIV film

Yamaha CA hosts digital audio seminars

Top class: the first YCA seminar

06 API15_FINAL:Layout 1 17/12/08 16:15 Page 1

M1 Ad A4 Audio Pro 28-10-08.indd 1 28/10/08 12:04:59


EVENT PREVIEW � ISE

Spanning seven halls of Amsterdam’s monolithic RAIcentre, Integrated Systems Europe returns this year,boasting the continent’s biggest gathering of AV and

electronic systems professionals, from February 3rd to 5th.Considered to be the premier European event for

commercial and residential systems integration, ISE is popularwith exhibitors as a showcase of leading technologies andemerging developments in the sector and is often chosen as alaunch pad for new products. Manufacturer seminars and anextensive conference programme add to its appeal.

The show is likely to prove a wholesale triumph over 2008’sstatistics, with more than 500 exhibitors already registered,compared to the final figure of 484 last year. While this mightlargely be a result of the burgeoning home installationindustry, there is nevertheless a comprehensive list of proaudio companies on the roster, including Biamp Systems,Digico, Harman Pro, RSS and DAS, among many others.

Exhibiting on Stand 9D108, Allen & Heath will unveil itsnew digital In/Out expanders for the iDR digital installationseries. On display will be the new iDR D-in and iDR D-outunits, which provide expansion options of up to 250m onCAT5 cable using the AES/EBU protocol.

“Previously, the iDR-8 and iDR-4 mixing processor unitsused analog mic and line audio interfaces because that’s whatour customers wanted. However, there is now a demand frombroadcast, TV studios and large scale venues, to keep allaudio interconnection in the digital domain, making use ofcommon standards and increasing distribution distances,”explained Allen & Heath’s MD, Glenn Rogers.

The company will also be exhibiting a selection of audiomixers from the iDR installation series and accompanying PLremote controllers, as well as the latest developments from theiLive digital mixing range, including the iDR0 networkmixrack. The GR2 and GR05 analog zone mixers will also bedisplayed, alongside the Xone:S2 club installation DJ mixer.

Tannoy will be present on stand 5Q86, taking theopportunity to showcase its new QFlex range of digital beam-steering array loudspeakers. QFlex is a series of self-powered,digitally steerable loudspeaker arrays using ‘beam-steering’

DSP technology. The range is designed specifically toovercome the intelligibility problems associated with highlyreverberant surroundings, by focusing the acoustical output inthe target directions where it is needed.

Other new products on show include the i9VP vandal-proofspeaker system designed to satisfy challenging environmentsthat demand speaker mounting within easy reach of thegeneral public, such as underground rail stations and stadiumconcourse. Tannoy will also be showing its new CVS4 Microultra compact, shallow back can ceiling speaker. A variety ofpersonnel will be on hand for demonstrations.

This year’s pro audio themed educational sessions includeLarge Audio Project Management, in which Roland Hemmingwill discuss his experience of handling large projects anddealing with all the different elements, including contractual,technological, personnel, programme and risk. The basis isthat large projects generally use more sophisticatedtechnology, are higher profile, more political, contractuallymore demanding and the risks to businesses can becatastrophic if they go wrong.

Hemming is also due to host Digital Audio on February 3rd.This seminar will identify the different file formats andprotocols used to store and transport digital audio as well asexplain why digital audio doesn't always mean good audio. Inaddition, it will describe how multi-channel digital audio hastransformed surround sound and networks. Hemming willhelp visitors to understand all the different aspects andelements of digital audio.

With a more hands-on approach, Stephen Fried will holdIntegrating the Rack: How to save time and do it right, aworkshop designed to demonstrate solutions to the commonchallenges faced by installers when loading a rack. Visitors willlearn an integrated approach to loading a rack, includingtime-saving tips and tricks for effective cable managementand a special focus on practical demonstrations of methods toensure a properly cooled system. This session is absolutely freeto attend, as is Jörg Wertli’s demonstration of the wave Isound system, to be held on February 4th.iseurope.org

Cabling solutionsaplenty are to befound at ISE

Event: IntegratedSystems Europe(ISE)Venue: RAI centre,AmsterdamDate: February 3rdto 5th

Amsterdam’s ISE show is rapidly becoming acknowledged as an key dateon the pro audio calendar, particularly for those who deal in morepermanent systems. API takes a look at the agenda…

Fully integrated



EVENT REPORT � NAMM PREVIEW

The Anaheim Convention Centre will soon host the2009 NAMM show from January 15th to 18th. Locatedjust outside Los Angeles, California, last year’s show

featured over 15,000 exhibitors and nearly 90,000 visitorseager to display and see the latest the industry has to offer.

International visitors from over 100 countries travel toAnaheim every year to see new product releases,announcements and take part in NAMM University sessions.With all this on offer, the organisers of the event state thatthe NAMM Show is the best place to establish a company’sbrand and take it to the next level.

NAMM University features four days of quick sessions onfocused topics ranging from handling finances to ideas forpromoting business on the web. The one pro audio focusedsession will be given by Peavey’s Kent Morris in the Idea Centerin Hall B, stand 5501, on January 15th at 1:30pm. The class isdesigned for MI retailers who want to gain a greaterunderstanding of the technology behind professional audioequipment, from digital consoles to line array technology.Morris will take a beginner’s look at the finer points ofprofessional-level live sound.

Another interesting session for all attending NAMM is theBest In Show session. Held on the final day of the show, MusicInc publisher Frank Alkyer and a panel of industry leaders willreview the hottest products, ideas and trends displayed duringthe show. The hour-long session will be held in the PacificBallrooms on January 18 at 8:00 am.

Over 1,500 manufactuers are exhibiting this year, includingthe likes of Shure, Audio Technica, Dynaudio, Tannoy, TC-Helicon, TC Electronics, Behringer, Community Loudspeakers,Rane, Audix, DAS, Tascam, Harman Pro and many othermajor players.

While most manufacturers are reluctant to give out detailsof their secret new product launches until the day of the show,a few have hinted at the new gear that they will be releasingor pushing at the show.

Allen & Heath will be present at the American Music andSound stand, stand 6474, exhibiting two new products, onedigital and one DJ. It will also show its ILive series of digitalconsoles for live audio and its new Zed FX series of smallformat mixers with onboard effects.

Harman will show its brand new DMS 700 wireless systemat the show. A sneak preview of the system was given atPLASA 08, but the official launch will be made in Anaheim.The DMS 700 features a broadband frequency range withextended flexibility in crowded RF environments.

With over 100Mhz of bandwidth, the DMS 700s low RFlink quality offers service that is secure from interference ordistortion. It also has a dynamic range of 121dB(A) and offersup to 40 channels simultaneously. AKG is boasting that theDMS 700 is the first digital wireless system to meet worldwidetransmission regulations.

The DMS 700 also incorporates AKG’s D5 dynamicmicrophone capsule, while its patented laminate varimotiondiaphragm and supercardiod polar patterns ensure maximumgain before feedback. Harman’s HiQnet System Architectsupports all of the features of the DMS 700.

Furman will be exhibiting its range of AV signal processorsalongside its AC power conditioning and distribution productson stand 6874. It will also be unveiling a brand new seriesdesigned for AV professionals, the Prestige series. The newline includes the P-1800 PF R Power Conditioner, the P-1800 AR Voltage Regulator and the P-1400 AR E Exportvoltage regulator.

OC Weekly writer, Rick Kane described NAMM visitors as,“Just barely cooler than your average Star Trek or Dungeonsand Dragons geek.” While Kane’s comment is a bit harsh,participants of NAMM 2009 will be eager to see the raft ofnew products, innovative ideas, interesting topics, newindustry trends and the occasional celebrity guest presentevery year in Anaheim. namm.org/thenammshow

Special sessions andperformances makeNAMM anindispensible show

The NAMM Show 2009 is sure to deliver exciting new products and ideasfor the MI and pro audio industries. Andrew Low gives some key pointsof interest for visitors attending this year’s show…

The big winter thaw

Event: The NAMMShow 2009Venue: TheAnaheimConvention Centre,Anaheim, CaliforniaDate: January 15 to18, 2009Exhibitors: Over15,000 in 2008Visitors: Over88,000 in 2008Prediction: Newproducts launchesand insights onkeeping afloatduring the gloomytimes ahead.



SENNHEISER K ARRAY � EVENT REPORT


Sennheiser went all out in December 2008 for the officialdebut of the K-Array speaker line. The company fittedout three rooms in the Ricoh Arena in Coventry, UK

with several other new slim-line loudspeakers.Visitors witnessed product demonstrations by an aerobics

instructor, an acoustic busker, a cooking presenter and a DJscratching double decks to display the diversity of the K-Arrayline. If all that wasn’t enough, a full stage production with K-Array’s KH4 self-powered line array matched with its KS4 subswere used to broadcast an electric string classico-rock quartet.

So why such major outlay? From Sennheiser UK’s point ofview, it is now distributing a new and innovative product forthe UK pro audio market with the K-Array loudspeakers. Therange was first debuted to select guests at PLASA 08, but itwaited for three months to make the announcement official.

K-Array is an Italian-made brand of point source and linearray speakers designed for installation and live sound use. Atfirst glance it is hard to notice that the skinny arrays from theKobra line actually produce the sound you are hearing.

The K-Array line ranges from the 112cm x 60cm KH4 linearray to the two-inch KT20 point-source speaker. Its KV50array is so light that it can actually be fastened to a wall withvelcro. Big or small, the K-Array speakers are unusually compactand designed for discreet use, while helping cut down ontransport and rigging costs.

The Kobra and Viper series features the KK50 Ultra Slim,50cm, 3D array element; the KK200, 200cm, high power, 3Darray element; the KV50, flat 3D line array element and theKKS50 line array bass speaker.

The Kobra line arrays come in active or passive versions,each with full-range excursion cone drivers. They can bearranged in vertical, horizontal and 3D line-arrayconfigurations. K-Array assures that, although they are thinand small, the speakers deliver unique performance-to-sizeratio with high dynamic range and smooth frequency response.

The KKS50 is an ultra-slim, 50cm line array bass speakerthat provides vertical and horizontal array adaptability and

multiple four-inch long excursion drivers. The speaker has afrequency response of 65Hz to 300Hz and can be used asstand-aline units or with other K-Array speakers.

The Tornado series is K-Array’s line of two-inch compactpoint-source speakers. They were designed with a profile tocreate space savings, or to be used for fill or spot coverage. Itsfrequency range is from 150Hz to 18KHz (+⁄- 3dB) with an87dB SPL (1W/1mt) and a maximum SPL of 101dB. The tinyspeaker has a 90-degree horizontal and vertical coverage.

The larger KH4 line array elements provide 120-degreehorizontal and seven to 37-degree vertical coverage(mechanically variable) and a frequency range of 40Hz to20KHz (+⁄- 3dB preset relating). From the front angle the arraylooks higher and wider than other line arrays on the market,but when viewed from the side its 16cm depth is strikingly slim.It features 12-inch by eight-inch neodymium speakers with2.5-inch voice coil for low to mid frequency support and five-inch by one-inch neodymium planar wave drivers with a 1.75-inch voice coil for HF.

The arrays are self-powered with integrated DSP and remotecontrol. The flat profile of the KH4 allows for space and weightsavings for flying or stacked with custom hardware.

The KH4 can be paired with the dipole KS4 subwoofer,which is 16cm flat and weighs only 37kg. It includes ten-inchexcursion cone drivers with a two-inch voice coil, powered byeight power amplifier channels. The woofers are mounted in abox to ensure high rigidity and resistance to vibrations. It alsoprovides extensive horizontal and vertical coverage.

Sennheiser UK displayed many of K-Array’s key products atthe Ricoh Arena, but even kitting out three demo rooms wasonly enough to skim the surface of its wide range of products.Sennheiser has added K-Array to its products portfolio tocomplement its existing range of professional audio products.It now aims to integrate K-Array as a leading brand in the UKinstallation and live sound sectors.k-array.comsennheiser.co.uk

Sennheiser UK is nowthe exclusivedistributor of K Arrayin Britian

Sennheiser UK held a special launch event at Coventry’s Ricoh Arena todisplay its latest distributed line of compact loudspeakers. Andrew Lowreports on the three-room spectacle…

Sent back from

Coventry


While promoting its latest album, Slipway Fires, Razorlighttook in some surprisingly modest venues during its intimateUK tour, given the calibre of festivals that they headlined

over the summer. Establishments such as London’s Brixton Academy,however, can attract some hardcore and demanding rock fans, butwith this and four over gigs already nailed, Ian Laughton is relaxedenough to indulge in a little nostalgia.

“I started engineering in the 80s with various bands – Elkie Brooksand people like that,” says Laughton. “I worked for what was then alittle PA company called Star Hire (now staging specialists Star EventsGroup) as staging crew chief on weekdays and PA man at weekends.We had a Turbosound festival system, the one with the long throwhorns. This is what I really cut my teeth on. After that we usedFloodlight and Flashlight rigs, but then, of course, the industry wenthead first into line array, which in my view is fine for bigger venues,but when you’re playing theatres and clubs, really isn’t suitable.”

Provided by Entertainment Sound Specialists (ESS), the sound hirecompany run by Razorlight monitor engineer Phil McDaniel and hisbusiness partner, Richard John, the system comprised 18 TA-890Hand 18 TA-890L cabinets with eight TSW-218 subs and four TQ-445sused across the front four fills. The system was powered by BritanniaRow’s recently acquired Yamaha T5n amplifiers, with Dolby Lakeunits for system control. Two of the Aspect stacks were configured inB-mode with their horns rotated for infills or outfills as needed.Britannia Row system tech Mikey Gibbard and monitor tech andsystem rigger Darren Connor, were on hand to ensure all went to plan.

The venues on the tour varied considerably in size and shape, fromtheatre-style venues such as Brixton Academy, Manchester Apolloand Portsmouth Guildhall to more unusual designs such as Lincoln

Engine Shed and Edinburgh Corn Exchange. The latter, for example,is effectively three long rectangular rooms – a central high-roofedmain room with small VIP balcony at the rear, flanked each side byspaces with much lower ceilings.

The tour PA therefore, had to be extremely adaptable. At Brixton,for example, the flying limits meant that only a restricted number ofcabinets could be hoisted, whereas the restricted room for the lightingrig at Edinburgh meant the entire audio system had to be ground

stacked. Nevertheless, after having to sacrifice a couple of the TSW-218s to achieve this, the crew found that TA-890Ls were quitecapable of providing the low end in their absence.

“Razorlight is a great band to mix – you need real punch and clarityfrom the live sound,” says Laughton. “It’s really hard to find both inlive audio systems, but this one achieves it without even trying. Thereare a lot of dynamics in the band’s new album, so it’s a great test of itslive sound. I honestly believe there’s nothing better than this systemto do it justice. When it comes to live sound I’m quite old-fashioned –I like to hear the air moving and Aspect provides the best of bothworlds. It’s a modern day system but it’s not line array.

12 January 2009

Amid a hectic 11-date UK tour with indie rockers Razorlight, FOH engineer IanLaughton and the crew grabbed a well-deserved breather to discuss theirTurbosound Aspect rig and reflect on how they tamed the acoustics of thenotorious Brixton Academy…

“We’re in venues where you can point theboxes where you want them to go andknow that it will sound good, withoutbeing reliant on prediction software.”

Ian Laughton

Sounding sharp

12,13API15_FINAL 17/12/08 13:49 Page 1


�

the Brixton show and pointed out that we were pretty muchaveraging between 110dB and 115dB at front of house duringthe whole show. But it didn’t sound that loud because there isso much headroom and the system doesn’t colour the sound.It’s so smooth, there is absolutely no distortion.”

Phil McDaniel comments: “If you’re doing a very dynamickind of show, most systems change character according tohow hard they are being driven, whereas the Aspect doesn’tand, because it’s so smooth and clean, the audience’s earsdon’t get as tired when you’re running a show at 110dB to115dB. That makes it a more pleasant experience for them.Indeed, sometimes we have to say to FOH engineers: ‘Do yourealise you’re running at 112dB?’ because they’re not hearingthat telltale sound of high/mid distortion. The polyhorndoesn’t introduce any harmonic distortion at all, which makesthe high mids extremely clean. We’d much rather have aneutral system like Aspect, where if you want it you have tointroduce that high mid crunch by using external processing,than a system where you can’t avoid it.

“For starters we never have to push the box to anywherenear its limit. There is plenty of headroom, which is reallygood for the longevity of the speakers,” he adds. “The powerefficiency means that we can use perhaps half the number ofboxes that were required with older systems. This is great forthe flying limits in some venues, it also saves on truckingcosts and means we have to hold less stock.”

“With a line array you need different format boxes forsmall, medium and large gigs, whereas we can put a bunch ofAspect cabinets on a truck and do any size of gig. This tour isa prime example of that. We’ve also got a John Martyn tourout at the moment with Aspect Wide. You can use one stackper side for a small venue or with four stacks per side you cando much bigger spaces. Furthermore, while we know Aspectworks really well in smaller venues, it also sounds amazing inarenas or even outdoors.

“With Aspect we split the hangs up to miss the balconyfront, and as a monitor engineer, that was really noticeable,”McDaniel concludes. “At some stages, Ian was running up to120dB, and normally the sheer energy of that coming backfrom the room would crush the band on stage. But since wecould just crack the hang open to miss the flat front of thebalcony, we could avoid that.”britanniarow.comturbosound.com

“We’re only on day five of the tour now, but we nailed itfrom day one. I think it’s fantastic.

“After the Brixton show, people said it was the best soundthey’d ever heard on the balcony. We had just four boxes perside facing up there,” he continues. “I thought it wasnowhere near enough, that nobody would feel it, but Mikeysaid it would be fine and he was spot on. Apparently theyhad loads of people ring in and ask who the hell put thatsystem in because they’d never heard anything like it.”

“There were 2,100 people on that balcony, with just eightcabinets covering them all. Afterwards, Bob Angus ofMetropolis and the stage manger came out to us and said‘people have been complaining about the sound in here foryears, yet you come in and just get it right’.

“Well of course we’ve been doing shows in here for a fewyears but the aspect rig made a huge difference. I told themthat if they want to know how to make Brixton Academysound good, just call Britannia Row and ask for MikeyGibbard. He’ll tell you what we put where and that’s theproblems at the Academy sorted.”

“For me, one of the pleasures of this tour is being able togo back a few years. We’re in venues where you can point theboxes to where you want them to go and know the sound willbe good without being reliant on prediction software. It’samazing how important that is.”

“If you’re in arenas or stadiums you obviously have to makemore use of the predictor software regarding where youposition the boxes,” adds Gibbard. “But in venues like these,you can just look around and know the angles they’ve got tobe at. To be honest it annoys me when you get to smallvenues like these and there’s a line array in there, because itcauses more problems than it solves. But it’s often becausethat’s what the front of house engineer is used to nowadays.

“The Aspect system goes together in a very straightforwardway. We go to each venue with a standard plan and then addor subtract to get what we’re trying to achieve. For example,at Edinburgh we put the big left and right ground stacks in,then realised we needed a bit more on the outside. So we puta couple of speakers in B-mode and a sub to cover the outfill.The TQ-445s really work for the front fills as well, they’regreat little boxes and blend seamlessly with the Aspect.

“You can push the Aspect system as hard as you like and itjust will not distort,” Gibbard continues. “I turned to Ian at

Frontman Jonny Borrell putsthe PA through its pacesThe Edinburgh Corn Echange

was a no-flying zone

Left to right: McDaniel, Gibbard,Laughton and Connor

12,13API15_FINAL 17/12/08 13:50 Page 2

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Christ Church, LondonCHRIST CHURCH is located in the West End area of London inPiccadilly Circus. With a 1,200-capacity main area, the church neededa console to mix audio from preacher’s sermons and the eight-piecerock n roll band that performs every Sunday.

Visiting engineers frequently use the board, so Christ Church’stechnical director, Rhys Scott, needed a console that was intuitive andquick to learn. He chose Innovason’s Sy48 because he feels it is a user-friendly and flexible desk. The services also use Aviom’s networks for theband’s IEMs, which are streamlined via the board’s Aviom interface.

He states, “I met the Innovason team at the Messe in Frankfurt andwas given a demo of the Sy48. It was extremely impressive and therewas no doubt that it met all of our criteria.

“We were looking to have the new console in place before we movedto our new venue at the Piccadilly Theatre and fortunately for us,Innovason launched its ‘New for Old’ initiative just at that time,allowing us to purchase the Sy48 Evolution package within the budgetwe had available.

“Since the console arrived we’ve been extremely pleased with it,”explains Scott. “The audio quality is fabulous and the team has foundit very easy to use.”

Christ Church shares the same venue as the West End MusicalGuys and Dolls, so, every Sunday, its production team works withPiccadilly’s staff to drop a sound and video system, trussing, backdropand instruments onto the stage via a chain hoist. Scott finds that theSy48’s ability to store settings and recall dynamics and mix settingsmakes this arduous task a bit easier. “It’s made a huge difference toour tight set-up and sound check time, Now, I’m pleased to say, we’veall got a little bit more breathing room!” Scott notes.

“The Sy48 has already proved itself to be an extremely valuableasset for us in every possible way,” Scott concludes. “It has everythingwe were looking for in terms of features and audio quality, and with thenew functionality that is slated for next year, it’ll be even better still. Itwas the ideal choice for us.”innovason.com

Peace Apostolic Church, CaiforniaCARSON, CALIFORNIA’S Peace Apostolic Church houses a 900-seatworship hall and a 300-seat fellowship hall, which both host regularservices, rehearsals and bible studies. In order to provide audio for thetwo rooms, Noel Gould at West LA Music and John Stack at AudioGear provided mixing desks for the church in the form of Allen &Heath’s iLive-112 control surface and GL2800 console.

The ILive system in the worship hall features 40 inputs and 32outputs from the iDR10 mixrack with an additional eight inputs andeight outputs on the iLive-112 control surface. Peace Apostolic’smusic director, Andre Lamb, comments: “We are running a full bandwith acoustic drums, guitar, keyboards, piano, MPC click, six praiseteam mics, six choir mics, the minister’s wireless mic and the pastor’swireless mic. A full Aviom system plus overhead and floor monitors arein place for the podium and choir area.”

Lamb is utilising the ILive’s onboard eq and compression on all thevarious channels. He continues: “The pre-amps are what really stoodout for me – such a warm and articulate sound. Everybody is overjoyedwith the sound in our church. Our band and choir recently performedat a sister church and when they returned they were all saying ‘Whoa,we are so spoiled by our church’s sound quality now, we’re used tobeing able to hear everything so clearly’.”


>>

What would

Jesus use?God-loving folks around the globe are being treated to some of the besttechnology the pro audio industry has to offer. Some of these complexes can holdover 4,000 people and require sound support for orchestras, choirs andpresenters. Andrew Low shines a light on the audio in houses of worship…

Christ Church inLondon’s West Endusing Innovason’s

Sy48 to mix its holyrock n rolling band

15,16,17 API15_FINAL 17/12/08 13:32 Page 1


Crossings Community Church, Oklahoma THE 4,000-capacity Crossings Community Church is a mega-complex of godly proportions. It holds a 120-piece chorus andfull orchestra during regular services.

Clear-Com’s CellCom 10 digital wireless system is used bytechnical staff at Crossings for communication throughout the290,000 square-foot complex. Chuck Timmons, director ofmedia ministries, feels the CellCom system is invaluable. Heexplains: “For a production like ours, you must have reliablecommunications among the technical staff. Clear-Com’s newCellCom10, version 1.5.7 is equipped with all of the featureswe’ve been looking for, particularly its new call alert option.”

Crossings uses seven wired and three wireless beltpacks forservices and up to 13 wired with the three wireless units.Timmons feels that features contained in the 1.5.7 version,such as vibration alerts, remote battery monitoring andremote microphone kill control and the ability to createcommunication routes and conference groups, are allwelcomed new additions to the system.clearcom.com

Kingsway International Christian Centre, LondonKINGSWAY International Christian Centre (KICC) wasforced to move out of its premises in Hackney, London, tomake way for construction of the 2012 Olympic Park. It hassince relocated to a 1,000-capacity location in an old two-level movie theatre.

The busy service has to be repeated six times on a Sundayto accommodate all its visitors and a 40-piece choir and liveband accompany Pastor Matthew Ashimolowo.

A great emphasis was placed on the audio for the HoeStreet location. “This is the last sanctuary for real musicians,”says sound engineer Dipo Fasade. “They play a very importantpart in our services, creating a distinctive warm sound thateveryone can relate to. Also, we have very popular youthservices, where the teenagers make the music themselves. Weneeded a PA system with real bass response for their music.”

KICC contracted Systems Etc to help them equip thechurch. After a demo at EV’s distributor, Shuttlesound, it chosean EV PA system for to its low profile, speech clarity and highSPL levels.

There are now four EV Xi1082s installed under theauditorium’s balcony. Two pairs of Xi1152s 64AF are flownabove the stage with Xi1152 90AFs in place for delays on thesidewalls and three RX218 units have been installed underthe stage for low-end coverage. EV’s Phoenix range cabinetsare also in place for monitoring for the choir and othervocalists. The system is powered by EV’s P3000 and P1200RL amplifiers and controlled by a NetMax audio processorand matrix.

System designer Ricky Ramsay explains, “There are six zoneshere, all independent and, via simple navigation, you can useNetMax to control the signal distribution and level as well asadding a valuable degree of security. Services are being mixedon a digital console, which gives the technical team a fullrecall of settings, should anybody alter them.” shuttlesound.com

The outputs of the board utilise an integrated 1⁄3-octavegraphic eq to help with room tuning. Drums, keyboards, choirand praise team mics are grouped into four individual DCAs.Lamb also stores each type of event at the church as scenesfor quick recall.

“The analog-style layout of the iLive has made a hugedifference in getting us up and running fast. Coming from ananalog background, the iLive is really familiar andcomfortable to mix on,” Lamb comments.ilive-digital.com

St Paul the Apostle Church, TexasST. PAUL’S Apostle Church in Richardson, Texas has a 600-seat worship space that Electro Acoustics recently fitted witha completely new audio system.

The company chose JBL’s VRX portable line to outfit the30-year old space and provide clear speech during services heldin the acoustically troubled main room. Electro Acoustics’president, Chris Jordan, comments: “The church has a tilefloor, brick walls, a wood ceiling and pews without cushions,so there were some issues from an acoustic standpoint. Theyalso had at least two previous systems in the space and therewas a definite need for a sound system renovation.

“We measured the reverberation time in the space andinstalled acoustic panels to reduce that time to an acceptablelevel,” Jordan says. “We also discovered that they had a returnair vent that made a lot of noise, so we designed a baffle tocounteract it and the changes made a substantial difference.”

After addressing the acoustic problems in the church Electroinstalled three arrays above the main stage on the church’sceiling. Jordan states that the VRX speakers were chosenbecause their directivity is superior to single, two-way boxes.He also feels the directionality of the line arrays provide alower articulation loss of consonant sounds.

Each array is spaced 12 feet apart and features threeVRX928LA line arrays and one VRX915S subwoofer. Jordanhas used the speakers in the past and is pleased with the finalresults of St Paul’s new installation. He states: “The VRXloudspeakers are very easy to use, you can quickly hang andsnap them together, so they’re easy to install. Aesthetics wereimportant in this project, and the VRX loudspeakers look verynice. The price was also very reasonable and the performanceis just outstanding.”jbl.com

>>

Andre Lamb likesthe analogue feelof PeaceApostolic’s ILiveconsole

Parishioners at StPaul’s raise the

roof with the helpof CommunityLoudspeakers

15,16,17 API15_FINAL 17/12/08 13:32 Page 2


The James River Assembly, Missouri THE JAMES River Assembly in Springfield, Missourirecentl;y found itself playing the part of testing ground forwhat would become Tannoy’s VQ Series of loudspeakers.

During the NSCA 2006 convention, Michael GarrisonAssociates (MGA), a company set up to address theacoustical sound and reinforcement needs of churches,explained to Tannoy’s director of business development,Graham Hendry, that dual concentric driver technologylacked the directivity and high SPL levels needed toaccurately support the needs of audio projection in largehouses of worship.

It was determined that an additional four dB of headroomwas needed above what dual concentric speakers, which havea sensitivity of 100dB/Watt, could deliver. Hendry agreed thatexisting products on the market were unable to deliver therequired headroom.

Tannoy soon began beta testing prototypes in the 4,000-seat sanctuary at The James River Assembly. The newproduct, which would become the VQ series, used only threeboxes to meet the requirements of the church and exceededall existing levels, including an additional 14dB of SPL. Italso gained better pattern control with the new speakers.

Tannoy’s VQ series was subsequently launched at the 2008Musikmesse show and includes a range of speakers designedto provide accurate directional control, sonic performance andhigh SPL levels for houses of worship, large corporate AVsystems, stadiums, large dance clubs, live concert halls, theatresand open-air venues without the need for great amounts ofamplifier power. Its VQ 60 gives 115dB for one Watt and138dB for 200 Watts of amp power.

The VQ line was also develop with the idea of offering theversatility of being used as stand alone speakers for discreteuse or in an array configuration.

Michael Garrison of MGA, states: “All of us at MGA wereoverwhelmed by Tannoy’s demo room presentation of the newVQ series loudspeaker products. Tannoy has hit a grand-slamhome run on this one.”

Hendry states that people outside the house of worship sectorare also benefiting from the extra headroom that the VQseries provides. He says: “The Tannoy VQ range has a diversemarket appeal. VQ has already enjoyed a high profile installin one such alternate sector – at Ibiza’s premier dance club,Es Paradis, which has been winning plaudits from clubbersand DJs alike since the start of the summer season.”tannoy.com

St Paul’s Church, MarylandWHEN parishioner Dean Gladden took on the responsibilityof choosing the AV gear for St Paul’s new 900-seat home, hewas willing to spare no expense to make it a state-of-the-arthouse of worship.

He explains: “In today’s world we’re competing with allkinds of technology in different forms. “It wasn’t a matter ofwhether we’d go mainstream, but how to best achieve it. Wealso wanted our church to perform more outreach to thelocal community by hosting conferences and concerts.”

As such, Gladden hired Pottstown, PA-based Audiobahn toprovide the new facility with hi-tech audio, video andlighting gear. Audiobahn chose Community Loudspeaker’sSLS series to cover the diverse audio needs of the church.

St Paul’s main system now features left, centre and righthangs consisting of five Community SLS920s. Audiobahn’spresident, Tony Hersch, feels that the SLS dedicatedmidrange drivers provide powerful and clear voice intelligibility.

“The SLS boxes can achieve concert level sound withoutdistortion, even at several hundred yards,” Hersch notes.

Under balcony coverage is provided by eight of Community’sCloud 6 ceiling speakers, with four CPL27’s providingcoverage above the balcony. A pair of TD218s dual 18-inchsubwoofers was also installed in concrete under the stage toprovide low-end support while XLT41E monitors were placed on the stage for monitoring. The system is powered byQSC amplification.

Gladden is very happy with Audiobahn’s work and theCommunity loudspeakers and has reported that the churchhas already begun to draw new parishioners as a result.communitypro.com

St Mary Magdalen Catholic Church, California CALIFORNIA’S St Mary Magdalen Catholic Churchfeatures five diverse choirs whose perfromances range fromtraditional to contemporary music. The church does notemploy a full-time sound engineer, so it needed a board thatis easy to use and provides the transparency that allowsproper mixing of the many diverse musical styles performedat the church.

Atlantic Professional Audio was hired to upgrade thechurch’s sound system and chose Yamaha’s LS9 as the primarymixer for the main service area. Craig Beyrooti of Atlanticchose the board for its fully featured channels. Its onboardcompressors, gates and eq are constantly in use to help thevolunteer engineers keep a handle on their mixing, as thechurch has lively acoustics and restrictions on speakerplacement in the room.

“The all-in-one control that the Yamaha LS9 offers withdelay and eq on the outputs is hugely beneficial in thisregard,” Beyrooti adds. “Another key feature is that one canrecall a scene and get out of any trouble that may arise fromservice to service and operator to operator.”yamahacommercialaudio.comatlanticproaudio.com.

St Mary Magdalenchose the LS9 forits intuitive layoutand transparency

JBL line arrayshelped solve

speech clarityproblems in St Paul the

Apostle’s main room

15,16,17 API15_FINAL 17/12/08 13:32 Page 3

TECHNICAL SPEC - WHAT’S IT GOT?The 6416m provides 16 mic inputs, a mini channel strip per inputfeaturing a switchable pad, continuously variable gain in 1dBincrements, phase, low cut and +48V phantom power. It also features mute and channel activation switches and a six-segment level meter per channel.

If 16 XLR inputs are not enough for you, alternate inputs can beaccessed through the DB25 connectors on the back, which also serveas passive splits.

The 6416m has 24-bit A/D converters and runs on sample ratesfrom 44.1kHz up to 192kHz. Related products, depending on how youwant to use it, include the 6416o analog output module, 6416diodigital I/O module and a 6416Y2 A-net interface card.

As the 6416m is a remote-controlled mic pre-amp, Aviom providedthe remote control interface (RCI) and a very neat mic controlsurface (MCS). These can be used to control up to 64 channels of6416m inputs and as they allow you to select any audio source withinyour network, they also double up as a straightforward headphonemonitor station. They can be hot-swapped without affecting yournetwork’s behaviour.

All the components connect via A-net, Aviom’s proprietary audiodistribution and networking technology, designed to stream data-intensive audio, reduce latency, allow longer cable runs and improveclock performance. It is based on Ethernet and uses reassuringlyfamiliar Cat-5e cables and RJ-45 connectors.

SETTING THE SCENEA live recording for a DVD promoting baroque ensemble The Frolickwas the perfect test drive of the 6416m. I racked up Aviom’s seven

units of gear, gathered some microphones and a laptop loaded withPro Tools and headed off.

The recording was done in a Grade 1 listed 17th century house withhigh-ceilinged rooms densely populated with the statuary glitterballthe size of Saturn, a rotating marble table, a seven-piece baroqueensemble and a stuffed adult giraffe.

HOW DID THE AVIOM PERFORM?Set-up on the day was simple, but only because I had spent an entireafternoon wading through manuals and hot-plugging the A-net cablesuntil I had it working. Once you get your head around the fact thatyou are in essence working with Ethernet protocol interconnectivity,rather than physical audio ins and outs, it all makes sense.

I saved my prep work to a preset on the 6416m and on arrival myunit powered up with all the phantom power, phase reversals, high-passes and gain settings in place and after minor tweaks I was ready.

Baroque period meant no visible mics, so my main stereo pair ofBrauner VM1s had to be quite far back to stay out of shot. The6416m definitely gave me enough gain and headroom to pick up arange of delicate, un-amplified instruments. I added spot mics, DPA4061s, which I had to stick to the backs of a couple of statues.

The 6416m was definitely up to the assignment. It’s the maincomponent of an extremely flexible audio networking system, with avery clean signal, loads of headroom and all the functions you expectto find on a mic preamp. This big blue box is a reliable work-horse – afull-blown remote-controllable mic preamp that will hold its own inany recording situation – on location, in the studio, theatre, outsidebroadcast or in a live environment – with or without stuffed giraffes. aviom.com

18 January 2009

New gear for old music

The Aviom 6416m arrived in giant boxes,just in time for a challenging locationrecording. Billed as excelling in simplicity,flexibility, fidelity and reliability, engineerand producer Wes Maebe was rather keento see how it performed…


The latestNEWS

STRAIGHT TO YOUR MOBILE

18 API15_FINAL 17/12/08 14:03 Page 1


Ian Livingstone has scored many TV ads, video games,documentaries, feature films and written chart-toppingpop songs. He has recently worked on the forthcomingHarry Potter and the Half Blood Prince movie...

Behind the board with...

Ian Livingstone

Which project are you currentlyworking on?Just finished the MIDI programming forthe Harry Potter movie, which was lotsof fun. Currently composing scores fortwo video games for Electronic Arts anda six-part series for Discovery Channelabout a guy who lives with bears.

Where are you at the moment?In my studio in the garden in beautifulSurrey. It’s really great working fromhome and seeing my kids grow up, butbeing out of the house so I don’t have tochange nappies.

What audio console are youutilising? And how manychannels?I’m console-less now and happy to be. Imix everything in Nuendo with RMEMadi cards taking 64 channels fromeight slave PCs via Adat. I use an oldTascam DS-M7.1 as the interfacebetween the Madi and the Quested 5.1speakers (208s) – such a shame Tascamdecided to discontinue the DS as it’s stillso unique.

What decision process wasbehind the choice of this audioconsole?There aren’t many options for a consolewith eight Adat inputs. I used to have aMackie D8B, but that only managedfour. I have a huge custom orchestralsample library spanning many terabytesspread over eight PCs running Kontaktand Gigastudio, using 800 MIDIchannels for my template. RAM hasalways been a bottleneck, although I’mhoping I'll be able to downsize thenumber of slaves soon once 64-bit getsestablished and I can use more than3Gb of RAM in each machine.

Do you utilise any outboardeffects/eq?Not any more since I discovered UADs.I’m working on so many cuessimultaneously for speed’s sake thatoutboard gear just doesn't work for me. Iused to have some tasty eqs andcompressors in my last studio, but it wasjust too much hassle wiring them up.UAD does vintage so well, I don't thinkthere’s a big enough difference betweenvirtual and real any more. I have most ofthe Neve plugins, the new Moog filtersounds great and still put the originalLA2a and Pultec on nearly everything. Imiss my old Lexicon though, sometimes.

What makes you happy whenworking?Watching my disklavier do its thing.

What’s been your worstprofessional experience to date?I had a flood in my studio a few yearsago when I was based in a cellar, becauseI was too stingy to install a £50 pump inthe soak away.

What’s been your careerhighlight?I worked with Nokia on the transitionfrom monophonic ring tones topolyphonic eight years ago, whichincluded my piano arrangement of thedefault Nokia ring tone that so manypeople never get around to changing ontheir phones. It still gives me a buzzevery time I hear it – in restaurants,trains, travelling abroad, or evenwatching Eastenders. Funny that the yearI spent a fortune on custom speakersbuilt by Roger Quested, I spent most ofthat year mixing through a miniature1cm phone speaker.ianlivingstone.net

19 API15_FINAL:API Back Page 16/12/08 16:16 Page 1

Held in celebration of the ‘ultimate fantasy hotel’, the launch ofAtlantis was a musical and visual spectacular that attractedluminaries aplenty.

Following a recommendation by technical director Simon Ransom,Delta Dubai was handed the project by owners Kerzner Internationalwith a merciful 11 months to prepare. With the head of the Dubaioffice, Andy Jackson, already enlisted to undertake sound design, itwas decided that it made sense for the company to handle the wholeevent, including equipment. Delta was already experiencing asignificant growth period and this gave the company the perfectopportunity to consider investment in new equipment – undoubtedlystanding it in good stead for future large-scale events.

“We started the project with a clean slate,” recalls Jackson. “Weknew there was going to be a large audiovisual content and that therewould be some serious pyrotechnics involved. Those were the thingsthat were set in stone as far as the sound design went. Things evolvedover the next eight months, but we also knew fairly early on that therewas going to be a major artist performing. The sound design had tocover all those aspects and preferably not double up on systems.”

That artist turned out to be pop princess Kylie Minogue – no meanfeat for any events company. But Jackson designed a system that provedideal for Kylie’s engineers, who brought in their own Digico SD7 andD5 consoles as local control to dovetail with Delta’s own Digico D5 andthe 5.1 setup that the company installed for the overall production.

Delta’s D5 at FOH – the first to reside permanently in the UAE – wasoperated by engineer Martyn Ward, with playback from two Radar V 24-track hard disks sent out from the UK head office. These were primarilyused for the 20-minute audiovisual 5.1 surround piece that was the climaxto the show and included music that was sync’d with the firework display.

“All the sessions were mastered on Pro Tools by Ali Viles,” saysJackson. “We then put everything on to the Radars and two 360Systems Instant Replay V2s were used for all the incidental two trackaudio, walk-up music and backing tracks. We were the source of alltimecode, which we distributed to everyone else – pyro, lighting,projection, show callers and so on. So when we hit the button, weeffectively blew up The Palm.”

The aforementioned equipment investment included a substantialL’Acoustics loudspeaker contingent, which Jackson considered perfectfor the job in hand: “We had a total of 28 V-Dosc, 32 dV-Dosc, 24SB218 subs, four Arcs, 12 Kiva, four Kilo and four dV subs. Ourmonitor system was 16 Audio Analyst 12FRs with control from aYamaha PM5D and was run by our monitor engineer, Phillip Down.Everything was powered with L-Acoustics amps.”

The main room 5.1 and stereo system comprised left and righthangs of ten V-Dosc, a centre fill of 12 dV-Dosc, rear left and rightarrays of four V-Dosc each, along with 16 SB218 subs. As part of theopening reveal, arriving guests were met by Poseiden himself and forthis, a separate system consisting of 24 dV-Dosc and eight SB218 Subswas employed. This system also took care of the Afterglow party,hosted by DJs Donna D’Cruz and Samantha Ronson.

“We had a fantastic crew,” concludes Jackson. “As well as thosealready mentioned, Liam McGrath and Peter McGlynn were in chargeof the stage, and system engineers were Robert Eatock and CraigHarvey. Mohamad Arif was also drafted in from Gearhouse which,being an L’Acoustics network supplier, we also occasionally bring in tosupply additional equipment for our larger projects.”deltasound.co.uk

20 January 2009

Having cost an estimated 1.5 billion dollars, the man-made island of Palm Jumeirahwas completed recently with the opening of its focal point, Atlantis. Sporting a newlyexpanded Dubai office, Delta Sound was on hand to satisfy audio requirements…

Going with a bang

“We were the source of all timecode, whichwe distributed to everyone. So when we hitthe button, we effectively blew up The Palm.”

Andy Jackson

20 API15_FINAL 16/12/08 17:40 Page 1


Audio Pro readers with elephantine memories will remember theCheshire-based Ohm company from long ago – back in the1970s, in fact, when its distinctive products were closely

associated with the MI sector of the business. Though Ohm neverwent away (far from it, it turns out), the company seems to havehidden its light under a bushel in recent years, busily developing athriving export business in 15 countries and moving into the pro endof audio with a comprehensive range of vertically integrated products –yet not seeking a great deal of publicity back home.

Recent months have seen a change of direction, at least in amarketing sense, explains sales manager, Clive Kinton, with a newadvertising campaign designed to raise awareness of just how large acompany Ohm has become and a range of products and expertise thatmight surprise some.

“The company came from the MI side of the business and today hasmoved into installation and live sound rental, with about 80 per centof our business in the former,” he says.

This is a traditionally more robust area and Kinton reveals how heis finding the recent climate in installation.

“It does seem that whatever happens in the economy, people seemto go out and spend money. I’ve just had some customers from Finlandover for the weekend to look at some club installations we’ve doneand everywhere we've taken them has been packed – there seems tobe no recession in club land. That said, club owners have never beenvery keen on spending money – particularly on sound systems. One ofthe biggest issues we have in the audio industry is epitomised by oneguy we’re in discussion with at the moment. He’s spent £1.4 millionon his club, wants to open it in a few weeks, he still hasn’t made hismind up about sound and is moaning that he hasn’t got any moneyleft. Out of that £1.4 million, he’s worried about £20,000 on sound.”

Besides operating in a relatively healthy sector, another factor helpingOhm ride out the rough times is its thriving export business. “It hascertainly been the mainstay of our activities over the past few years,”he says. “The company is based in Cheshire, but we have a factory in

22 January 2009

UK loudspeaker manufacturer Ohm has been producing world-class products sincethe 1970s. With a thriving export business and pro audio products galore, it isquietly establishing a major international presence. Gary Cooper talks to Ohm’sClive Kinton about changing gears…

The sound of the universe

22,23 API15_FINAL 16/12/08 16:06 Page 1


�

Ohm has an impressive client list, too, including suchprestigious venues as the Vienna State Opera House, TheNational Gallery in London, Moscow Airport and the largestdance club in Northwest England – the 5,000-capacityBlackpool Syndicate.

Though Ohm does offer line arrays (indeed, they are quitefrequently included in its club systems), the company’s mainlive rental sound system at present is a ground stack, Kintonsays. “That’s our TRS system and the main market for that islive sound festivals. Big act touring tends to go for line array,of course, and we’ve not been in that market, though we willbe launching some line array systems at the Frankfurt show,later this year – a double ten-inch and a single 12-inch.”

The existing speakers in the TRS line vary from the dual12-inch TRS-212 to the TRS 118H, along with a range ofsubs. Cabinets in the series are made from 18mm birchplywood, finished in eco friendly anthracite paint. High SPLshave made the speakers ideal for club installations, as well asFOH and monitor applications.

“It’s a very funny market, the line array business. Once abig touring company has bought its line array, that’s it – they’renot going to buy another and there are companies who havevirtually given stuff away to get into the market. We’re not intothat, but we’ve got a customer base that is already using ourequipment, who have said to us that if we had a line array,they’d use it, so that’s what we are going to offer.”

Not only does Ohm have a range that embraces most audioapplications, but it is unusual in the way it sources supply – itmakes everything itself. “About 90 per cent of what we sell,

we make ourselves,” he says. “We make all thewooden boxes, we make the drivers, for example,and all the professional products are cast basketdrivers, even down to our six-inch speakers.Little things make the difference and enable youto keep control over the manufacturing quality,which is so important.”

If that comes as a surprise, so does the actualsize of the company. Ohm currently employs about100 people worldwide, Kinton reveals. “In theUK there’s about 20 of us and, in fact, we’ve justadded two people in the UK factory, which isgood at a time when so many are laying peopleoff. We did it because we need the extra peoplebecause we do so much ourselves.

“One of the nice things about working thisway is that we can have an idea and turn it intoa product and be testing it virtually the nextmorning – it gives us great flexibility and theability to offer our customers a lot of adaptability.For example, if they suddenly find they’ve got tofly three speakers in the middle of nowhere, wecan make a frame for them to do that and we’vemade a lot of fixing frames and flying frames thatenable people to do unusual things – we’re thatflexible, because we have the metal working, thewelding capability and the machinery to do it.

“It’s important to remember there is stillbusiness out there,” Kinton says. “It’s quieterthan it was, of course, but people are still doingthings and export is still good to NorthernEurope and also to Eastern Europe, like Slovakia,where every little town seems to be getting itsown club.”

Ohm might have been playing down itssuccess in the UK market in recent years, butone thing seems sure – they have certainly beenmaking a heck of a lot of noise overseas.

ohm.co.uk

Poland, which we’ve had for about 15 years and Poland is agood market for us as well, with a growing economy. Some ofthe nightclubs they are putting together in Poland now arereally very nice and we’re lucky that we areestablished in that market.

“We also have a factory in China and they alsolook after our sales in the region, which has beenanother developing market. They’re keen onEurope-made products and we are finding someexcellent business in hotels. For example, in onethey have 120 rooms, each with a karaoke set upand a pro-quality audio system that we’vesupplied – the sort of system that would sell herefor a couple of thousand pounds each.

“Another area we’re doing a lot of business isin India, where they are spending lots of moneyon big hotels and they don’t think of stinting onthe sound systems.”

Ohm, it turns out, is also tremendously busy inKorea – another export market where it hasbecome a significant supplier, notably in thecountry’s huge house of worship sector.

To supply these growing demands, Ohm nowoffers a wide range of products, designed in theUK by a team led by company founder, Jo Olenski.They range from an installation ceiling speakerto a stadium speaker, with amplifiers and all theassociated products in between.

“We’ve got something that will cover everyapplication from ceiling speakers in a weddingroom, through churches, schools, bars, pubs,nightclubs, sports stadiums - really anywherethere’s sound, we’ve got a product to suit. Wedon’t specialise in anything in particular, forexample we don't say we do swimming poolspeakers, but we do have speakers that can beused in swimming pools and we know whatneeds to be done to get them to work properly.And all our users are served by our dealernetwork or by the rental company involved in aparticular project.”

“From ceiling speakers in a wedding room,through churches, schools, bars, pubs,nightclubs, sports stadiums – anywherethere’s sound, we’ve got a product to suit.”

Clive Kinton Ohm’s BRSeries

extends itsremit into the

installationsector

22,23 API15_FINAL 16/12/08 16:06 Page 2

Primal Scream is known for a lot of things: taking loads of drugs,creating innovative music, taking more drugs and getting crowdson their feet through explosive live shows. Lead singer Bobby

Gillespie is the leader of the rock n roll party establishing the band as amainstay in the UK music for decades.

Through many line-up changes and collaborations, Primal Screamhas grown up from its avant-garde routes and borrowed from the late 80sacid house movement, which brought the group its first chart success inthe 90s with the album Screamadelica. Almost two decades later, theScream was back in London’s Hammersmith Apollo, hooting andhollering hits from its back catalogue, along with songs from the latestalbum, Beautiful Future.

The band’s monitor engineer Ger Colclough is no stranger to beingon the road. Just before he jumped on the buss with Primal Scream, hewas on a world tour with My Bloody Valentine (MBV). It seems thatColclough is on most of the interesting tours that come through town,as he is also the monitor engineer for New Order, Placebo, TheCharlatans, Kosheen, Adele and Divine Comedy, in addition toworking with Primal Scream for more than eight years.

Colclough was spoiled by being able to use an analog MidasHeritage H3000 on MBV’s tour, but he is back to using Yamaha’sdigital PM5D for the recent Primal Scream outing. He has been with theband so long that he knows the songs just as well, even more than someof the newer members and does a lot of on-the-fly mixing, makingslight adjustments to different songs to adapt to different acoustics inthe various venues on the tour.

The PM5D was chosen for the tour because, with two openingbands, Colclough felt it necessary to use a digital board to save on setup time and space. He has been very happy with the board’s work ontour, aside from a power surge that reset it to its original softwareversion. He explains, “I had a power surge last week and as the boarddidn’t come with a UPS back up, it reverted back to its originalrunning system of 1.12. Even though I save each show it was in the 2.2version, so I couldn't access any of my shows. Luckily I was able to getonline and download the 2.23 version and reboot the board before theshow, otherwise it would have been a disaster. Note to PA companies:all digital consoles should be supplied with a UPS to avoid situationslike this.”

24 January 2009

Showtime at the Apollo

Ger Colclough has been mixing monitors for PrimalScream for the past for eight years. He has chosensome key gear to best support the bands recentrock and roll party shows and the support bands onthe tour. Andrew Low talks to Colclough about beingon stage with the Scream…

24,25 API15_v3 16/12/08 16:12 Page 1

Colclough has not beenpersonally affected by the cutbacks

often reported from modern touringproductions, nor has he been forced to use a

certain piece of gear by a tour manager to save onspace and costs. In fact, Primal Scream’s two trucks and 14-

man crew seems extravagant by today’s standards. “I haven’tpersonally seen any effect. I presume some accountant is having a

sleepless night over a budget, but the show must go on,” he jokes.The band performs extremely loud rock n roll that does not require the use

of outboard gear for monitors and Colclough only uses the board’s onboardgates and compression on keys and bass channels. He is running 32 channelsover 11 different mixes through ten L-Acoustics 115XT HiQ wedges, two V-Dosc side fills with two Arcs per side and two SB118 drum subs. The FOH PAfor the tour features 12 dV-Doscs per side with eight V-Dosc subs and threedV-Subs per side with Arcs as infills, mixed by Michael Brennan on his ownDigidesign D-Show Profile.

The no frills, rock ethic is also demonstrated on stage, as only drummer DarrinMooney uses Shure E3s IEMs, with other members relying solely on the stagewedges. “Mooney has a mixer that I send three lines to, which comprise guitars,vocals and his kit that he mixes himself along with a click track,” says Colclough.

The board’s saved scene feature is also not needed and most of the mixing isdone during the show as cues from the band members and Colclough’s memory.

“There are a couple of songs where the guitarist will give me the nod to upthe solo in his mix and a couple where Gary ‘Mani’ Mounfield (the bass player)likes to hear the track maxed out in his mix. He simply loves the volume of it,”he explains.

MBV’s own Kevin Shields also joined the band onstage for the Apollo showto play songs from Exterminator and other hits. “Shield’s took a regular mix ofdrums and bass and his guitar, nothing special as he was only playing on a coupleof songs with us,” Colclough notes.

“It can get very crazy on some of the songs and difficult to balanceGillespie’s vocal over the ensuing volume, so I try to reduce some elements ofhis mix to get him above the carnage. Some of the dancier tracks are hard andaggressive and the volume is incredible on stage, so at times it’s a fight to gethis voice above it all.”

The mics used to capture said ‘carnage’ are a typical mix of Shure andSennheiser. Each guitar amp is miked with an SM57 and a Sennheiser 606, whichcreates two contrasting sounds that are blended together. “Gillespie has used aStandard SM58 as long as I can remember. He really puts the mics throughtheir paces; dropping it, throwing it – usual lead singer behaviour – and the 58takes it every time. We use SM Beta 57s on the backing vocals because theyseem to give more bite to the occasional shout given by the musicians.”

The past ten years in the business have been extraordinary by all accounts,as he has consistently worked for innovative and legendary bands. His onlycomplaint is the way the music business has lost its soul with accountantscalling the shots. He also feels that manufacturers should develop roadversions of new gear, rather than making live engineers use reverbs anddynamics designed for studio use.

Colclough will stay on the road with Primal Scream in 2009 and travel toJapan, Australia and the US. He has also hinted at more MBV shows. Basedon his schedule in 2008, he will be on a tour bus for most of the year. Nodoubt, whatever stage he is on will also feature a great band benefiting from histalent and passion for good music.primalscream.net

“It can get very crazy on some of the songs,so it is difficult to balance Gillespie’s vocalover the ensuing volume.”

Ger Colclough


Yamaha’s PM5D takesthe stage every night

to provide monitormixes for one of the

loudest bands in rock n roll

24,25 API15_v3 16/12/08 16:13 Page 2

When I interviewed Stuart Hallerman of Avast! Recording afew months ago, he told me that a young band that wasfamily friends of producer Phil Ek had just been in the studio

and left a giant EMT 140 plate reverb. That band turned out to beFleet Foxes, which has recently received four stars from Rolling Stoneand hailed by critics as this generation’s answer to Crosby, Stills &Nash, received a nine out of ten stars from Pitchfork.com and reachednumber one on the CMJ Radio chart.

Whether it is the bands, the producer or the studio that is responsiblefor the many successful albums that have been made at Avast, thereputation of the studio certainly precedes itself. Hallerman openedthe studio in Seattle in the spring of 1990 while working asSoundgarden’s FOH engineer. Since building the first studio it hashosted major indie trend setters like Modest Mouse, Band of Horses,The Shins, Death Cab for Cutie, Cat Power, the list goes on. Avast! hasalso become the favourite area studio for Phil Ek (Built to Spill, ModestMouse, Les Savy Fav, Mudhoney), John Goodmanson (Hot Hot Heat,Blondie, Unwound, Sleater Kinney and Wu Tang Clan)and aconsiderable number of others.

Hallerman believes that one of the reasons for the studio’s success ishis aim to not make everything sound ‘squeaky’ clean. He explains:“When I first started the studio if you were in a rock band going into aSeattle studio dressed scrappy looking like you were in a bar band you

would get the assistant engineer or and intern to record your session.Those guys would get nervous and make a ‘perfect’ sounding album.They would minimise distortion, minimise the bleed and put everyonein headphones; basically do all the wrong things and the band cameout with a clean recording that they didn’t like. Rock music is art, notcookie-cutter commercial stuff. It has more feeling and heart to it.”

He also consulted with Soundgarden to devise the best atmospherefor the studio. “I was on the road with Soundgarden while I wasshopping around for a space,” Hallerman notes. “They really put thereins on me and told me to make the studio kind of cheap, reallycomfortable and I knew to let the bands hang out and record all dayrather than kicking them out for an advertising client. As a result, theAvast! aesthetic is a super comfortable space that people describe asthe best rehearsal space they have ever been in.”

26 January 2009

Avast! Recording is Seattle’s best-known underground studio. Forged in the flames of thegrunge era, it has lasted though the ages and its producers and engineers have stampedtheir sound on some of the biggest indie records from the past decade. Andrew Lowtalks to Stuart Hallerman about the continued success of Avast...

“Rock music is art, not cookie-cuttercommercial stuff. It has more feeling andheart to it.”

Stuart Hallerman

New Seattle sound

Fleet Foxes recorded hit albums andgrew great beards at Avast!

26,27 API15_FINAL 16/12/08 16:09 Page 1


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stacks of 1176s and a fully loaded Pro Tools system originallylocated in Avast! Classic was moved into the same building asStudios A and B.

Hallerman credits the API Legacy as the reason for thegreat high-end sheen that bands like Band of Horses, TheShins and Fleet Foxes have got at the studio. He explains:“Both Goodmanson and Ek would boost up really nice partsof the high end and I asked Goodmanson how to get thatclarity and brightness. He told me just to turn to up the highend up a lot. I looked at the board, and, sure enough, the highend was turned up on everything and it works. The high endfrom the board doesn’t hurt your ears.

“Phil Ek really knows how to sculpt the high part of thefrequency range beautifully. I can’t mix as brightly as he does.My ears tell me that things should be darker than that. Hehas eagle ears and wants things to sound good. He also helpsme maintain the studio by pointing out all the broken gear,”Hallerman laughs.

The reverb heavy vocals found on recordings from Band ofHorses and Fleet Foxes is another signature sound of Avast!and Hallerman attributes it to the EMT 140 plate reverb left byFleet Foxes, combined with the studio’s Lexicon 480 andKlark Teknik DN780.

The legacy of Avast! Recording has spanned across manyyears and successfully influenced several waves of the musicbusiness. It is now known as one of the premier studios in theUS for indie rock bands, big and small.

With carefully chosen gear and a mandate to keep thingsrock n roll, Hallerman and the associated engineers andproducers at Avast! aim to infuse a pulse into every songtracked or mixed at the studio. avastrecording.com

Finding the right building was another task altogether. “Iwas hung up on 100 times when I was looking for a studio,after explaining to landlords that it was going to be a rock nroll recording studio,” Hallerman explains. “This was duringthe height of the Seattle grunge era, and Nirvana, Tad andMudhoney had already recorded albums. I was starting tothink that if I didn’t open up the studio by the end of 1989 Iwas going to miss the entire Seattle scene.”

After the arduous search for the right space, Hallermanbought a modest amount of recording equipment, developeda studio that people could relate to and his calendar quicklybegan to fill up. He was able to record many bands during thegrunge era and stay busy despite its decline by recordingbands in the burgeoning indie rock scene.

The work was so steady that he and producer JohnGoodmanson opened up a smaller studio, whose schedulealso filled up instantly.

Things were very busy for Avast! until the advent of ProTools. After hearing feedback from engineers stating that earlyversions of Pro Tools were “kind of shitty”, Hallerman stuckto using analog tape until it became apparent that he had tomake the change over. “I was a late-comer to Pro Tools. It wasnot cheap and there was no way I was going to spend 15 to20 thousand on something that sounded worse than what Ialready had. It got to the point that my calendar was emptyand the phone was ringing with people asking if I had ProTools. I had to turn away a lot of people until I finally brokedown and bought it. The work began coming back in,although it still took a long time for tape to dwindle away.”

While he still prefers tape, he is happy with the modernPro Tools HD systems, but still suggests that bands mixdownto half-inch tape. “I’m happy with the sound,” he admits.“And if you have really great sounds going into it, it barelyputs a hurt on it. Maybe even less so than analog, althoughthey both colour the sound a little bit. Pro Tools still changesthe performances and the sounds you record to it. One of thedangers that still exists with any DAW is that you never sayno to overdubs and decisions don’t get made because the bandalways wants to wait until you are mixing to decide whichtracks to use. Then it comes time to mix and you have amorass of stuff.

“It also leads to the situation where a band member will doa performance and miss something or hit a bad note, they willput down their instrument and expect the engineer to fix itwith cutting and pasting, rather than going for inspiration orplaying it right. When you put the same people in front of atape deck and they have to get it right or know where theyare going with the song, it is artistically different.”

With nearly two decades of experience under his belt,Hallerman has collected a huge range of great analog gear,including LA2As, dbx 160s distressors and large plate reverbs.Studio A at Avast! has a 36-foot by 34-foot live room and a19-foot by 26-foot control room. A 36-channel Trident A-Range console, Studer A827 two-inch, 24-track recorder, anda Pro Tools HD2 system are also in place for digital andanalog recording, with an extensive array of vintage andmodern outboard mic preamps and processors. It can take upto 30 players with isolation areas for soloists and vocals.

Studio B has a 22-foot by 32-foot live room with woodenfloors and two isolation booths. A Trident TSM console andPro Tools HD2 system lives in the control room along with anAmpex MM1200 two-inch, 16-track recorder and an Ampexhalf-inch, two-track deck. Studio B is the more affordable ofthe studios and can be used for tracking, overdubbing,editing, or mixing. The API Legacy Console, analog gear,

Large liverooms andgreat gear atAvast! havemade it thechoice of greatbands andproducers fromaround theworld

26,27 API15_FINAL 16/12/08 16:09 Page 2

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Legendary London nightspot Number One Leicester Square has been brought backto life with the help of Essex Sound and Light. Thanks to its new KV2 soundsystem, Arron Curtis tells API, this time the sky is the limit…

Overcoming Vertigo

Recognised by London’s clubbing fraternity as one of the city’shotspots, Number One Leicester Square – the birthplace of theinfamous Home nightclub – has now reopened as the 750-

capacity Vertigo, under the ownership of Interguide London.With Sound Bar also trading further down the building, the new

management team quickly realised that the inherited hybrid soundsystem was something of a mismatch and sought the advice of one ofthe club’s experienced DJs, Southend-based Andy Smith.

Smith told marketing and promotions manager Arron Curtis that anumber of busy venues in his seaside hometown had been fitted withthumping KV2 systems by local installers Essex Sound & Light andbefore long, the company’s MD, Mike Glover, had been drafted in toadd Vertigo to his list of projects.

The first stage of a phased upgrade has seen Glover install a KV2ES system in the main clubbing area and the lounge area above.

With the Leicester Square Empire situated just next door, Curtissensed that in taking over a venue used to host film premiere parties,they would have a lot to live up to: “The sound is the heart of a club,”he says. “But we didn’t have a heart and Andy was jumping up anddown about the KV2 system.”

Curtis himself had graced the wheels of steel at some of London’smost famous super clubs of the 90s, such as Club UK and the LeisureLounge. With his knowledge of the industry, he commissioned MikeGlover’s company and the KV2 rig purely on reputation, without somuch as an audition, deciding to purchase the system rather than rent.

Working alongside Darren Lambert, ESL’s head of engineering, MikeGlover carried out a survey and quickly divided the three floors into amulti-zone configuration. He also realised they were in an inherently‘live’ room, with a large number of windows which, while offeringspectacular views over the city, presented the potential for a mass ofsonic reflections in what was already a hard-surfaced room, with anarced exterior wrapped around the rear of the bar. The solution wasnot an easy one, but Glover soon got on top of it.

“Time aligning the EX10’s around the curve proved difficult, butwe’ve done so very successfully, with the delay taps set in three pairs,”reports Glover.

Six of the compact EX10 two-way speakers, with a ten-inch wooferand one-inch compression driver, form the perimeter system, wall-mounted on their own brackets and facing inwards. Glover decidedthat the advantages of an inherently optimised system were self-evident, with on-board electronics ensuring fast, easy set up andcomplete control, and electronic crossovers, phase alignment, eq andspeaker protection integrated into the EX10’s amplifier module.

Each main dancefloor stack comprises a pair of ES1.8 reflex horn-loaded, single 18-inch subs, under a three-way, very high output,active-driven, ES1.0 mid-high/mid-bass enclosure, using EPAK2500/R amp modules. All control and signal routing take place in aSoundweb London BLU-160 (configured four-in/12-out), which routessound sources between the different floors. Both the sixth and seventhfloors are also equipped with a Soundweb London BLU-6 remotepanel, for local source selection and volume control.

“Each floor can play out to the other, including the eighth, wherewe’ve integrated the existing 3088 Soundweb Lite DSP into the newnetwork,” states Glover. “It’s a complete matrix. We have kept thisinstallation remarkably simple. The placement of KV2 enclosures isvital in order to get the best out of them. If you try to be too clever, oruse indiscriminate equalisation or other needless ‘correctional units’, itwill backfire.”

The DJ booth also houses a KV2 EX6 for reference monitoring witha small footprint.

Up on the seventh floor, Mike Glover repeated the formula, wallmounting eight EX10s with a pair of EX2.2 subs providing bassextension. The DJ booth is configured identically to the set-upbeneath. A similar approach to delay taps of the EX10 was applied.kv2audio.com esl-systems.co.uk


28 API15_FINAL 16/12/08 16:01 Page 1


With a focus on innovation, the third annual Monte Carlo Jazzfestival was presented by Mr Jean-René Palacio, artisticdirector of SBM (Société des Bains de Mer), which owns

some of Monaco’s most distinctive landmarks, including the MonteCarlo Casino. The festival took place across several locations, chieflythe Opera House (or Salle Garnier) and the trendy Moods music bar,a small, multi-layered club-style venue.

The most recognisable name on the artist roster was possibly HerbieHancock, who played to a packed house alongside Manu KatchePlayground, but for many punters, the highlight of the festival was aworld first performance of Marcus Miller and the Monte CarloPhilharmonic Orchestra. The younger generation was represented by‘gipsy jazz child’ Thomas Dutronc and Malene Mortensen, while aseries of festive concerts included Franck Mead Band, Ben Sidran andGeorgie Fame.

SBM’s technical partner for the event was local Nice-based supplierArpège Son Lumière, headed up by Philippe Barguirdjian, who wasduly enlisted as sound supervisor at the festival. Barguirdjian waspresent throughout the duration to provide crucial onsite supporttogether with David Webster, marketing director at Digico. Themanufacturer’s digital live consoles featured prominently in FOH andmonitor positions across the event.

“We started to prepare around two months before the festival, afterthe summer season has finished,” recalls Barguirdjian. “We receivedthe last riders at the beginning of October and began to write the listof equipment for the festival. As technical supplier, our job is toprovide all the support necessary. We look at all the artist riders alongwith the stage manager and we can then decide what equipment tospecify. If there are any problems, it’s our job to call the technicaldirectors to discuss the rider and maybe arrange alternatives.”

A loyal client of Digico, Arpège supplied the consoles to threelocations – the Opera House, Moods bar and the Auditorium RainierIII, which was used by Marcus Miller band and the orchestra for

crucial rehearsal sessions. Due to the nature of the festival,Barguirdjian and Webster encountered a number of engineers whowere not familiar with the desks and therefore required a degree ofsupport and reassurance in using them. This however presented noproblems, as Palacio explains: “We host many events that would notnormally use Digico, but although the engineers don’t know what theconsoles are like, they are interested because they have heard thename and they are always very happy because they are so cool to workwith. Nobody says they don’t want to use Digico; some engineers arenot familiar with the consoles, but we are here to assist and after fiveminutes they understand.”

Running the show this year required a slightly different approach to2007 due to the addition of Marcus Miller – the idea of Jean-RenéPalacio. The complexity of the act called for rehearsals to take placeduring the festival itself, running concurrently with other main events.Barguirdjian found himself splitting his time between the OperaHouse and the auditorium, to keep a technical eye on both venues.His crew faced a very limited timeframe in which to turn the end ofrehearsals in the auditorium into the main performance in the SalleGarnier and thus wanted to make best use of the equipment that wasalready present in the Opera House.

Although the act, which comprised over 20 musicians, hadrehearsed on a Digico D5, the only desk that would fit in the FOHbox in the Opera House was a smaller-format D1. Unfortunately, theteam was prohibited from positioning a console amid seating areas, butcompatibility between the two desks negated the need for this, asBarguirdjian puts it: “The FOH booth in the Opera House is verysmall and getting the desk inside was very tricky. We didn’t want tohave to put a different desk in there on the morning of the MarcusMiller show, so during rehearsals we used exactly the same audioequipment that was in the Opera House. That meant that FOHengineer Dennis Thompson, mixed on the same L-Acoustics systemthat he would be using on the night of the performance. Its tonal


The third Monte Carlo Jazz festival attracted an impressive list of musicians and adiscerning set of fans, both accustomed to exceptional sound quality. Rob Hugheswent along to find out how Digico met some great expectations…

Jazz haven The eminent Herbie Hancockperforms with the first Digico

SD8 to be used in Franceproviding his monitor mix

30,31 API15_FINAL 16/12/08 16:24 Page 1

www.audioprointernational.com

�

is keen to stress his appreciation of thecompany. He notes: “We have a long historywith Digico; we have been partners since theopening of the first festival three years ago. Wealready have a really strong relationship and wehave new Digico desks every year. The whole ofSBM is now Digico equipped.

“It’s essential we have a very high-level ofequipment because this is the only time we hostan amplified event at the opera house; the rest ofthe time it’s purely acoustic. It’s really importantto people in Monte Carlo that they get the bestsound. When they arrive, they park their Bentleyin the street and when they come inside they liketo hear a Bentley of mixing desks at FOH.”

With the help of Barguirdjian and Webster,Palacio seems to have ironed out the multitude ofproblems that events of this size can present. Notonly was the show an operational success, it isreported that four of the five days were completelysold out. Palacio is left with one more dilemmahowever – what to change for 2009. He continues:“The only question is what do we do next yearbecause we want to come up with new ideas andcontinue to be creative. We have to be differenteach time, but the venue will remain the samebecause for us, Salle Garnier is so beautiful. At

work today everybody is asking: ‘why don’t you go for a biggervenue?’ – well, this place – it moves your soul.”digico.org

balance was exactly the same as for the show. The desk was aD5, but the session was fully compatible with the D1 in SalleGarnier. We just had to save his session onto a USB key andload it into the D1 on the Saturday morning. For monitorengineer Rebekah Foster, we had an SD8, exactly as she usedin rehearsals.”

In fact, the only piece of equipment the team had had tomove into the Opera House was the D5 desk that pre mixedthe orchestra. From this they sent three stereo groups toThompson and Foster to add to their mix for Marcus Miller.The orchestra was pre mixed by Olivier Moreau from Arpège.XTA DP226 crossovers present in the Salle Garnier wereused to control the system. 226s have been used every yearsince the first event three years ago, before the 448s wereavailable. As the company has supplied the same system eachyear, they simply load the same presets onto the units eachtime, which Barguirdjian says simplifies their job enormously.

Over at Moods bar, resident engineer Philippe Dagau wason hand to welcome the visiting bands and their engineers.The club features a Digico D1 permanently installed at FOH,which was specified and fitted by Arpège in the spring of2008. Again, the small footprint of the console was adeciding factor, as was the fact that SBM engineers whowould work in the bar were already familiar with Digicodesks, having mixed on the SD7 and D5 at the MonacoSporting Club.

When Audio Pro International caught up with Dagau, hewas mixing a show for the Franck Mead band. He comments:“The acoustics at Moods bar are really good because theplace was designed to give the best result. It’s not easy to mixhere, however, because the FOH booth is upstairs, lookingdown onto the stage. This means that we don’t have thesame sound at the desk as we do in the room. Nevertheless,the D1 is really easy to use, with great ergonomics. Visitingengineers are usually very happy to work with this desk.”

Visiting engineers aren’t the only ones happy with Digico –monitor engineer Rebekah Foster has noted that her futureriders will specify Digico, while a jubilant Jean-René Palacio

“They park their Bentley in the streetand when they come inside, they liketo hear a Bentley of consoles at FOH.”

Jean-René Palacio

MoodsengineerPhilippeDagautweaks thesounds of theFranck Meadband

Above: Marcus Miller in 11th hourrehearsals on a D5 and, right, theillustrious Monte Carlo casino andentrance to the Opera House

30,31 API15_FINAL 16/12/08 16:24 Page 2


Danish Interpretation SystemsDIS HAS delivered conference and simultaneous interpretationsystems to parliaments, national banks, and organisations such asNATO and UN, for some of the world’s most prestigious installations.

The company’s flagship DCS 6000 system is designed as a completesolution for conference discussion, voting and simultaneousinterpretation requirements, while providing a sound reinforcementsystem for the users. Fully digital, the system is connected via standardCAT 5 cables and has been designed to offer the best technicalopportunities for interpreters, chairmen, and delegates, regardless oforigin, to be able to listen, talk, vote and understand each other. DISclaims that it is the first system in the market to handle up to eightactive mics plus 32 different language channels simultaneously.

For more advanced use the DCS 6000 Conference ManagementSoftware, SW 6000, enables extended control and enhanced featuresfrom a central PC or a client/server network. The SW 6000 supportsnumerous screen languages, delegate information, mimic diagram, micand interpretation management, system admin, multiple roomselection, voting, agenda handling, messaging and so on.

A new addition to the system, the DC6990P is the first conferenceunit with a built-in touchscreen. This allows participants to requestand view the agenda, delegate information, messages and more. Userscan see the results of voting appear onscreen before them. A DCS6000 system featuring DC6990P units was recently installed withinthe EU Committee Room at the Danish Parliament, Folketinget.dis.cc

Audio-TechnicaFOLLOWING its introduction of the first fully automatic, hands-freeconference system in 2007, Audio-Technica’s latest development inthe field is the ATCS-60 wireless conferencing system.

Designed for large-scale conferences, the ATCS-60 can cater for upto 150 delegates. Flexible routing and multi-channel operation canmanage simultaneous interpretation of one native and three foreignlanguages. Infra-red communication between delegate mics and mastercontrol unit ensures increased security over UHF and 2.5Ghz-basedsystems, with signals unable to pass through conference venue walls.

The 19-inch rackmountable ATCS-C60 master control unit can beconfigured to control several functions, including the number ofdelegate units with priority settings, select automatic or traditionalbutton press modes, adjust threshold for automatic mode, or outputup to five separate audio channels, via software.

Either wall or ceiling mounted, the ATCS-A60 infra-redtransmitter/receiver connects to the C60 master control unit via BNCcoaxial cable. Use of separate ATCS-D60 distributor units allows upto 16 A60 devices to be used simultaneously to cover larger venues.

The standard version of the ATCS-C60MAG conference managersoftware is supplied free of charge with each C60 master control unit.The software allows complete control over all basic functions of thesystem including number of speakers, speaker order, individualvolume, thresholds and audio routing for interpretation integration.Use of the extended version of the software (C60MAG-REG) affordsaudio and video recording, minute taking and programmability toenable cameras to follow the delegate unit currently in use.audio-technica.com

BeyerdynamicBEYERDYNAMIC has been manufacturing advanced dedicated audioconference systems for over ten years and was the first company tointroduce wireless technology to the conference market.

Heading up the digital wireless range is the MCWD 200 conferencesystem. As well as push-to-talk functionality and chairman override,



audioPRO

>>

Breaking conventionIn the modern world of fragile economic and diplomatic relationships, it’s crucialthat delegates of decisive meetings are clearly heard. Rob Hughes calls anassembly of equipment found in contemporary conference rooms…

Wigan’s ultra modern councilchambers sports a new RCF system

33,34,35 API15_FINAL 17/12/08 14:53 Page 1

Erçin Ural, from Allen & Heath’s Turkish distributor,Asimetrik, explains: “The ceiling is a polished hardwooddome and the walls are acoustically absorbent, so feedbackwas rampant from 160Hz all the way up, but the PEQ anddynamic processing on every iDR channel allowed us toarrive at a very natural sound.”allen-heath.com

RCFRCF’s Forum 9000 is a completely digital conference systemoffering excellent audio quality with totally un-compressedwideband digital audio ensuring maximum intelligibility. Thesystem is ideally suited for council chambers, congresscentres, law courts and parliamentary chambers.

Forum offers four different conference modes including‘open discussion’ ‘automatic discussion’ ‘automatic timeddiscussion’ and ‘managed discussion’. Additional options thatcan be specified include electronic voting, audio broadcastingin the room, audio recording, camera control andsimultaneous interpretation. Interactive keypads and graphicdisplays capable of showing a variety of information,including voting results and the number of delegates in thebooking queue, add to useability.

Forum is wired with category 5 UTP cables and RJ45connectors and does not require external boosters or splitters.The Forum FMS 9411 console uses a very high qualityprofessional hyper-cardioid microphone. Four audio outputsare programmable in audio level adjustment according to theactive microphones to link into a supplementary PA System.This makes Forum ideal for installation in acoustically criticalenvironments. Systems can be designed up to a capacity of240 delegates.

Since Forum’s introduction, numerous systems have beenspecified, not only in Italy and the rest of Europe, but also inChina and the Far East. One of the largest systems to date isin the UK, at the Council Chamber of Lincolnshire CountyCouncil. A 118 delegate system with electronic voting,camera follow and internet web casting facilities has recentlybeen commissioned, supplied by RW Salt and installed byThe Sound Workshop. Other UK installations include WiganCouncil Chamber, which boasts a 70-delegate system.rcfaudio.com

YamahaTHE AUDIO giant manufactures a groundbreaking range of

conferencing devices known as the Project Phone series,which it has recently started to distribute in the US

and Europe. Central to the range Project Phone range is

the IP audio conference system, comprising thePJP-100H and PJP-50R units – audio conferencesystems with built-in IP communicationfunctions. Users can immediately set up an in-house conference with multipoint connectionsusing an existing corporate LAN, with no call

charges. This system is ideal for companines thatneed communication systems between offices

within a single company, for example, betweenHong Kong and Tokyo branches.

the MCWD 200 features integrated digital voting togetherwith up to eight channels of simultaneous translation, textpaging and on-board data display.

All MCW-D systems feature the most advanced securityand encryption techniques possible in conference technology,to ensure total privacy for each meeting. With integrated128-bit variable chipping keys and eight digit alpha-numericPIN codes, beyerdynamic insists that the MCW-D is the mostsecure dedicated wireless audio conference system lineavailable on the market.

Using the dedicated PC control software, all MCW-Dsystems can be controlled remotely through either theTCP/IP or RS-232 connection interfaces. Supplied asstandard, these feature easy-to-use synoptic interfaces andintuitive microphone queuing systems, as well as integrateddata logging.

Joining the range in 2009 will be the MCW-D Revolutoseries, featuring the line-array microphone system, designedto allow maximum user movement when in use, enabling thespeaker to stand up, sit down, move to the left or right andstill benefit from a good audio response. This new technologyremoves the gooseneck mic completely and also boastsintegral DSP for enhanced frequency response.

An MCW-D 100 system was installed in Edinburgh CityCouncil chambers five years ago, but this is now due to beupgraded to an 85-unit Revolotu system, in preparation forthe upcoming Royal visit for the Military Tattoo in August.beyerdynamic.com

Allen & HeathA&H’S IDR series is a digital audio processing anddistribution system, which, although designed for a broadrange of applications, is ideal for use as a conference audionetworking solution.

The iDR device is an audio matrix mix processor whichprovides up to 16 inputs and 16 outputs with comprehensiveDSP capability, including eq, dynamics, delay, auto mixingand so on. Up to 250 presets involving complex parametersettings can be saved and easily recalled on the box itself, viaa PC running iDR system management software, or from theassociated PL series of wall plates and remote controllers.The system’s capacity can be easily increased without theneed for extensive wiring, as several iDR units can be linkedand holistic control established across all connected devices.

A 16 by 16 matrix iDR system was recentlyinstalled in the conference suite of Turkey’sAnadolu University, as part of an audioupgrade of the University’s publicareas. The suite was fitted with threeiDR-8 digital matrix mixers, twoiDR-IN expander units, a PL-6eight-fader remote control paneland two iDR switch units, mixing31 Sennheiser gooseneck micsthrough two EAW digital linearrays. A Crestron touch screenconnected directly to one of the threeiDR-8 units gives manual control ofmic switching and levels at the top table.

>>

The ATCS-A60comes with the

added benefit ofmaking delegates

think they are beingwatched

Above: DIS 6000 atthe Danish

Paliarment and,right, Edinburgh City

Council will soonhave a brand newRevoluto system


33,34,35 API15_FINAL 17/12/08 14:53 Page 2

the SDC system to be employed at anything from a smallmeeting to a vast convention.

The SDC 8200 CU central unit is the heart of Sennheiser'ssystem. All settings for the system are made via the centralunit's local configuration menu. Housed within 19-inch full-metal casing, the SDC 8200 CU powers up to 120 conferenceterminals in six cable lines.

The central unit can handle up to 28 languages with fivelicences included in the basic package. The unit features twoanalog audio inputs for applications such as wirelessmicrophones, and an analog audio output for recording unitsor an additional public address system.

A four-channel operation infra-red modulator, such as theSI 29-5, connects to the CU’s 15-pin Sub-D connector. Thedevice is also fitted with RS 232 interfaces for PC, media andcamera control. Up to 12 central units can be daisy-chainedto create systems with up to 1,024 conference terminals.

Connected to the SDC 8200 CU, the SDC 8200 AOanalog output unit features nine analog outputs to deliver thefloor language plus eight translations to IR modulators, PAequipment, recording equipment and so on. The SDC 8200AO is powered via the central unit.

Top of the microphone unit range is the SDC 8200 DV.This delegate unit is designed for a single user and boasts fivevoting keys, a card reader for secure smart card voting and anLCD display for identification and displaying voting results.Individual or global text messages can be sent to this unitwhen the system is PC controlled by the SDC configurationand control software.sennheiser.com

Transmissions by the 7 kHz-bandwidth systems coveralmost all frequencies of the human voice when using G.711extended code. This is approximately two times that ofanalog phone lines (3.4 kHz), affording such high fidelity thatit not only reduces ear fatigue, but also creates conversationswith audio quality that is a so close to that of a face-to-facesituation, that it allows speakers to be easily identified by thesound of their voices.

The adaptive echo canceller on Yamaha's conferencesystems analyses the operating environment andautomatically adjusts the echo-filter factor accordingly. Thisperforms well in many different acoustic conditions, andenables conferences to be held in any space available.yamaha.com

SennhesierSENNHESIER’S SDC 8200 is a fully digital conference andinterpretation solution, which is entirely configurable to allow



audioPRO

The DSP functions ofA&H’s iDR system

helped solvefeedback probelms at

Anadolu University

33,34,35 API15_FINAL 17/12/08 14:53 Page 3

The entertainment and installation technology showcase for Ireland

www.eventech-ireland.com

evenTech Ireland is a focused networking forum for the region’s key decision-makers to keep up-to-date with the hottest technologies and latest industry trends and developments.

evenTech will provide manufacturers and suppliers with a unique regional platform to make face-to-face contact with a quality audience involved in Ireland’s major entertainment and installation projects and initiatives.

Enquire NOW about exhibiting at evenTech Ireland 2009!

To find out more about evenTech Ireland and the exciting opportunities Ireland presents contact:

Email: [email protected]: +44 (0) 1776 703572

To register to attend for FREE as a visitor please visit

www.eventech-ireland.com

24-25 November 2009, RDS, Dublin, Ireland

The entertainment and installation technology showcase for the North of the UK

www.eventech-scotland.com

evenTech Scotland is a focused networking forum for the region’s key decision-makers to keep up-to-date with the hottest technologies and latest industry trends and developments.

evenTech will provide manufacturers and suppliers with a unique regional platform to make face-to-face contact with a quality audience involved in the North’s major entertainment and installation projects and initiatives.

25-26 February 2009, SECC, Glasgow, UK

2009

Media Partner:

Media Partner:

Register NOW! to attend and win a Tannoy i30 iPod docking station, visit www.eventech-scotland.com

Prize does not include iPod

To enquire about exhibiting email: [email protected]


Sarah Yule looks at different methods to fatten up various elements of a mix…

Chewing the fat

This month it’s all about being big and fat in the mix, instead ofworrying about how fat we are around the waist. Firstly, I thinkits important to identify what accounts for something sounding

‘big’ or ‘fat’ and then also which instruments are key to achieving a ‘fat’and ‘weighty’ impression. When listening to a sound or a complete song,it will only sound ‘fat’ if there is a good representation across thefrequency spectrum within the overall sound.

A lack of low frequency content and low mids will have the greatestnegative effect, as this will make the song sound thin. Try adding in extrasounds, or give an eq boost in these areas. For instance, on a vocal line,remember that the note A by middle C on a piano is 440Hz in thefrequency spectrum. This means there are bound to be a number offundamental frequencies around 400Hz to 500Hz, so try giving these agentle boost. You should then look to boost the surrounding harmonics ofthis fundamental frequency. For instance, if you make a boost to the vocalline at 400Hz, try a small boost at 200Hz and 800Hz as starting points.

Some of the key frequencies across the spectrum of the mix, wherethere should be content, are 150Hz, 400hz, 800hz, 1kHz, 2kHz, 4kHz,7kHz, and 10kHz. As you’ll notice from the frequencies listed, a lack ofhigh mid and high content can also prevent you from achieving a ‘fat’sounding mix. This is because aurally, the song will sound smaller and lesswide without that high-end sparkle. Reverb trails and percussion are anice way of achieving a good sounding sparkly top end that will add spaceand dimension to your mix.

Your rhythm contained within your drum track is the backbone of yoursong. This determines a lot of the feel of the track and its tempo andpattern is usually the key in defining genre of the piece. Within this drumtrack, making your kick and snare stand out is essential for achieving a‘fat’ sounding track. Volume is not the answer; neither is limiting the kickto 0dB. The best way is to layer the sound. If you are recording live drumsyou can do this by using at least two mics on the kick. Try something upclose to the skin inside the drum to get the slap or crack of each hit andthen have another placed further back towards the opening of the drumto get the ‘boom’ sound. You will find that using this combination, first,helps you achieve a bigger, weightier sound, but second, it also means youhave much more control over the sound of the kick by balancing up the‘slap/crack’ sound with the ‘boom/oomph’ sound.

If you program your drums using either a pattern editor or samples orplaying it in as a finger drummer, you can actually use completely differentkicks at the same time to layer up your kick sound. When doing this

however, please be careful not to choose additional kicks with a longdelay on fast tempo music as this could blur the rhythm.

When you are recording a snare drum live, try using one mic facingdown at the top of the snare and then a second mic facing uprighttowards the bottom of the snare. This will help you capture the ‘crack’and the ‘crunch’ of the snare hits. Do not forget that due to the polarityof the two mics, you should always reverse the phase of the secondmicrophone when recording. This can usually be done from your consolechannel or preamp unit.

The other important element is your bassline. A mistake that oftenoccurs is that people go for a very low sub bass as their main bassline. Thismeans that on some playback systems it cannot be heard properly andcauses the mix to actually sound thinner on these playback systems. Tocompensate people end up turning the bass up, which actually causes it tooverload on larger playback systems and sound unbalanced. Although subis important, you should also have some bassline content around 200Hz,so that the melody can clearly be heard and sits on top of your kick drumnicely (kick will probably be around 80Hz to 120Hz). Having space foryour kick is essential and the bassline should sit just above it and justunderneath it – do not try and turn your kick into your sub content. Ifthe bassline is a key element of the song then the bigger the frequencycontent the better – you should even try mirroring the bassline an octaveup, but slightly lower in the mix to give it more depth and melody.

Once you have your bottom end nicely fattened, repeat the concept oflayering sounds throughout the piece. Pack up vocals with harmonies andbacking vocals, fatten up guitar lines by adding the same hook, but with abit of distortion and add to string parts by adding pad sounds andindividual string parts to make it all appear to sound bigger.

Afterwards, use some multiband compression or mix bus compressionto glue everything together into a nice solid finish and try adding asmile curve eq boost – a gentle lift in the lows, a cut in the mids and alift in the highs.

Combining these techniques means your mix will soon be saturatedwith ‘fat’. Enjoy.

Each month, TL Audio’sSarah Yule offers herpersonal insights into theworld of sound recording,mixed with some hot tipsfor you to try out...

Sarah Yule is an experienced audio engineer and LiverpoolInstitute for Performing Arts (LIPA) graduate. She currently works forTL Audio where she was recently promoted to the position ofsales director, which is partially due to the success of herconceptual design of the Fat Track Tube Production Suit.

37 API15_FINAL 16/12/08 17:30 Page 1

38

SCRATCHINGTHE PAD� DPA MICROPHONES’French distributor Audio² hasprovided DPA’s MSS6000microphone summationsystems and the DPA 4060miniature omnidirectionalmicrophones to the Cité de la Musique in Paris for two Serge Gainsbourgtribute concerts.

Designed to reduce ten ormore individual mics down toa single stereo pair, theMSS6000s helped engineersmanage over 70 voices.

“The 4060s were perfect forthis application for severalreasons, firstly of course fortheir sound characteristics,but also for their mountingaccessories, which enabled usto close-mike each violin,”said Cité de la Musiqueengineer Bruno Morain.dpamicrophones.com

� GENERAL MOTORS Place,home of the VancouverCanucks NHL hockey team,has replaced its existingintercom with a multi-nodeRiedel Artist digital matrix.

The system was designedand installed by RockyMountain Production Servicesin collaboration with JohnRiley, head of audio for GMPlace, as part of a majoraudio and communicationupgrade of the 475,000square-foot facility.

The Artist system includestwo Artist 32 frames linkedvia fibre, a variety of intercomcontrol panels, plus severalPerformer C3 digital beltpacksand interfaces for existinganalog two-wire beltpacks.reidel.net

� KMR Audio has sold thefirst 32-channel API 1608console in the UK to recordproducer Ethan Johns (son oflegendary producer anddrummer Glyn Johns).

Ethan Johns is a recordproducer, engineer, mixer,musician, and songwriter whohas worked with such artistsas Ryan Adams, Kings ofLeon, Ray LaMontagne,Rufus Wainwright, EmmylouHarris, Crowded House andothers. He is also the ownerof indie record label ThreeCrows Music, which is hometo Julianna Raye, SarabethTucek and pianist/composerDave Palmer.apiaudio.com

Numerous connectors donated for floating stage production

Neutrik floats with Caravan

Neutrik donatedseveral of its best-selling connector

products to the CaravanTheatre Company’s floatingtour of coastal Greece andthe Greek Islands.

The theatre company hasbeen putting oncontemporary theatreproductions for the past 38years in North America andabroad. In autumn of 2008Caravan visited 15 locationsin Greece to perform theplay Utopian Floes on a shipcalled Amara Zee.

“We needed connectorsthat would be reliable inadverse weatherconditions,” said Caravan’sTom Richmond. “We knewthat Neutrik connectorscould put up with roughhandling, last in the longterm and would be easy toinstall. Neutrik was theobvious choice.”

Neutrik donated its jackand XLR cables andSpeakon plugs, which

Caravan used to connectthe sound system for thefour-piece live band thatperforms during the show.

The band includes adrummer, bassist cellist andharpist. The audio gear usedto support the band featuredSpeakon plugs connecting a12-channel AKG radio micsystem to a Soundcraft24/4/2. Speakon plugs werealso used to connect theboard to JBL speakers andamplifiers used for the show.

Additional Neutrikconnectors were used tobuild all the patch cables

used for the show. Four flushmount Speakon plugs werealso placed in strategicpoints throughout the shipto upgrade its internalspeaker wiring.

“Neutrik is thrilled to bea part of such a uniqueadventure,” stated FredBesnoff, productapplications manager atNeutrik USA. “Neutriksupports all areas of musicand theatre and we are veryhappy to be able to help

produce such a wonderfuland creative concept.”

The Neutrik donationincluded Speakon four-polemale chassis and right-angled connectors, four-polelockable couplers,protective gaskets and dustcovers; Opticalcon Softplastic D-size chassis covers,three-pole male XLR’s,three-pole female XLR’s andX-Series two-pole ¼-inchprofessional phone plugs.neutrik.co.uk

Southern Austrian theatre upgrades to Alcons pro-ribbon PA

No drama for Alcons Audio

St Pölten’s theatre inAustria has upgradedits PA to an Alcons

pro-ribbon system.The theatre presents live

concerts and drama inaddition to rental space.Optimal speech intelligibilityat all seats was the mainrequirement for the newaudio system.

“Crucial for us was thequality of speechreproduction and thereforethe use of pro-ribbondrivers, which are used in allAlcons systems,” said KayBurki, who handled the newsystem installation withAlcons’ Austrian distributor,Pro Performance. “Thesehave excellent acoustic anddynamic characteristics aswell as system-related, lowdistortion values, whichnever lead to a harsh sound,even at high SPL levels.”

Four Alcons Audio VR12compact multi-purposeloudspeakers, equipped with

RBN601 pro-ribbontweeters and 12-inchneodymium drivers, areintegrated into theproscenium of the largetheatre hall. Two BF151 basssystems, each sporting asturdy 15-inch driver, areresponsible for supportingthe low frequencies.

Three Alcons SR9 arealso used, one as infill at thestage lip and two as overand under balcony delaylines. The SR9 is equippedwith a RBN401 pro-ribbontweeter and two five-inchdrivers in a sealed enclosure.Due to its shallow depth, itis suitable for positions withmarginal room and in thisrespect it proved ideal.

“The SR9 system has aremarkable directionalcharacteristic of 120 by 15degrees, which is absolutelyperfect for front fill or underbalcony applications becauseof the narrow verticalcontrol,” said Burki.

On stage, two VR8s,featuring RBN401 tweetersand an eight-inch driver, areused as monitors along withtwo VR12s. The smallerstudio stage is also fittedwith two VR8s and a BF151.The sound and recording

studio also has two VR8sthat are used for referencemonitoring.

All loudspeakers aredriven by Alcons ALC2s,with according SDPcontroller cards. alconsaudio.com

Neutrik connectors were theobvious choice for the floating tour

“We neededconnectors thatwould be reliablein adverse weatherconditions.”

Tim Richmond

January 2009 www.audioprointernational.com

High quality speechreproduction was key for the

new installation at St. Poltens


The Manfreds turn to LD Systems for Maximum monitoring on the road

The Manfreds,featuring originalmembers of Manfed

Mann, have been touringfor the past 15 years withgear provided by UltrasonicsAudio Services.

This year’s MaximumRhythm and Blues tour wasno exception as the bandemployed Ultrasonics toprovide a d&b audiotechnikPA and amplifiers for FOHand LD Systems’ range ofcabinets and amps for on-stage monitoring.

In addition to its workwith the Manfreds,Linconshire-basedUltrasonics has touredthroughout the UK for thepast 25 years, providingsupport for bands likeJourney South and MickFleetwood’s Blues Band.

Ultrasonics used the LD-Systems speakers for thefirst time on X-Factorfinalists Journey South’s

tour. The company’sdirector, Ian Thorpe, wasvery happy with the LDspeakers and has since usedthem along with itsamplifiers and sub cabinetsfor Mick Fleetwood’s tour.

The Manfreds hit theroad last fall for theMaximum Rhythm and Blues

tour with Paul Jones(original lead vocalist forManfred Mann), MikeD’Abo (subsequent leadvocals – Manfred, Mann),Mike Hugg (originalManfred Mann drummer),Tom McGuinness (originalguitarist for Manfred Mann)and Rob Townsend (original

drummer of Family, alsonow with The Blues Band).

The shows used LD’s 152loudspeakers to providemonitoring for the singersand guitarists. DrummerRob Townsend also used aLD 152 and two LDP Sub15s as monitors. LDSP1800amplifiers powered the LDspeakers. Ultrasonics alsouse many of the company’sLDI02 Active DI boxes.

Ian Thorpe has been veryhappy with performance ofLD Systems on the varioustours. He stated, “After thesuccess of the LD drum-fillsystem on the MickFleetwood tour and theonstage monitors on theJourney South tour, this wasmy obvious choice for theMaximum Rhythm & Bluestour this autumn and fortheir forthcoming Let emRoll tour in the spring of 09.ld-systems.comultrasonicsaudio.com


SCRATCHINGTHE PAD

� METALLICA RECENTLY setout on a North American tourwith 200 self-powered MeyerSound loudspeakers

The arena tour features anin-the-round set up withmain hangs of eight equallyspaced arrays, eachconsisting of 12 MILO linearray loudspeakers and fourMICA line arrays. Forty self-powered 700-HP subwoofersare in place for bass support,arranged in a sub arrayconfiguration created usingthe MAPP Online Proacoustical predictionprogram.

The Galileo loudspeakermanagement system handlessystem processing with fiveprocessors networked withthe RMS remote monitoring system.meyersound.com

� WIGWAM ACOUSTICSrecently fitted Liverpool’sAnglican Cathedral’s visitorcentre with an AteisMessenger array system.

The Ateis Messenger wasinstalled as part of a £3million refurbishment.Wigwam specified theMessenger system to replaceits old one because it was notproviding accurate coveragein the venue.

The cathedral features anarea of an area of 96,87.4 sqmetres and an RT60 of overeight seconds. Wigwam isvery happy with the coverageand clarity that theMessenger speakers nowprovide in the cathedral. ateis.co.uk

� FIREHOUSE PRODUCTIONSrecently provided L-AcousticsLA8-powered Kudo arrays forSigur Ross’ extensive NorthAmerican tour.

Nine Kudo boxes wereflown on each side of thestage, with six dV-Dosc acrossthe lip for front-fill, while fourSB28 subs per side wereplaced in a cardioidconfiguration for LF support.

Two Arcs cabinets per sidewere also flown or groundstacked for out-fill in venueswhere seating wrappedaround the stage. The touralso used four of L-Acoustics’new LA-Rak touring racks,each with three LA8 amplifiedcontrollers.l-acoustics.com

The multi-talented anddiverse producer,composer and record

label executive, HankShocklee, has recenly investedin TL Audio’s A2 discreteClass A and tube stereoprocessor and employed it onrecent live shows with theBomb Squad and PublicEnemy.

Shocklee is best known asthe creator of Public Enemy,but has worked with IceCube, Madonna, JanetJackson, Slick Rick and PeterGabriel, in addition toscoring and producing filmsoundtracks for movies likeDangerous Minds, Juice andHe Got Game.

The A2 is from TL’s Ebonyseries of discrete Class Aprocessors, which features atube stage with variabledrive, allowing the user tocontrol how much valvesound is applied to a signal.

Shocklee feels that the A2gives him a studio sound onthe road and puts his entirelive mix through the A2 Healso stated that it gave himmore control in the live

environment. “Playing indifferent live environmentschanges depending on thevenue and the set up that isin front of you, but the A2allows me to keep a uniform

sound wherever I go,”Shocklee explained.

“Our European tourvisited 2,000 to 5,000 seatersand the A2 sound qualitywas impeccable. The overallresult was always bigger, thestereo separation was widerand the compression wastight. The combination of allof this was big and loud, butnot harsh and brittle. Itallowed people to really getinto the sound. My newsound has a lot to do withbass and a lot of ambienttextures; The A2 made allthe different colours andtextures stand out.

“We also did a couple offestival dates with the A2and once again, the soundquality was amazing. It allowsme to have the versatility toshape and create my ownsound before it goes into themixing board.”tlaudio.co.uk

Famed producer Hank Shocklee uses an Ebony A2 for live shows

Shocklee and TL drop the bomb

A tour built for a Mann

TL Audio’s SarahYule dwarfed byHank Shocklee



If you would like your studio featured in this section, please send all

Audio Pro International’s regular section looking at the equipment

FOCUS: IN SESSION

ROASTING HOUSETelephone: +46 (0)40 937678Web Address: www.roastinghouse.com

Rooms: 130 and 25 sq m live rooms with isolation boothsConsoles: Hill Audio Concept Digital: Control 24 Mics: U87, U47, AKG, SennheiserOutboard: Millenia, Lexicon, TC Electronics, Neve, Tube Tech,Monitoring: JBL, Genelec, B&W, Acoustic Research

CHAPEL STUDIOSTelephone: +44 (0) 20 8141 2638Web Address: www.thechapelstudios.co.uk

Rooms: Large live room, control room and Pro Tools suiteConsoles: 48-channel SSL DualityMics: Neumann, AKG, Electrovoice, Sennheiser, ShureOutboard: SSL, API, Universal Audio, Yamaha, KurzwellMonitoring: Miller & Kreisel, Klein & Hummel, Yamaha, Avantone, Geithain

Roasting House Studio hassuccessfully adapted thenew model of recording

studio by offering publishing anddistribution to artists in additionto its fully equipped analog anddigital recording studios. In fact, ithas been since 1987.

Located in the south ofSweden, just 30 minutes fromboth Malmo and Copenhagenairports in the centre of Malmo,Roasting House aims to provideartists with a studio whereinspiration and musical creativityflow at every session.

Its studio one features a HillAudio Concept 32-24-2 consoleand Studer tape machine foranalog recording, with a ProTools set up for digital trackingand editing. The live room is 130sq m with natural daylight andwood, stone, carpet floors andwalls that create ambient andnatural sounds. It can also bedamped-down with heavycurtains, which is ideal for drumsand other acoustic instruments.

Multiple plugins, outboardracks and instruments are alsoavailable during sessions.

Studio two is a smaller 25 sq mstudio area with natural daylightand a vocal-booth. It can beused on its own or in conjunctionwith Studio 1 for overdubs, vocalparts and midi. It features a Pro-Tools HD3 system with a host ofplugins, Event 20/20 monitorsand a variety of outboard gear.

Roasting House beganproducing hard rock and metal in1992, but branched into pop androck in 2002 and quickly earned aspot in the Swedish top 20 chartswith the band Sofie. Due to thevast variety of its past projects,the studio and engineers areequipped to successfully recordand produce a wide range ofmusical genres.

The owner of Roasting Houseis Anders ‘Theo’ Theander, a well-known producer in the melodicrock scene. The staff at the studiohas collectively recorded over200 albums.

Chapel Studio’s owner,Steve Williams, began hisprofessional career as the

drummer for Midge Ure. AGuildhall graduate, Williamswent on to work as a sessionmusician and producer forprojects with high-profile artists,such as Britney Spears, Sting,Seal and Eric Clapton.

Williams is now the proudstudio owner and chief producerof South London’s ChapelStudios. Chapel offers full musicrecording, producing, editingand mastering services. A 48-channel SSL Duality console,the only one in London, sits asthe centrepiece of the state-of-the-art studio. Additionaloutboard from Lexicon,Eventide, Crane Song and othermajor brands complement theboard, while a 192-track ProTools HD3 system handlessession tracking and editing. Italso has Nuemann U-87s,SSL X-Logic preamps and a Miller &Kreisel Monitoring System.

The recording area for StudioOne is a large, acousticallytreated room with two adjacentvoice-over and masteringbooths. The mixing room is alsoacoustically designed to offeran accurate mixingenvironment, with large gothicwindows giving the studionatural light during sessions.

A new Pro Tools suite forprogramming, timinginstruments, MIDI work,recording guide parts andpreparing projects for mixdownin the main studio has recentlybeen added at the studio,which features a Digidesign 002rack and no less than four high-quality mic preamps.

Source-Live onlinetechnology offered at thestudio enables clients to sit inon mixing sessions fromanywhere in the world via astreaming link from Quicktime.Chapel also offers voice-overservices and a mobile unit forlocation recording.

40,41 API15_FINAL 17/12/08 13:59 Page 1


details to [email protected], or call +44 1992 535646.

and the people behind studios in the UK and around the world...

GREYSTOKE STUDIOSTelephone: +44 (0)20 7456 8910Web Address: www.andywhitmore.com

Rooms: Studio A, Studio BConsoles: Mackie d8bMics: AKG, Neumann, Sennheiser, Shure Outboard: TL Audio, Avalon, Lexicon, Eventide, Focusrite, dbx, GML,ChiswickMonitoring: Yamaha, JBL, Alesis

SHOCKING VIBES STUDIOTelephone: +1 876 941 1408Web Address: www.shockingvibes.com

Rooms: Control Room, Voicing Room, Pre-production RoomConsoles: Langley Design, MackieMics: AKG, Neumann, Sennheiser, ShureOutboard: Amek, Tube Tech, Summit Audio, Drawmer, Empirical Labs, EventideMonitoring: Yamaha, Genelec, Mackie

West London-basedGreystoke Studios isthe home of top UK

record producer AndyWhitmore, who, with 14 top tenUK hits under his belt, includingmixes for Lemar, Atomic Kittenand Eternal, is in high demandas an engineer, keyboard playerand writer/arranger.

Whitmore is currently writingand producing X-Factor’s BadLashes new single and, after arecent refurbishment andupdate, his studio has been re-opened and is proving morepopular than ever among artistsfrom all over the UK.

Originally built in 1991,Greystoke combines the UK’slargest working keyboard andvintage synthesizer collectionalong with an impressive arrayof world-class outboard gearand, importantly, a friendly,welcoming atmosphere.

An outstanding range of over50 working vintage keyboardsincludes the EMS VCS3 (as used

on Pink Floyd’s Dark Side Of TheMoon), the classic Mini Moog, aWurlitzer electric piano(Supertramp, Doors) and aHammond C3 (Bob Marley,Santana), among many others.Greystoke insists that itscollection includes nearly everyclassic keyboard ever madefrom the 1960s to today.

The studio has a fully isolatedvocal booth and a number ofrenowned microphones, suchas the AKG C12. A good range ofboutique, vintage and hand-wired outboard gear is on hand,including two Avalon 737sps, aGML 8200 EQ and PCM90reverb. As a guitar playerWhitmore also ensured thestudio was well equipped tocater for guitarists.

At the heart of the setup is asuperlative Apple Mac 3.2GHZ 8core Mac Pro with 10GB RAMrunning Logic Pro 8. This iscoupled with pristine ADAconversion. provided by anApogee Rosetta 800.

Headed up by CEO andfounder Patrick Roberts,Shocking Vibes Studio is

found in the heart of Kingston,Jamaica and is home to thefamous reggae record label ofthe same name.

Sporting multicolouredexterior walls and gatesconspicuously emblazonedwith large, vivid logos, thestudio was constructed fromthe ground up, designed by CNFletcher, owner of Boston-based Mercenary Audio andwired by Joe P of GI Electronics.

With a roster of Jamaicanreggae stars on its books, thestudio aims to meet andexceed world-class standards.

Well-trained andknowledgeable engineers,including Dean Mundy andGary Samuel are on hand toassist clients with direction andprogramming if needed, whilecomposers, arrangers andstudio musicians are alsoavailable upon request.

Recording is to two-inch tapecourtesy of Studer and for thosewho wish to get creative, acharming collection of vintageelectronic instruments includesKorg DRS, X3, MI and Trinitykeyboards, Akai MPC2000 andMPC3000 drum machines and aKurzweil K2500RS sampler. Itsbig list of outboard gear makestweaking sounds effortless.

Multiple Grammy nomineeBeenie Man and Grammywinners Sly & Robbie are justtwo of the notable acts thathave recorded at the facility.

Ideally located off the mainhighway to provide bothprivacy and five-minute accessto the business district, the7,677 square-foot complex alsofeatures peripheral amenitiessuch as cable TV in both thestudio and in the adjoininglounge, dining and kitchenfacilities with three chefs onstaff, a fully self-contained one-bedroom apartment with livingroom and balcony.

40,41 API15_FINAL 17/12/08 13:59 Page 2

L-ACOUSTICS hasstrengthened its businessdevelopment and technicaldepartments with theaddition of Jochen Frohnand Jamie Gosney,respectively.

Joining as internationalbusiness developmentdirector, Fohn bringsextensive managerialexperience in the pro audioindustry, notably 14 years atUS manufacturer Crest. Hisinitial remit will be to takeresponsibility for the sales,development and co-ordination of L-Acoustics’business worldwide,focussing on activelybuilding foundations for L-Acoustics Germany and co-ordinating sales across

Europe by building andpiloting teams for theseterritories. He will workinternally alongside the L-Acoustics committee, led byCEO Christian Heil.

Jamie Gosney was alsohired to serve as the UKtechnical manager, workingwith sales manager StuartDown and sales co-ordinator Nathalie Prade.

Gosney has threedecades’ experience ofworking in the pro audioindustry in a career that hasincluded systems operationand design, sales,installation and set-building.Gosney has previouslyworked for Autograph Salesand Amber Sound. l-acoustics.com

L-Acoustics expandswith two new hires

DISTRIBUTION

in brief� HARMAN Professional hasannounced the promotion ofBill Raimondi from marketdevelopment manager, CrownAudio to group-wide director,sales US distribution andstrategic accounts.

Raimondi will now managesales of Harman’s USdistribution channels and directstrategic account activity forHarman Professional.

Scott Robbins, HarmanProfessional vice president ofsales, commented: “BillRaimondi is a proven salesprofessional with extensivebackground in consumer andprofessional audio distribution.

“In this new role, Bill will bedirectly supporting our ‘OneHarman’ initiative by aligningour business practices in a waythat promotes growth,profitability and improvedcustomer service for US dealersand distributors.”harmanpro.com

� DAVID McCarthy has JoinedApogee Electronics as its newdirector of sales. McCarthy hasa large task ahead of him, ashe will lead the company’sworldwide sales team, forecastand plan global business,contribute to the marketing,tech-support and operationsefforts while developing andmaintaining partner relations.

McCarthy joins Apogee with26-year’s experience in the MIand pro audio industries. Hehas previously held positions atLine 6, Alesis and Peavey.

“David’s enthusiasm,experience and leadership skillsmake him a superb addition tothe Apogee team” stated BettyBennett, CEO of Apogee. apogeedigital.com

� COOLUX has promotedJames Lachinger to VP ofoperations, a role in which hewill be responsible for thelogistical operations of Coolux inthe US, Canada, and Central andSouth America.

Rod Kavanagh has alsobeen named operationsmanager and will oversee clientsupport and service operationsas Coolux expands its dealerand client base in North andSouth America.

“I am pleased that Laschingerand Kavanagh will be a strategicpart of our future success," saidpresident Steve Gilbard. coolux-us.com

Fred Heuves retiresfrom Ampco

Goleniowski joins D&M managementIndustry veteran promoted to expand business in the European pro and business market

Business development and technicaldepartments burgeon with new staff

CMO and Synco head retires after overthree decades in the business


FRED HEUVES, CMO ofAmpco Flashlight Groupand head of the SyncoEurope Network has retired.

In his parting letter tocolleagues and the media,he stated: “After working inthe entertainment industryfor more than 30 years, ofwhich the last 18 yearshave been within theAmpco Flashlight Group, Ihave decided the time hascome to slow down andmake room for the talentednew generation within theGroup.I have, therefore,decided it is time to leavethe company.

“It has been an excitingperiod and looking back athow we started and whathas been accomplished,not only in the industry ingeneral, but also within theAmpco Flashlight Group inparticular, I feel a modestpride for all of us in thisindustry and in the AmpcoFlashlight Group.”

Heuves began workingwith a sound rentalcompany in 1976, whichlater formed a partnershipwith Ampco. In 1997, Dutch

Broadcaster NOB acquiredboth Ampco andentertainment lightingspecialists Flashlight Rental.

Five years later, amanagement buyout leadto the creation of theAmpco Flashlight Group,which soon became amajor independent rental,sales, distribution andproduct developmentgroup. This led to thedevelopment of anexpanded managementteam and offices inlocations around Europe.

Heuves was also head ofthe Synco Europe Network,one of the world’s largestgroups of independentsound rental companies.ampco-flashlight.com

� Fred Heuves

THE D&M managementteam appointed industryveteran Bob Goleniowski asthe new managing directorof its business andprofessional group, Europe.

In his new role,Goleniowski will spearheadefforts to guide the businessand professional brandsthrough a continuedexpansion of the company’sprofessional linesthroughout Europe. He hasover 25 years of industryexperience, having workedfor Harman International andrecently Allen & Heath.

D&M’s business and progroup includes brands likeDenon Professional, MarantzProfessional, DenonProfessional DJ, Allen &Heath and Calrec.

Goleniowski will join theexisting teams at D&M andaid in their efforts to bolsterproduct ranges to cater forall professional requirements,from small installation jobsto broadcast applications.

The company is dedicatedto becoming known as aone-stop-shop, providingproducts and service for allindustry professionals fromall sectors of the professionalaudio business.

Goleniowski commented:“I have always been a greatadmirer of Denon andMarantz products and theability to offer some of thefinest audio solutionsavailable, especially in thearea of CD, DV and solid statestorage devices for theprofessional user.”

The D&M managementteam has stated that theyhave great confidence thatGoleniowski will use his richmanagement experienceand marketing insight tobuild on professionalbusiness and help position itas the leader in theEuropean professionalmarket, particularly in the AVsector as it is a key marketfor the company. dm-pro.eu

� Goleniowski will guide brands through European expansion

� (L to R) Stuart Down; Nathalie Prade; Jamie Gosney

42,43 API15_FINAL:28 APi 1 17/12/08 13:55 Page 1

PEOPLE

FUNKTION-ONE recentlyannounced that EKElektronik Sistemler will nowserve as its exclusivedistributor in Turkey.

With offices in Istanbul,Turkey and Irvine, California,EK specialises in the designsale, installation andmaintenance of commercialand professional audio. Itsremit also stretches intovideo, computer display andcontrol systems.

The partnership wassparked after MuratUncuoglu heard theFunktion-One speakers atthe World Music Conferencein Miami. A producer and DJ,Uncuoglu is also a renownedpioneer of sound systemdesign and installation inTurkey. He was impressedwith the sonic qualities andclarity of the Funktion-Onesystem and agreed with thecompany’s Ethos.

Uncuoglu recommendedthe company to EK’smanaging director, ErtugrulKarasati, who was equally

impressed with the systemand agreed to collaboratewith Uncuoglu fordistribution of its products inTurkey. EK will now handlethe company’s extensiverange of point-sourceloudspeakers, including the new Resolution 1.5speaker and the RM18 tri-axial stage monitorekconsultant.comfunktion-one.com.trfunktion-one.com

Funktion-One namesdistributor for Turkey

LEEDS-BASED UK MIdistributor John HornbySkewes has taken over salesand distribution of Allen &Heath’s PA and Zed series ofsmall format mixers inNorthern Ireland and theRepublic of Ireland.

This follows thecompany’s appointment asexclusive England, Scotlandand Wales distributor for therange, which has alreadyproved successful.

“As predicted, Allen &Heath has proved to be aperfect complement to ourother hi-end pro audiobrands, HK Audio, LA Audioand Lab.gruppen,”commented JHS MD, DennisDrumm. “As such, adding

Northern Ireland and theRepublic of Ireland. to ourA&H sales territory is theperfect way to capitalise onour work with the brand.We look forward togenerating similarlysuccessful results with theadditional expansion ofthese areas in JHS’ sales.”

A&H sales manager,Martin Daley added: “Thetransfer of PA and Zeddistribution to JHS hasproved very successful andthe sales teams have beenenthusiastic and effective.We are certain the additionof Irish territory will onlystrengthen our relationshipand build on ourachievements so far.”jhs.co.ukallen-heath.co.uk

A&H appoints JHS for Ireland

If you have any distribution or personnel news you would like featured on thesepages, please send all details to [email protected] or call the Audio

Pro International team on +44 1992 535646


in briefin brief

Move follows success of UK dealMurat Uncuoglu and EK ElektronikSistemler team up for distribution

� LITESTRUCTURESLitestructures has recetnlycompleted a deal to secure thedistribution of Carlsbro pro andMI products.

“Litestructures has anenviable reputation and arecord of success,” commentedCarlsbro’s Andy Bishop,welcoming the move.“Litestructures is in regular andfrequent contact with a widecross-section of Carlsbro’scustomer base. As a key playerwithin this marketplace, it iswell placed to enhance thesales, status and reputation ofthe Carlsbro brand.”

Echoing these sentiments,Litestructures managingdirector, Adrian Brooks, added:“Both companies have a long-standing commitment to thebusiness of music making. As aleading supplier of productsand services to individualmusicians and theperformance industry ingeneral, Litestructures isuniquely positioned to serviceand expand the demand andpotential for all of Carlsbro’saudio products.

“We are in touch with musicand musicians at every leveland always have been. Bothcompanies have an establishedhistory in the music industryand we are looking forward toenjoying a dynamic andconstructive relationship."

Litestructures maintains asignificant position in a widecross section of markets, fromstaging, through touring andconcert events, to portableequipment.litestructures.co.uk

� RIVERA International ofMumbai has launched and soldthe first Lab.gruppen PLMseries amps in India.

The company has suppliedeight PLM 10000Q poweredloudspeaker managementunits to Sound.com and four toSound & Light Professional,both also of Mumbai.

Riveira International isheaded up by RajeshSadarangani and GMSadarangani and has been aleading company in thecinema and AV business forthe last 30 years. Riverarepresents several reputedcompanies and has animpressive list of clients in theIndian entertainment industry.riverainternational.com

Digico announces SD8 dealers

FIVE DEALERS have beenappointed by Digico tohandle sales for its newentry level SD8 digital mixingconsole: Autograph Sales inLondon, Hawthorns in theMidlands, Stage Electrics inthe South West, Wigwam inthe North of England andIreland’s Rea Sound.

“Being a lower cost, highervolume product with aslightly different marketemphasis to Digico’s existingconsoles, it requires adifferent route to market,”explained Mick Anderson,whose company was alsobrought onboard in July2008 to help put in place thecommercial templatenecessary to capitalise onthe SD8’s phenomenal take

up since its launch at PLASAin September.

“We are delighted to bechosen as one of the keydealers for the new SD8console,” says Autographdirector, Duncan Bell. “Itcontinues the closeassociation that we havebuilt with Digico over the lastfive years. The SD8 bringsthe intuitive and flexiblearchitecture of Digicoproducts to a whole newrange of clients andapplications. As a balance ofprice versus features it’s atough act to beat.

“We look forward toadding SD8 systems to theimpressive list of productions,installations and projectsthat already combine the

Autograph reputation andthe Digico brand throughoutthe world.”

Wigwam MD Mick Sprattexplained what the new setup means for his company.

“We’ve worked with Digicofor some years with previousproducts, particularly the D5and we’ve had great success,especially for our rentalmarket, so we know thecompany well,” he said.

“This year, we’ve movedinto selling larger formatdigital consoles and it’s gonevery well. The timing of theSD8 is really good businessfor both companies.

“In fact, before we evenstarted we’d sold oneconsole to Dimension Audio,which saw the potential ofthe product and wanted toget in at the very beginning.” digico.org

Five dealers announced across England and Ireland

42,43 API15_FINAL:28 APi 1 17/12/08 13:55 Page 2

Tannoy Qflex rangeThey say: Qflex is the first digitallysteerable array to maintain music qualityover the desired area of coverage, all in avery architecturally pleasing package.

Specifications: Tannoy’s Qflex is a range ofdigitally steerable, multi-channel, arrayspeaker systems for professionalinstallation. The series comes in a variety ofsizes, including 8, 16, 24, 32, 40 or 48transducers, with a dedicated amp channelfor each.

Qflex creates an asymmetrical pattern,which allows similar SPLs in the near and farfield. It also has the capacity to steer thebeam away from surfaces that causereflections to frequencies beyond 12kHz. Anadded BeamEngine GUI allows designers tospecify target areas, and a steeringalgorithm is created for each area.

Other features include steering control of+/- 70 degrees, densely spaced transducersto defeat the effects of aliasing, integratedDSP, network control and amplification,unique digital filter structure for efficientimplementation and low latency. It uses apowerful Regularized Least-SquaresMultichannel Inversion algorithm for beamcontrol. Qflex is networkable with otherTannoy VNET products.tannoy-speakers.com

AKG LC Condenser MicrophoneThey say: The LC professional condenser vocalmicrophone produces outstanding performancethrough the loudest mix or on any stage.

Specifications: The AKG condenser mic was designedfor a wide range of applications, including vocals, livesound, recording and studio use. It is a slim linecondenser microphone with a cardioid polar patternto ensure maximum gain before feedback that hasbeen optimised for use with in-ear monitor systems.The LC also features an XLR connector module with24-carat gold plated pins for efficient connectivityand resistance to corrosion and humidity.

The LC has also been equipped with a spring steelwire-mesh grill for extreme durability and control ofpops and wind noise in live applications. Its frequencyrange is from 60 to 20kHz and includes a 24-caratgold plated transducer.

The mic’s design is slim and lightweight with a pianoblack finish. A PC 1000, which adds 3dB to 5dB ofhigh-end enhancement between 5kHz and 9kHz anda mic case come standard with the product.

Additional features include the PB1000 Presenceboost adapter and shock mount.akg.com

Audio-Technica AT4022 MicrophoneThey say: The low-profile AT4022 omnidirectional condenser recordingmic is outstanding for piano, acoustic guitar and other acousticinstruments.

Specifications: The AT4022 was designed with a flat, extended frequencyresponse, wide dynamic range and high SPL to suit studio and liveapplications. With an omnidirectional polar pattern, the mic features alow-mass diaphragm to improve transient response and reduce handlingand mechanical noise transfer.

The mic features a switchable 80Hz hi-pass filter, a 10dB pad and afrequency response of 20Hz to 20kHz and 250 Ohmsimpedance. Its maximum input sound level is 146dBSPL, 1kHz at one per cent THD; 156dB SPL,with 10dB pad (nominal) and asignal-to-noise-ratio of 133dB,1kHz at max SPL.

The AT4022 weighs124g (4.4oz) withdimensions of144mm (5.67inches) long and a21mm (0.83 inches)maximum bodydiameter.audio-technica.com

NEW PRODUCTAKG ¬ AUDIO-TECHNICA¬ TANNOY ¬ YAMAHA


Yamaha IMX64 Installation MixerThey say: The IMX644 continues Yamaha’s Installation Series philosophyof delivering excellent sound quality from unobtrusive, easy to installproducts at an advantageous price point.

Specifications: The IMX644 rackmount digital mixer was designed foruse in conference rooms, banquet halls, bars and restaurants.

It features six Euroblock mono inputs (each with individual +48Vcontrol), four RCA stereo inputs and an extra optical digital input. Theoutputs of IMX644 are two pairs of stereo Euroblock connectors, with twochannels of mono output. RCA and optical digital outputs can also beused for recording.

Additional software can be used with the mixer by via USB port. Thesoftware offers a feedback suppressor and automatic ducking on all monoinputs, six band parametric eq, digital delay and output balance on alloutputs. Complete configurations can be saved to any one of 16 instantly-recallable scenes. GPI inputs and outputs are also provided in addition toa RS232-C remote connection, allowing remote control with third partysystems such as AMX or Crestron.yamahacommercialaudio.com

44 API15_FINAL 16/12/08 17:52 Page 1

Vicoustic FlexiScreen LiteThey say: Flexi ScreenLite provides aportable, easy toassemble, semicircularmicrophone surroundwhose polyurethanestructure is designed togive maximumabsorption efficiency.

Specifications: FlexiScreen Lite is a portable acousticscreen for vocal recording. Designed as alightweight version of the Flexi Screen, It wasspecifically created for vocal recording inuntreated rooms, or venues that do not haveacoustic control.

Flexi Screen Lite is comprised of apolyurethane structure, which provides absorption of the singer’s energy onthe inside to create a less ambient sound and partially absorbs scatteredroom reflections on the outside. Flexi Screen Lite’s acoustic foam also uses aseries of air cavities to reinforce the absorption effect and add structuralsupport to the join mechanism.

Easy set up makes it suitable for location-based recording venues, projectstudios and classrooms. It can be used with a variety of mics and adjustedvertically or horizontally.vicoustic.com

Digidesign 003 Rack+ FactoryThey say: The 003 Rack+ Factory comes with everything users need tocompose, record, sequence, edit, mix, and master music, right out of the box.

Specifications: The 003 Rack+ Factory is the first member of the 003 familyto offer eight high-quality microphone preamps with 48V phantom power onall channels, in a 2U rackmountable chassis.

The 003 Rack+ Factory ships with the latest Pro Tools LE software, whichfeatures a variety of studio-quality sound processing, mastering and effectsplugins, virtual instruments, compatible applications, and sound libraries.Version LE 7.4 comes as standard, but users are applicable for a free upgradeto Version LE 8 when it is released.

Additional feature include 18 simultaneous channels of audio I/O, 24-bit/96kHz resolution, eight analog DI/line inputs (including one on the front panel),eight analog outputs, eight channels of ADAT optical I/O, two channels ofS/PDIF digital I/O, one MIDI I/O (16 channels in/16 channels out), BNC WordClock I/O, dedicated studio monitor output, alternate control room output,alternate source input for external device monitoring, individual headphonesource and level controls, dual headphone outputs and high-speed FireWireconnectivitydigidesign.com.

Genelec 5041A Active Sub wooferThey say: This incredible active subwoofer packs ahuge punch in an unbelievably slim enclosure.

Specifications: The Genelec 5041A was designed foruse with its AIW25 Active In-Wall and Genelec AIC25Active In-Ceiling loudspeakers. The 5041A extendsthe system’s bass response down to 35Hz with anupper cut-off frequency of 95Hz and delivers an SPLof 105dB.

The 5041A features two 6.5-inch LF drivers in an82mm (31⁄4-inch) deep MDF enclosure and a 4URAM3 amplifier unit that can be installed in anequipment rack using the optional RM2 rack adapter.

The RAM3 amplifier features parallel XLR and RCAinput connectors and an XLR Link Out connector fordaisy-chaining multiple subwoofers together.

The bass roll-off rate and crossover phase can beadjusted to suit acoustical environments andsubwoofer positioning. The RAM3 amplifier powerswitching can be adjusted as manual, automaticsignal sensing or remote controlled by a 12V trigger.

The 5041A features an output of 105dB maximumSPL, which can be increased by combining multiplesubwoofers together using the Link Out channel toprovide an additional 6dB for a system of two, 9.5dBfor three and 12dB for four subwoofers.

The 5041A subwoofer enclosure features amounting system that uses adjustable brackets andrubber springs for isolation from walls. genelec.com

Zaxcom Fusion 12 Multitrack RecorderThey say: The new Fusion 12 high-resolution audio mixer/recorderprovides all of the functionality of a traditional hard-disk-based audiorecorder but with no moving parts, optimising it for sound bag or over-the-shoulder use.

Specifications: The Fusion 12 Multitrack Recorder is Zaxcom’s latestaddition to the award-winning Deva range.

The solid-state recorder features 12 balanced analog inputs and recordsto dual CompactFlash cards simultaneously, eliminating the need for anadditional hard drive. It can record up to 12 tracks via eight balancedmic/line level inputs with phantom power through XLR connectors.

The other four balanced line level inputs on Fusion 12 use a single 10-pin Hirosi connector, which can be used to feed any mix track pre-, orpost-fader, or as a four-channel monitor return. Each of the four inputscan be sent through headphone busses.

Eight output mix busses that are available in analog and AES digitaloutput on the records. The recorder also includes 16 dedicated meters forinput channels, an output mix busses and a soft knee compressor oneach of the 12 internal record busses and eight output busses.zaxcom.com

NEW PRODUCTDIGIDESIGN ¬ GENELEC ¬ VICOUSTIC ¬ ZAXCOM


45 API15_FINAL 16/12/08 17:51 Page 1

AUDIO MARKETPLACECLASSIFIED RATES: Minimum 12 Months - One Annual Charge Quarter Page £1,495

TO ADVERTISE ON THESE PAGES CALL DARRELL CARTER ON 01992 535647

To advertise callDARRELL CARTER+ 44 (0)1992 535647

MARKETPLACE INDEXAlcons +31 (0) 229 28 30 90 www.alconsaudio.com

Flightcase +44 (0) 182 760 009 www.flightcasewarehouse.co.uk

Full Fat Audio [email protected] www.fullfataudio.com

Hot Rox +44 (0) 115 987 3163 www.hotrox.com

Neutrik +44 (0) 1983 811 441 www.neutrik.com

Roland +44 (0) 1792 702701 www.roland.co.uk

Stage Accompany +00 31 229 282930 www.stageaccompany.com

TL Audio +44 (0)1462 492090 www.tlaudio.co.uk

Waveburg +8522 7711 580 www.waveburg.com

Yamaha +44 (0) 1908 366700 yamahacommercialaudio.com

FULL FAT AUDIOFull Fat Audio has an impeccable

track record for boutique,hand-built amps that utilise

Class D technology, developed in-house, alongside its offering ofswitchmode power supplies. This hasallowed FFA to achieve the highpower levels that its amps produce,while at the same time making themparticularly efficient.

The company was founded in2003 when managing director DaveMillard, a former support engineerwith BSS Audio, began designingamplifiers after joining forces withsome friends met through his workwith sound systems.

Now into its sixth year, Full Fat’senviable reputation for bass couldbe the reason why it is currentlymaking a fair amount of noise inhigh-end nightclubs in the UK –most recently The Egg in London –and across Europe alongside its

presence in the touring and festivalscene, which it has had for the lastthree years. The amps are oftenassociated with Funktion-Oneloudspeakers (used as a referenceby the company) and Noise ControlAudio, for which FFA manufacturesOEM amps supplied with many ofits systems.

With the support of these majorcompanies backing its technologyand products, Full Fat Audio hasnow reached new levels of successand has begun branching out intothe European market.

Despite its growth, the companycontinues to manufacture itsamplifiers entirely in the UK. Mostof the components and metal workare sourced in the UK and Full Fatinsists that it is more than happywith the quality still available fromBritish manufacturing, even thoughit imparts a slight price premium.

“The amps are built to last andthey’re not mass produced items,”explains Millard. We could makemore money on them if we madethem easier to manufacture, butsometimes quality suffers with that.We have spent a lot of money onthe box – it’s very road worthy andrugged. We used 2mm aluminiuminstead of 1mm or steel. We try tokeep it light, but very tough.”

New developments are on thehorizon as research anddevelopment to expand the FFArange to incorporate high powerfour-channel amplifiers and morecost-effective installation productsis nearing completion and thecompany has recently launched itsnew model, the FFA 10000, a two-channel 12kg unit, which puts out acounterfeit plug-melting 5,000Watts per channel at two Ohms.fullfataudio.com

marketplaceS

UP

PL

IER

SP

OT

LIG

HT

46,47,48,49 API15_FINAL 17/12/08 15:52 Page 1

marketplaceamplification audio transport

distribution loudspeakers

Utilizing modern materials and designed by engineerswho care about tone,these speakers willbring new life to yourspeaker cabinet.

For a brochure or details please contact

UK Distribution Hot Rox UKTel/Fax: 0115 987 3163 www.hotrox.com Email: [email protected]

Unit 6, Millview Court, Newark Street, Nottingham NG2 4PS

Made in the same factory that makes Jensen musical instrument speakers in Italy,Sica Speakers are the finestreplacements available foryour bass amplifier or PA system.

46,47,48,49 API15_FINAL 17/12/08 16:01 Page 2

flight cases loudspeakers

marketplace

42”/50" plasma case

These cases are always available ex stock.

We foam them to suit withpartitions for speakers etc.

From £279.00 inc VATand UK Mainland

delivery

•Full touring specChoice of finishes:

•9mm Black hexaboard •9mm Black Laminate

•Heavy Duty Butterfly catches •6 x Recess Sprung handle

•High density foam padded interior •4" Castors `(2 braked)

•Int dims 1220mm x 360mm 755mm

Unit 2 Meltex House, Mariner, Lichfield RoadIndustrial Estate, Tamworth, Staffs, B79 7XE

Tel: 01827 60009 Fax: 01827 313877Email: [email protected]: www.flightcasewarehouse.co.uk

loudspeakers manufacturer

46,47,48,49 API15_FINAL 17/12/08 15:16 Page 3

ADVERTISER INDEX

A Adam Hall ..................................................51

Alcons Audio ........................................19, 47

D Digico ..........................................................2

F FlightCase Warehouse................................47

Full Fat Audio ............................................ 49

Funktion one ..............................................21

H Hot Rox ......................................................49

I ISE ..............................................................10

J JTS ..............................................................35

N Neutrik..................................................29, 48

O OHM.......................................................... 25

P Palme........................................................ 32

R Roland ...................................................... 47

S Scattered Media ........................................36

Stage accompany ................................ 52, 48

T TL Audio............................................ 7, 14, 48

Y Yamaha ....................................................48

marketplace

We hope we passed the audition.

CONNECT WITH EXPERIENCE

mixing consoles recording

46,47,48,49 API15_FINAL 17/12/08 15:16 Page 4

January 2009

CONTACTSEDITORIAL:+44 (0) 1992 535646ADVERTISING:+44 (0) 1992 535647 FAX:+44 (0) 1992 535648

Intent Media is amember of the Audit

Bureau of Circulationand the Periodical

Publishers Association

Audio Pro International is published 11 times a yearby Intent Media ~ Saxon House, 6A St. Andrew Street,Hertford, Herts SG14 1JA, England

© Intent Media 2009. Nopart of this publication maybe reproduced in any formor by any means withoutprior permission of thecopyright owners. Printedby Manson Group, AL3 6PZ

If you or one of your colleagues wouldlike to request a subscription to AudioPro International, please [email protected] or call 01580 883848

SUBSCRIPTIONSUK: Free Europe: £60Rest of world: £90


The latestNEWSSTRAIGHT TO YOUR MOBILE

Editor: Andrew [email protected]

Contributing Editor:Andy [email protected]

Contributing Editor:Gary [email protected]

Deputy Editor: Rob [email protected]

Associate Editor:Samantha [email protected]

Advertising Manager: Darrell Carter [email protected]

Editorial ProductionManager: Helen [email protected]

Production Executive:Rosie [email protected]

Subscriptions Manager:Hannah [email protected]

Designer: Claire [email protected]

Managing Editor:Andy [email protected]

Publisher: Dave [email protected]

The Audio Pro paparazzi are out every monthtaking pictures for our monthly section,Mixdown, which features friendly faces of peoplein the business and shots from industry events.If you have any pictures from an event that youwould like us to include, please send them to

[email protected].

The Association of Professional Recording Services(APRS) held its annual fellowship lunch at London’sRoof Gardens to honor those who have made theprofessional audio industry great.

Rick Wakeman and Sir George Martin madeguest appearances this year and APRS Fellowshipsawards were given to those who have made aspecial contribution to the art, science, andindustry of sound recording. Clockwise from top left: Dennis Weinreich andSmudger; Rick Wakeman and Sir George Martin;Sir George, Lady Judy Martin, Ken Townsend andDavid Harries of British Grove Studios.

APRS Fellowship lunch

Clockwise from top left: Chris Cornell smokesduring a vocal take at Avast! Recording Co. in 1993;Intent Media photographer, Abigail Clancey Low,uses wife-of-the-editor status to get into PrimalScream’s after-show party; Keith Cleversley warms

his bare feet near a simulated fire picture atPlayground Studio; Visitors to this year’s ReinforcedSound show eat in The Cellar; Those wackyLab.gruppen guys are at it again, this time withManish and RSG of Indian distributor Rivera Int.

66 API15_FINAL:API Back Page 17/12/08 14:32 Page 1

21 API13:bb18 28/10/08 13:39 Page 1


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