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AUDIOMEDIA
AUDIO-FOR-VIDEO BROADCAST INTERNET AUDIO LIVE SOUND MULTIMEDIA POST PRODUCTION RECORDING
THE WORLDS LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE
Final Cut
Drive
High Performance
Audio
Show Tech
Headliners From
Winter NAMM
Broadcast Consoles
A Product
Sampler
Broadcast Loudness
Special Feature
BVE Broadcast
Special!
Adam A77X Rupert Neve Designs Portico 5024 Ultrasone Signature Pro Allen & Heath GS-R24 PreSonus 16.0.2 Cockos Reaper The Mousetrap: 60th Anniversary NAMM Show Round-up GeoFocus: The Netherlands
Classic Cut: The Haunting Special Report: BVE Preview Cut Scene: Playstation Vita Gamechanger? Video Guide: Television Technology Recording News Post News Broadcast News AMSR News And More!
WORLDWIDE EDITION
ISSUE 255 FEBRUARY 2012 UK 3.80
9 770960 747024
0 2
A NEWBAY MEDIA PUBLICATION
2
I S S U E 2 5 5 F E B R U A R Y 2 0 1 2
COVER STORI ES
FI NAL CUT: DRI VE 32
An unconventional approach can sometimes
equals greater power, says JERRY IBBOTSON.
LOUDNESS 34
An AUDIO MEDIA special update on the
loudness issues of the moment.
NEWS
RECORDI NG 6
Audio-Technica celebrates fifty years of passion
in a birthday fit of new releases, while Dangerous
goes direct to the Source with its new monitor
controller.
BROADCAST 8
Clear-Com takes over the Vatican, while Lawo hits
the Red Carpet, while K-Array upgrades Bow Tie.
POST 10
This year's Academy Awards are announced, and
The Farm expands.
SR 12
Ri edel ' s RockNet provi des a rock-sol i d
performance for Bocelli, and DiGiCo continues its
Mamma Mia! success in China.
NAMM SHOW WRAP UP 20
AUDIO MEDIA provides the highlights and low-
down on this year's NAMM.
2
REVI EWS
PRESONUS 16. 0. 2 40
If prizes got handed out for versatility, PreSonus
compact console would be holding aloft a gold
medal, says LIZ MAY.
ALLEN & HEATH GS R24 42
The GS-R has been hyped up so much,
can it possibly deliver to the technical spec
suggested? ANDREW GRAEME thinks it can and
even better it.
COCKOS REAPER 44
ALISTAIR McGHEE's heard plenty of talk about the
slim-line DAW making waves What's the fuss?
A U D I O M E D I A F E B R U A R Y 2 0 1 2
c ont e nt s
REGULARS
SPECI AL REPORT: BVE 14
AUDIO MEDIA uncovers what makes BVE a show
worth including on your calendar.
CUT SCENE: PS VI TA 16
JOHN BROOMHALL tal ks to Jason Page,
Playstation's audio guru, about what makes
up-coming PS Vita such a game-changer.
GEOFOCUS: NETHERLANDS 18
ISE came back to Amsterdam for a repeat
performance of its annual show JIM EVANS talks
to Mike Blackman, MD, about what makes the
event such a success.
PRODUCT SAMPLER:
BROADCAST CONSOLES 46
AUDIO MEDIA gives you a selection of the
consoles you should really check out for your
every broadcast need.
VI DEO GUI DE 54
KEVIN HILTON continues his guide of everything
TV-techie with a look at compression.
CLASSI C CUT: THE HAUNTI NG 58
Going beyond the screams and hooting owls
of standard scare-fare, KEVIN HILTON uncovers
how this horror delivered a spooky atmosphere
without falling back on convention.
A
U
D
IO
M
E
D
IA
AUDIO-FOR-VIDEO BROADCAST INTERNET AUDIO LIVE SOUND MULTIMEDIA POST PRODUCTION RECORDING
THE WORLDS LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE
Final Cut
Drive
High Performance
Audio
Show Tech
Headliners From
Winter NAMM
Broadcast Consoles
A Product
Sampler
Broadcast Loudness
Special Feature
BVE Broadcast
Special!
Adam A77X Rupert Neve Designs Portico 5024 Ultrasone Signature Pro Allen & Heath GS-R24 PreSonus 16.0.2 Cockos Reaper The Mousetrap: 60th Anniversary NAMM Show Round-up GeoFocus: The Netherlands
Classic Cut: The Haunting Special Report: BVE Preview Cut Scene: Playstation Vita Gamechanger? Video Guide: Television Technology Recording News Post News Broadcast News AMSR News And More!
WORLDWIDE EDITION
ISSUE 255 FEBRUARY 2012 UK 3.80
9 770960 747024
0 2 A NEWBAY MEDIA PUBLICATION
FEATURES
FI NAL CUT: DRI VE 32
JERRY IBBOTSON finds out how being a little bit
unconventional in your approach to sound can
make it all the more powerful.
LOUDNESS 34
Heading up a special section on the Loudness
issues of the moment, THOMAS LUND charts the
rise of international broadcast standards.
LOUDNESS I NTERNATI ONAL 36
KEVIN HILTON looks at how the international
community is adapting to the latest loudness
standards.
THE MOUSETRAP 50
JO FLETCHER-CROSS finds out how to go about
updating a classic without losing any of the
original magic.
RUSHES
NEW AT NAMM 20
PAUL WATSON previews some of NAMM's hottest
releases keep a watch on these high-risers
ADAM A77X 26
Adam's active monitor might prove a bit of a
pleasant surprise to those who don't usually like
ribbon tweeters, says STEPHEN BENNETT.
RND PORTI CO 5024 28
Being daubed with the Portico branding simply
raises the bar in terms of expectation will
the live up to the family name? SIMON
TILLBROOK finds out.
ULTRASONE SI GNATURE PRO 31
The Signature Pros are the sticky buns of the
headphone world that prove truly fulfilling, says
ALISTAIR McGHEE.
3
4
l e a de r
REVI EW
PreSonus 16.0.2 40
REVI EW
Allen & Heath GS-R24 42
RUSHES
RND Portico 5024 28
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AUDIO MEDIA
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expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but
neither IMAS Publishing (UK) Limited nor the Editor can be held responsible for its contents. The views expressed are those of the contributors and not
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2012 IMAS Publishing (UK) Limited. All rights reserved.
*Within Broadcast & Production
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Paul Mac
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News/AMSREditor
Jo Fletcher-Cross
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Production Editor
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The TV broadcast loudness issue is on its way to being resolved.
I say that now, because it was never even close before.
Now broadcasters and governments are falling over themselves
to sort out the terrible menace of the quite-loud-advert and I have to say, it
has been noticeable. As a viewer, I don't think I was ever actually outraged
at the inconsistency of it all, but the bother of moving the cat to get to the
coffee table is a sigh-provoking moment; and if the rest of the day has been
bad as well, that sigh might be slightly longer than normal.
So now TV is on its way to being conquered; that is, as long as broadcasters
don't simply resort to the detect and compress sausage machine and
maintain a creative handle on the process. Thus we must turn our attention
to the rest of the media: CD, iPod, PS3 (playing games), PS3 (watching DVD),
turntable, Wii, and so, and on If I turn the TV up enough to watch a DVD and
forget to turn it down again, I can get my ear drums to meet in the middle
the next time I play Uncharted.
For a start, I'm guessing it wouldn't be beyond the technical prowess of
the Japanese consumer giants to let me choose a volume offset for each
input. At least then we'd be in the right ballpark. Though that doesn't solve
the problem of disparate volumes in multi-function devices. That is simply
down to the manufacturer, and a bit of quality control on the media. I know
that sort of thing is under discussion, but often it does roll around to the same
old same-old that is 'my sound is bigger than yours' the art of competitive
volumising.
But really, I hear them ask, just how important is this? Well, if we start with
"More important than the stickiness left after you've removed the sticky
tape, but less important than food" and then move inwards from there, you'll
eventually discover that the idea has some merit. The score zooms skywards
if you divide its importance by 'simplicity of implementation'. This isn't
difficult stuff. It requires motivation and some small effort. The motivation
might come from riding the wave of the broadcast loudness achievements
and technological advances, or it might come from extending the kind of
guidelines and legislation that is being put into place for broadcasters.
Either way, my cat votes 'yes'.
Paul Mac, Editor
A D V E R T I S E R S I N D E X
Aspen Media 8
Calrec 35
DiGiCo 13
DK Technologies 19
eMerging 14
Focal (SCV) 11
Focusrite 31
Genelec 10
JoeCo 34
Junger Audio 36
Lawo 47
Midas 60
MPG 51
Neumann 23
Nugen Audio 45
Olympus 15
PMC 17
Prism Sound 25
Prolight + Sound 53
Radial 59
Richmond 55
Riedel 39, 41, 43
Rode 24
Rycote 28
Shure 9
SM Audio 26
Sonic Distribution 3, 5, 27, 29
Studer 49
TC Electronic 37
Trinnov Audio 38
Ultrasone 21
A U D I O M E D I A F E B R U A R Y 2 0 1 2 4
RUSHES
Adam A77X 26
5
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streaming news @ www.audiomedia.com
PRODUCT INSTALL
Torontos Liberty Studios has
recently upgraded its 6,000 square
foot facility, installing an Aviom
Pro16 personal mixing system as an
integral part of its transition to HD
and 7.1 surround sound produc-
tion. The studio
has six new
Aviom A-16II
Personal Mixers
located in its
live room for
artists to create
their own per-
sonal mixes.
Libertys
unique presents include a separate
instrument on each of the chan-
nels, which allows the musicians to
pick and choose what they would
like to hear most. From there, the
studio also uses the system to run
audio back to the control room,
where they mix on one of five
Digidesign consoles.
www.aviom.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PRODUCT UPGRADE
MOTU has unveiled the MicroBook
II, an updated version of the com-
pact, studio-grade audio interface
that turns a Mac or PC into a per-
sonal 4 x 6 recording studio with
professional I/O and monitor mix-
ing. The MicroBook II will replace
the original model at the same
price. It comes in a compact, rug-
ged cast metal case suitable for on-
the-go recording, personal studio
tracking, and laptop-based DJ-ing.
The bus-powered MicroBook II has
the same features as the original
model, plus hands-on volume
control, USB 2.0 connectivity, more
simultaneous outputs, an XLR
mic input, and support for 96kHz
recording and playback.
www.motu.com
Straight To The Dangerous Source
Dangerous Music has announced its latest monitor controller,
the Dangerous Source; a portable and desktop unit designed for the
engineer on the go, or to fit a limited space on the desktop. It fits
beneath a 13-inch laptop computer, but can also sit unobtrusively on the
desktop within arms reach to provide control of volume, input selection,
speaker switching, and headphone
control, and has an input for
USB audio.
With the explosion of professional
recording and mixing being done on
todays powerful laptop computers,
we wanted to bring out standard of
audio path quality and functionality
to portable monitor control, said
Bob Muller, President of Dangerous
Music. The Dangerous Source monitor
controller has many of the key features of the companys Dangerous
D-Box, such as speaker switching for two sets of speakers, speaker
volume, AES/SPDIF digital IN, two stereo analogue IN, dual headphone
out with a separate level control, and, in addition, the ability to connect
directly to a computer for monitoring of digital audio over USB.
www.dangerousmusic.com
A U D I O M E D I A F E B R U A R Y 2 0 1 2 6
SUBSCRIBER PRIZE DRAW
Congratulations to David Johnston,
from Glasgow, who is this months
lucky winner of the AM subscrib-
ers draw. Each month throughout
2012, one randomly selected sub-
scriber will win an sE 4400a mic.
To be entered into the draw, you
must have a current digital or print
subscription. To get one, go online
to the address below. Good luck!
www.audiomedia.com/subscribe.
html
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NEW PRODUCT
Eventide is now shipping its 2016
Stereo Room and Omnnipressor
plug-ins. The plug-in range, avail-
able for VST, AU, and Pro Tools AAX
native formats, are software recrea-
tions of their classic hardware. The
Eventide SP2016 is long discon-
tinued, but was long used as an
essential reverb for
mixing hit records.
www.eventide.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
NEW PRODUCT
DiGiCo has
launched UB MADI,
which allows
any computer to
instantly connect to
MADI via USB 2.0.
The pocket-sized
connector uses the latest Stealth
Digital Processing FGPA technol-
ogy as used in DiGiCos SD range of
consoles, and delivers 48 simulta-
neous inputs and outputs, totalling
96 channels of audio I/O over USB
2.0. Once the low latency driver is
installed, UB MADI is a simple
plug-and-play device.
www.digico.org
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
NEW PRODUCT
Music software
company XILS-lab
has released its first
effects plug-in, in
collaboration with
Le Lotus Bleu. Available in 64- and
32-bit versions, Le Masque: Delay is
a Mac and PC compatible polymor-
phic, timeline-driven delay effects
plug-in; it can behave like a regular
digital delay, and features XILS-labs
filtering and audio
effects technology.
www.xils-lab.com
Audio-Technica Reveals Birthday Presents
Audio-Technica is celebrating 50 Years
Of Passionate Listening, beginning
with some limited edition products and
new product launches. The company
showed off its limited edition products
at NAMM, which all features a distinct
Audio-Technica 50th Anniversary design
and colour scheme. The products include
ATH-M50s/LE Professional Studio Monitor
Headphones; ATM25/LE Hyper-cardioid
Dynamic Instrument Microphone;
AE4100/LE Cardioid Dynamic Handheld
Microphone; AE5400/LE Cardioid
Condenser Handheld Microphone;
AE6100/LE Hyper-cardioid Dynamic
Handheld Microphone; AT4050/LE Multi-
pattern Condenser Microphone and
AT4050URUSHI Multi-pattern Condenser
Microphone. The LE/Anniversary
limited editions feature A-Ts classic
silver-coloured metallic finish with blue
accents, and the the AT4050RUSHI has
a traditional urushi lacquer finish with
hand-painted Japanese maple leaves.
The AE4100/LE, AE5400/LE. AE6100/LE,
AT4050/LE, AT4050URUSHI, and ATM25/
LE all feature a unique anniversary serial
number etched on the surface of each
model. The AE5400/LE, AT4050/LE,
and AT4050RUSHI come with a specially
designed, hand-crafted wooden
carrying case.
Of particular note is the ATM25/
LE, a re-issue of the classic ATM25
Hyper-cardioid Dynamic Instrument
Microphone. Audio-Technica decided to
bring back a special edition of the microphone for its 50th anniversary
based on direct input from users and dealers.
www.audio-technica.com
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streaming news @ www.audiomedia.com
7 A U D I O M E D I A F E B R U A R Y 2 0 1 2
NEW PRODUCT
Apogee
Electronics
has
announced
that its eight-
channel mic
pre-amp module for Symphony I/O
is now shipping. Users now have
the option to add eight mic
pre-amps, four instrument inputs,
and eight digitally assignable
inserts. The module features soft-
ware control, 85dB of gain, adjust-
able soft limit, selectable high pass
filter, and a low noise level due to
the direct connection with the
analogue I/O module.
www.apogeedigital.com
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NEW PRODUCT
Blue Microphones
has introduced
Spark Digital, the
first studio-grade
iPad microphone;
and the Mikey
Digital iPhone
microphone and
interface.
Spark Digital
connects directly to the iPad
and also offers USB connectivity;
and features studio capabilities
including zero-latency headphone
monitoring, fully adjustable gain
control and mute. Mikey Digital is a
plug-and-play external microphone
for capturing audio on iPod touch,
iPhone 4s, and iPad with any
iOS audio app.
www.bluemic.com
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NEW PRODUCT
Lauten
Audio has
announced
a new
microphone
at NAMM,
the FC-387
Atlantis
model, a
solid-state, multi-functional, large-
diaphragm condenser.
Atlantis features multiple switches
for three different polar patterns,
gain, and unique timbre settings.
The voicing switch allows engi-
neers to choose between three
very different timbres, with options
of Gentle, Neutral, and Forward.
www.lautenaudio.com
PRODUCT UPGRADE
CEDAR Audio has announced the
the full suite of CEDAR for SADiE
processes is now available on all
versions of SADiE 6. SADiE 6 is
available to run natively as well as
on SADiEs dedicated DSP boards,
and can be licensed to a particular
PC, to a dongle, or using the new
licence server option that allows
users to check processes in and out
of a central repository. A number of
technical hurdles had to be cleared
before new versions of CEDAR for
SADiE could run on all of these
options. This is a big step forward,
offering much more flexibility for
users, remarked Gordon Reid,
CEDAR Audios Managing Director.
www.sadie.com
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NEW PRODUCT
Native Instruments has launched
a comprehensive rework of its
Abbey Road Drums instruments:
The Abbey Road
Drummer Series.
The new instru-
ments allow
musicians and
producers to
create authentic
acoustic drum
tracks, combin-
ing sampled
drums recorded
at Abbey Road
Studios in London, with a com-
prehensive Groove Library and a
detailed Mixer Section with class-A
studio effects. Each of the four
Abbey Road Drummer instruments
includes a Groove Library with over
1,000 grooves, variations, and fills.
The mixer section of the Abbey
Road Drummer Series gives full
control over mic levels on each
drum, plus overheads, stereo room
mics, snare bleed, and any other
specialist microphones used during
the recording process.
www.native-instruments.com
New Offering From Mojave
Mojave Audio has announced the introduction
of the MA-301fet Condenser Microphone.
Based upon the MA-201fet designed by David
Royer, the new MA-301fet adds features requested
by industry professionals, including a three-
position pickup pattern selector, a 15dB pad,
and a switchable bass roll-off. Mojave suggests
that the new microphone is ideal for numerous
applications, including vocals, voice over and
broadcast, electric guitar, piano, acoustic
instruments, both drum overheads and room
mics, and high SPL sources such as kick drums
and bass guitar amps. The microphone features
military grade FET circuitry, a Jensen transformer,
and custom designed low-noise resisters.
The solid-state, large-diaphragm condenser
microphone also has a hand-selected, three-
micron thick, one-inch gold sputtered capsule.
It offers multi-pattern capabilities cardioid,
omni-directional, and figure-eight, adding greater
flexibility for recording a multitude of instruments, voices and other
sound sources. The switchable 15dB pad and switchable bass roll-off
allows engineers to attenuate loud sources for optimum pickup level and
compensate for low frequency boom if necessary.
www.mojaveaudio.com
Firing Up For Fireface
RME has begun shipping the Fireface UCX, a highly integrated 26-channel
USB and FireWire interface in an ultra-compact format, for studio and live
recordings. The half-rack size unit includes technologies introduced with
the flagship UFX, plus a wide range of newly developed features.
It is equipped with a new 2011 A/D and D/A high-performance converter
design, and all I/Os operate at up to 192kHz. The AD/DA conversion has
a 114dBA dynamic range on both recording and playback. All analogue
I/Os use a low latency converter design that reduces the overall latency
of timing critical applications in live situations and in computer-based
recording studios. The converter latency is so low that it can be ignored,
meaning that analogue digital monitoring can be treated as real
analogue-style monitoring.
The optional Class Compliant mode allows the Fireface UCX to work
with Apples iPad and iPad2, offering up eight-channel stereo recording,
high-resolution stereo playback at up to 96kHz, microphone pre-amps
with EQ, dynamics, balanced line outputs, a high-power headphone
output, and a Sysex-capable double MID I/O port.
www.rme-audio.de
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streaming news @ www.audiomedia.com
New Products From Sonifex
Sonifex will be exhibiting
several new products at
CABSAT 2012.
These include the
Redbox RB-VHDDD8,
which is a Dolby E and
Dolby Digital Decoder
and De-Embedder. It de-embeds 16 channels of audio within any audio
group of an SDI video signal and a further two that are sent to the Dolby
Decoder. Up to 10 channels from the decoder or any of the 16 channels
from the de-embedder can then be re-embedded onto either of the two
SDI outputs.
The new Redbox RB-VHEDD8 encodes eight channels of audio
into two channels of an AES/EBU digital audio stream, which is then
embedded onto any of the available groups within each of the two video
output paths.
Also showing will be the new S0 Radio Broadcast Mixer, a high quality
yet simple to operate radio broadcast console; the Phone In 6, a call
control centre for radio talkshows that allows hosts to manage up to six
callers; and the new range of Pro Audio Streamers.
www.sonifex.co.uk
EMMY FOR ITU
The International
Telecommunication
Union (ITU) has received
a Technology and
Engineering Emmy
Award for its stand-
ardisation of loudness
metering in broadcast
audio. The ITU recom-
mendation specifies
a method of measuring loudness
and aims at aligning loudness levels
across programmes of various genres
as well as commercials and promos.
The National Academy of Television
honoured the Awards with an award
show at the Venetian Resort Hotel
and Casino in Las Vegas, where ITU
received the Emmy for its BS. 1770-2
broadcast recommendation.
www.itu.int
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WAVES SHIPS LOUDLY
Waves Audio is now shipping the
Waves Loudness Meter (WLM)
plug-in. The WLM provides precision
loudness measurement and meter-
ing for broadcast, movie trailers,
games, packaged media, and more.
Fully compliant with
all current ITU, EBU,
and ATSC specifications,
the WLM offers
comprehensive
Momentary Short
Term, Long Term, and True Peak
readouts, plus a unique warning and
logging system that keeps tracks
of users levels and lets them know
when they have exceeded them or
fallen short. The plug-in features
mono, stereo, and 5.1 components.
www.waves.com
Clear-Com Gets Papal Vote
Vatican
Television
Centre (CTV),
the official
broadcaster of
Vatican City,
has selected
Clear-Com
Eclipse-Median
digital matrix
and Tempest
2400 digital wireless intercoms to help cover the official activities of Pope Benedict
XVI as well as the ongoing religious events and services held at the Vatican. CTV
covers about 200 events each year from inside the Vatican as well as during the
Popes travels in Italy and abroad. CTV has no production studios, as the majority
of the broadcasters work is ENG. The new OB van, which has full HD capability,
has become the central hub for critical operations at the network. Our system has
certainly proven to function flawlessly during critical situations, said Karlie Miles,
Director of EMEA Sales at Clear-Com. The signal transmitted from the Tempest 2400
wireless intercom system easily penetrates the thick walls of the church and can
travel far distances to the van.
www.clearcom.com
LAWO ON THE RED CARPET
MTV Networks new remote truck
Nereus was hard at work during
the Red Carpet Special broadcast
by CMT (a unit of Viacom) before
the 45th Annual Country Music
Awards. The truck has a brand new
Lawo mc266 MKII production con-
sole. Engineer Mark Repp said: The
mc266 MKIIs ability to quickly and
easily recall snapshots and switch
between the various microphone
groups was a huge factor in the suc-
cess of this project.
www.lawo.de
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WISE BUDDAH GETS KEY
Wise Buddah has delivered new
jingles, station imaging, and power
intros for the Manchester, UK radio
station Key 103. The custom package
comprises of six main cuts along
with an agreement for ongoing
updates on a regular basis.
Wise Buddah Jingles and Music
Imaging Director Paul Plant said:
We encourage our writers to pro-
duce imaging that sounds like the
music being played on the station.
This fitted perfectly with what Key
103 were after.
www.wisebuddah.com
Measuring Loudness Managing Loudness
01296 681313
www.aspen-media.com
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8 A U D I O M E D I A F E B R U A R Y 2 0 1 2
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ON STAGE.
IN THE STUDIO.
ON LOCATION.
www.shure.co.uk
2012
DIGITAL
SWITCHOVER
COMPLIANT
Shure are synonymous with quality, durability
and reliability. Shure offer a number of
different microphones for various speech
applications including handheld, headset
or installed microphones with very high
speech intelligibility. Plus premium wireless
transmitters and receivers that guarantee
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276 Audio Media_ Broadcast_Shure.indd 1 31/01/2012 21:58
10
pos t ne ws
streaming news @ www.audiomedia.com
10
Down on The Farm
Following a merge with an exist-
ing hollywood video editing firm,
London-based The Farm Group has
expanded its new US facility by
adding an audio post-production
area. The two new large TV mix
rooms and other amenities and
improvements have doubled the
studios size to 6000 square feet.
The facility was used immediately
after completion for post-pro-
duction work on Simon Cowells
X-Factor USa. The facility was
designed by nonzero\architecture
and studio bau:ton.
www.farmgroup.tv
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
A U D I O M E D I A f E b r U A r y 2 0 1 2
academy award nominations announced
Its that time of year again the 2012 academy award nominations have been announced. In the running for a
Sound editing oscar are: Lon Bender and Victor ray ennis for Drive, ren Klyce for The Girl With The Dragon Tattoo,
Philip Stockton and eugene Gearty for hugo, ethan Van der ryn and erik aadahl for Transformers: Dark of the
Moon, and richard hymns and Gary rydstrom for War Horse.
The Girl With The Dragon Tattoo earned a Sound mixing nomination for David Parker, michael Semanick, ren
Klyce, and Bo Persson; hugos Tom Fleischman and John midgley have been nominated, as have Greg P. russell,
Gary Summers, Jeffery J. haboush, and Peter J. Devlin for Transformers: Dark of the Moon; and Gary rydtrom
andy nelson, Tom Johnson ,and Stuart wilson received a nomination for War Horse. Deb adair, ron Bochar,
David Giammarco, and ed novick also picked up a nomination for their work on Moneyball.
Lon Bender and Victor ray ennis nominated for a Sound editing academy award for Drive are Supervising
Sound editors at Soundelux. on behalf of everyone at CSS Studios, I would like to congratulate Lon, Victor,
and their team at Soundelux on this oscar nomination, said robert C. rosenthal, President of CSS Studios,
Soundeluxs parent company, of the nomination. Drive is a unique movie and one that makes truly innovative
use of sound. It represents creativity in motion picture sound at its peak.
www.oscar.com
UK distribution by Source www.sourcedistribution.co.uk/genelec T: 020 8962 5080
www.genelec.com
Trusted
To us, Genelec means total
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Scott Holmgren, Molinare
The default choice for studios
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Daniel Jones, Vaudeville Post
All of our rooms have Genelecs
it gives us 100% consistency
Daniel Sassen, Envy Post
Throughout the production chain, broadcasters rely
on the purity and transparency of Genelec audio
monitoring. Find out why Genelec is the broadcasters
monitor of choice at www.genelec.com
Find out more
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#29181 - Genelec AM_Layout 03/06/2011 14:15 Page 1
11
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A U D I O M E D I A F E B R U A R Y 2 0 1 2 12
NEW PRODUCT
Meyer Sounds line of self-powered,
low-voltage audio solutions has
been expanded, with the addition
of three new 48-volt, DC-powered
loudspeakers that offer the same
performance as their AC-powered
counterparts. The UPM-1XP 48V
DC ultra-compact wide-coverage
loudspeaker is the low-voltage
version of the UPM-1P ultra-compact
three-way loudspeaker. The UPM-1XP
is capable of 123dB peak SPL over
an operating frequency range of 75
Hz to 20 kHz. The UP Junior-XP 48V
DV ultra-compact VariO loudspeaker
combines the advantages of a low-
voltage, self-powered unit with
the versatility of the VariO constant
directivity horn. The UMS-1XP 48V DC
ultra-compact subwoofer extends
low-voltage system response to an
operating frequency range of 25 Hz
to 160 Hz and a peak SPL of 127 dB at
one metre.
www.meyersound.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
NEW PRODUCT
Avid has announced the Venue SC48
Remote System, a compact digital
live sound system that delivers the
sound quality, Pro Tools integration,
and direct plug-in support of the
Venue SC48, now with remote I/O
functionality for increased flexibility.
Consisting of the SC48 console and
new Venue Stage 48 remote box,
Ethernet Snake Card, and Venue 3
software, the SC48 Remote System
is an alternative to the all-in-one
SC48, enabling engineers to place
the I/O away from the console and
closer to sources for optimal sound.
The system includes fully redundant
Ethernet AVB snake connectivity,
which Avid claims is the first in the
live sound industry.
www.avid.com
Mandarin Mamma Mia!
Hit musical Mamma Mia! recently
became the first western musical to
be performed in China in Mandarin
with a Chinese cast. After runs in
Shanghai and Beijing, the show is
currently playing in Guangzhou, with
a DiGiCo SD8 helping things run
smoothly. Technically, the approach
for the audio was the same as it has
been for all recent productions of
Mamma Mia!, including the DiGiCo SD8 mixing console. DiGiCo consoles have been
involved in the show since the first production transferred to the Prince of Wales
theatre in London in 2004, where a DiGiCo D5T was originally specified. Two years
ago, a decision was taken to make the show more accessible to smaller territories
and producers, said Associate Sound Designer Richard Brooker. To achieve this it was
redesigned from all angles, including sound, so that it now fits onto an SD8 perfectly.
The production uses a total of 83 inputs and 54 outputs, with 117 snapshots/scenes
during the performance as well as heavy use of the SD8s internal effects.
www.digico.org
NEW PRODUCT
Crown
Audio has
introduced
its new
flagship
I-Tech HD
Series 4x3500HD DriveCore Series
Four-channel power amplifier.
The I-Tech 4x3500HD incorporates
Crowns sixth-generation Class I
engine with DriveCore technology
to deliver 3500 per channel burst
into four or two , and offers a wide
range of advanced features including
a 4.3-inch TFT LCD with capacitive
touchscreen, exclusive Harman
HiQnet System Architect 2.0 control
functionality and Version 5 DSP
preset support for JBL Professionals
newly-launched VTX Series V24 plus
VerTec Series line array loudspeakers.
www.crownaudio.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
NEW PRODUCT
DPA Microphones has announced
the introduction of new dual-ear
mounts and short
booms for its
d:fine product
series at NAMM
2012. Users now
have the choice
of two mounts: the simple and
secure single-ear piece, or the dual-
ear mount for more rigorous and
energetic performance applications.
The microphone boom also comes
in a short version, meaning that for a
discreet and double secure solution,
the short boom can be combined
with the dual earpiece.
www.dpamicrophones.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
PRODUCT UPGRADE
Soundcrafts small-format digital
console Si Compact has received
a major upgrade with the V2
software release. The new free
upgrade provides more than 23
major new features, updates and
enhancements;
the first
addition being
eight additional
DSP channels
expanding the
Si Compact 16
and Si Compact
24 to 32 and 40 inputs to mix,
respectively. There are also new user
configurable fader layers allowing
input channels to be reassigned
anywhere on either input layer and
any bus master reassigned to either
master layer. Also introduced in V2 is
D.O.G.S (Direct Output
Gain Stabilisation).
www.soundcraft.com
Bocelli Distributed By Riedel
World famous tenor Andrea Bocelli has recently undertaken two live open air
concerts, one in New York, the other in Belo Horizonte, Brazil. The organisers
of the concerts used a RockNet installation from Riedel Communications for
the distribution of on-site audio. Audio distribution was a big obstacle in
each location. The concert in New Yorks Central Park has a location size of
nearly 600 x 1000 feet, while the location in Belo Horizonte was even larger,
including an over 1300 feet long avenue next to the stage. Audio Engineer
Andrea Taglia used six RockNet 100 devices at the events.
A tight time frame made the New York installation particularly tricky.
We were only able to install the cables just the day before the show, because
we were not allowed to work on-site any earlier, explained Taglia.
Therefore I was looking for a redundant and foolproof system and obviously
Riedel RockNet came as the solution we did not run into a single problem
and I nearly forget it existed during the event. The Brazilian event was even
trickier. This time we faced a 410m long audience standing on a road that
had been closed to the traffic just on the morning of the show day itself, said
Taglia. Riedel RockNet is a very transparent, reliable, full redundant system
that allows a quick set-up offering all the confidence that a full broadcast
engineered product can provide.
www.riedel.net
13
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See us @ BVE 2012, London
14th-17th February Stand No: C2
14
Show Preview
The Broadcast Video Expo (BVE) takes
place from February 14-16 at Earls
Court in London. It bills itself as the
essential exhibition for broadcast,
video, and audio professionals,
and with a comprehensive mix of
products and services for broadcast
technology and creative content,
there should be something for
everyone. It is the only UK event to
showcase products and services from
animation and asset management
to AV, cloud computing, DVD
duplication, finance, IPTV, meta data,
mobile TV, monitors, recordable
media, and a lot more. So most of
the movers and shakers involved
in broadcast content creation and
delivery in the UK (and beyond)
will be there.
Emma Crossley, Sales Manager for
BVE, addresses the suggestion that
the tough economic climate will put
people off. An economic downturn
is the ideal time for people to visit
BVE! We offer over 300 high quality
seminars and workshops, giving
visitors the invaluable opportunity to
learn for free whilst also being able
to source new products and services,
network with peers, and hear about
new job opportunities and projects.
She also highlights one of the key
advantages to UK-based broadcast
professionals: All this can be done
for the price of a train ticket
no over inflated hotel costs or flights
to worry about.
BVE brings together the leading
manufacturers and suppliers in
the broadcast industry, and gives
visitors a chance to get hands on
with all sorts of kit. There are a lot of
companies bringing a lot of kit this
year, according to Crossley. 2012 is
a record year in terms of exhibitors,
with over 300 stands representing
thousands of products. And its not
just the same old faces either, she
points out. New companies this
year include DiGiCo, POLARaudio,
Unity Audio, Shure Distribution,
Synthax, Rycote, CLD Distribution,
4Hm, Raycom, Audio Engineering
alongside show regulars such as
SSL, Sennheiser, HHB, Calrec, Dolby,
Riedel, Preco, Audio Technical, Cedar,
Sonifex, Studer, Telex, Emerging,
Canford, Westcountry Broadcast,
plus many more.
Of enormous interest to those in
the business is the comprehensive
Audio Room seminar programme.
First introduced in 2012, the
programme has gone from
strength to strength; the seminars,
workshops, and masterclasses are
renowned for their breadth, quality,
and relevance to todays
market.
They help industry
professionals establish
whats really going on in
the industry, what trends
are emerging for the future,
and how to make the most
of the new opportunities
in media. Crossley pointed
out some highlights from
the programme. Tuesday
will see the return of the
Radio Day, featuring seven sessions
dedicated to all things radio.
Wednesday and Thursday are
thrown open to the wider world
of audio, with highlights including
Phil Coates discussing the difficulties
of recording sound in extreme
locations, and an exciting panel
discussion on sound for 3D with
representatives from Dolby, BBC,
BskyB, and Soundfield. We will also
be tackling the ever-contentious
issues of loudness and the future
of spectrum. There are thirteen
theatres, each with a different focus:
3D Revolution, Broadcast Meets I.T.,
the Post Production Theatre, Content
Delivery Theatre, Demystifying The
Cloud, Religious Broadcasting, the
ARRI Production Skills Centre, Brands
Become Broadcasters, The Audio
Room, FCP X: Professional Solutions,
IOV Theatre, the Avid Hands On
Training Theatre, and the Adobe
Theatre. All sessions are free of
charge but some require tickets for
entry. Tickets are available from the
Seminar Registration desk located
inside the hall from 9.30am on each
day for sessions before 1pm, and
after 12.30pm for sessions in the
afternoon. There is a maximum of
two morning and two afternoon
tickets per person per day.
BVE will be an excellent
opportunity to network, share
ideas and keep up to date with the
industry, and learn what 2012 has in
store for broadcasting.
www.bveexpo.com
A U D I O M E D I A F E B R U A R Y 2 0 1 2 14
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The Broadcast Video Expo is about to take place in London. AUDIO MEDIA takes a look at what makes it a show worth visiting.
24 Mic / Line AD/DA
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Come and see us at
BVE Stand D44
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16
A U D I O M E D I A F E B R U A R Y 2 0 1 2
J
OHN BROOMHALL asks PlayStation Technical
Audio Guru, Jason Page (Senior Audio
Manager Sony Computer Entertainment
Europe R&D) for the full SP.
Audio Media: How did Sony go about deciding
VITAs capabilities for audio?
Jason Page: The audio working group designed
a synthesizer based on their collective experiences
from PS. There were
a wi de range of
requirements from
our Worldwide
Studi o teams
t o e n s u r e
t h e d e s i g n
c o u l d me e t
the audi o needs
of many exi s t i ng
PS games such as the
Uncharted series, MotoStorm,
and Gran Turismo.
We also considered the needs of
third party developers. From the developer
support side, we had a lot of information regarding
how developers handled audio things like the
minimum number of expected audio channels,
which DSP effects are a priority (and now
considered the norm for current gen games),
codec requirements, average audio asset
memory footprints, etc.
Once we had collectively decided upon audio
features, my team went ahead with development
initially on PC, until we had access to early PS
Vita hardware. We decided to call the synth NGS.
At this stage, we also contacted a number of
middleware partners to gauge their initial feedback
to NGSs features and API.
AM: So whats under the hood?
JP: There are two sides to audio processing on
PS Vita the ARM processing and the Codec Engine
processing. The ARM side is also where the main
game is processed, so its been very important
to keep CPU use to a minimum here. The Codec
Engine is where the serious audio processing
happens (mixing, resampling, DSP fx). I cant go
into detail regarding the hardware, but suffice to
say, its powerful!
Developers arent allowed direct access to
the Codec Engine (as with the PSPs Media
Engine). We had to ensure that the
design of NGS took this into
consideration allowing the
synth to be configurable
(synth DSP module
routing and buss
r o u t i n g, f o r
exampl e), and
we made sure
to include the
high-priority DSP
effects as standard,
as i t woul dn t be
possible for developers to
write their own on the Codec Engine.
AM: How about memory and storage for audio?
JP: Theres no actual audi o memor y
(similar to both PS and PSP), and weve got a
number of codecs that allow for compression
ratios comparative with that of current gen
memory footprints.
From speaking to many developers, we
concluded that a budget of around MB for
current gen audio assets is quite normal (RAM
being reserved for in-game sound effects,
streaming audio buffers, and such). We needed
to ensure, where possible, developers could
dedicate the same RAM budget on Vita and achieve
similar results.
AM: So will it deliver PS quality audio?
JP: It depends which PS games you compare
with but the goal was to allow our own Worldwide
Studios PS titles to work on PS Vita with
minimum changes
Games process hundreds of audio channels,
as well as high quality reverbs, etc. We consider
a game voice would have re-sampling, volume
changing, filter, and some kind of codec-decoding
all active. So when I say hundreds of audio
channels, I mean real game voice audio channels.
The main audio difference is obviously that its
a portable unit with stereo output, rather than full-
fat .. But in terms of fidelity, its up with PS, and
in terms of scope, I think that the synth design is
actually more flexible.
Of course, PS is a home console. It plugs into
the mains and has a fan to keep it from overheating!
PS Vita is a battery-powered unit so you have to be
sensible when making comparisons. Sure, if you
used the whole PS to do something amazing with
audio only then yes, PS delivers more. But if you
consider what resources are normally available for
game audio on a home console (memory, CPU use,
DSPs) then without a doubt, PS Vita can deliver to
that level.
AM: Is PS Vita redefining handheld game
audio? If so, what do you think the long term effect
will be on other devices?
JP: With regards to the knock-on effect, portable
audio can no longer be seen as the simpler option
or poor relation. In future, budgets for portable
game audio may rise to meet that of home
consoles, although re-using assets across the two
will also be a viable option and, as such, could
make portable console development easier overall.
Does PS Vita redefine handheld game audio?
I think so, yes. If I look at current pre-PS Vita
portable devices, their audio capabilities are
around years behind that of home consoles.
So, comparing the audio capabilities of PS Vita
to other portables on the market (whether game
devices or mobile phones), PS Vita audio is a
staggering achievement.
PS Vita
Game-Changer for Game Audio
PS Vita is Sonys brand new handheld games console. Successor to the PSP, Vita boasts serious computing power to deliver a
Playstation3-like gaming experience via an exquisite visual display with pro quality audio.
16
Jason Page.
Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special Game Sound Special
17
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geo focus Netherlands
T
he first Integrated Systems Europe trade show
was held in Geneva, Switzerland, in February
. The event was launched to fulfil the need
for a pan-European forum for the emerging
markets of professional AV and electronic systems inte-
gration, and quickly grew to become the undisputed
annual marketplace for these industries a focus not
just for doing business but also for networking, educa-
tion, and technological innovation.
Always owned by not-for-profit trade associations,
since ISE has been a joint venture between
InfoComm International and the Custom Electronic
Design & Installation Association (CEDIA). As well as
ensuring that all proceeds from ISE are re-invested into
the industry, these associations also act as the corner-
stone of the events extensive education programme,
which continues to grow year on year.
ISE was held, like the previous eight
shows, at the RAI convention centre, Amsterdam.
Occupying an expanded footprint with the addition
of Hall , the event broke all of last years records, with
exhibitor numbers up percent, floor sapce increased
by percent, and pre-registrations up by percent.
Early estimates put actual attendance at over ,,
compared to last years record figure of ,.
How do you account for the shows phenomenal success?
MB: I must admit with the very first event I was nerv-
ous. One of the problems we had was people register-
ing very late. When you do a first show, you have no
pattern to work from. People may have registered but
will anyone turn up? We had a good start in Geneva
in terms of identifying what we should be doing and
where we should be going. We had a moderate success,
enough for the industry to get behind us and believe in
what we were trying to achieve. They indicated a will-
ingness to work with us, to develop and grow the idea.
And thats whats happened. Having everyone behind
us and working with us is what gave us the confidence
that we would have success. Weve got to the stage were
at now a lot quicker than I anticipated. But there is still
room for further growth.
At the time we launched the event, the AV industry
was looking for a suitable show vehicle in Europe.
Up until then, they had been participating in events
that werent totally dedicated to AV like CeBIT, Pro
Light & Sound, and Photokina. Basically, we came up
with a formula the industry wanted. We also had the
industry associations behind it. It wasnt a case of a
commercial organisation saying lets see if we can make
some money out of this. We made serious investment
in the first three years which has paid off. The show has
grown and the emphasis has been on growth not profit.
Have you expanded the market sectors the show covers?
MB: Yes. For example, in the first year I think we had
only about two display companies, now we have all the
display companies participating. We had hardly any pro
audio companies and now all the major names in that
sector are participating.
We review every show with the team, go through
what was good, what was bad, what didnt work.
We also consider in which directions we should move,
what changes need to be implemented. We look at each
sector and consider what we need to do to convince
those sectors that ISE is the right platform for them.
Its always a bit of a chicken and egg situation.
The attendees in a particular sector dont come unless
they see the relevant exhibitors are there and the
exhibitors dont come unless they see the attendees are
there. Generally we tend to invest in the attendees first.
Get them on board, then go back to the exhibitors
There have been major changes in our audience too.
The first year it was primarily integrators, distribu-
tors, and manufacturers and very much at senior level.
That sides grown, but whats happening now is that
their customers are coming with them. Specifiers are
coming to ISE to see what they need to discuss with
their integrators. They want to gather the information
to be able to appreciate and understand what the inte-
grators tell them. Thats where much of where our focus
is at present. And the manufacturers want to see them
and influence these people as well.
Julius Caesar used to say to his soldiers: If you want
to walk in the shade, you have to plant trees. We do a lot
of tree planting, sowing the seeds, and once they start
growing we get our shade.
Which sectors have been strongly represented this year?
MB: It really is across the board. We decided back in
that the digital signage market was of serious
interest to us and part of our market, and we needed to
embrace certain sectors of it. We worked on it and now
we have the largest digital signage representation of any
exhibition in Europe.
We also now have a dedicated hall for multi-media
conferencing. In the pro audio sector weve been work-
ing with the parties involved, asking the key players
what they need and how the exhibition can work for
them. We know we have the attendance, but what
else do we have to do? We talk regularly. We have an
advisory board about strong thats made up of
representatives from the various sectors of the industry:
pro audio, display, control, conferencing, etc, and also
from a cross section of countries. We like to involve
smaller companies as well as the big players. We have
representatives from just about all areas of the AV
industry. We ask these guys to come along, take off
their company hats and put on industry hats to discuss
what we need to focus on in the future. When weve got
the feedback, we come back to them with ideas.
And will the show be staying in Amsterdam?
MB: Our contract with the RAI runs until ,
which provides a clear business path for our exhibitors,
allows us to facilitate our forward planning as organis-
ers, and enables the RAI itself to plan for the future
growth of ISE... What happens after I dont know.
If we do outgrow Amsterdam that will be a luxury
problem were facing. Amsterdam works as a location.
More than million people live and work within a
direct three-hour flight of Schiphol airport, and these
areas represent some of the most developed and sophis-
ticated economies in the world...
Beyond the hard numbers, the city of Amsterdam
is a welcoming, relaxed, and culturally diverse city in
which it is easy for people of almost any background to
come and do business.
ISE Breaks More Records
JIM EVANS spoke with Mike Blackman, Managing Director of Integrated Systems Events.
A U D I O M E D I A F E B R U A R Y 2 0 1 2 18
19
geo focus Netherlands
O
riginally started as the in-house recording studios of the Philips
Electronics company in , Wisseloord Studios in Hilversum grew to
become one of the best recording facilities in Europe. Many noted artists
recorded tracks here including ELO, Elton John, The Police, Scorpions,
The Rolling Stones, and Michael Jackson, to name just a few. However, in the
studio started having financial problems which finally resulted in a bankruptcy
in .
The good news is that, as previously reported
in these pages, Wisseloord Studios is re-opening
under the new management team consisting of
Ronald Prent, Darcy Proper, and Paul Reynolds.
The new mastering service is already
in operation, while on the recording/mix-
ing front, an API Vision console has been
installed in the facilitys main recording studio.
The Visions forward-thinking topology will allow
Wisseloord clients to mix in stereo and surround
simultaneously using a transparent bus architec-
ture and a streamlined workflow. The all-discrete
API Vision will be joined
by an impressive col-
lection of analogue
and digital gear from
industry-leading manu-
facturers.
There is huge excite-
ment and support for this project, says Prent, who is responsible for the
concept of the new complex, its technical design and all equipment choices.
This whole idea is born out of our frustrations, as a group of friends, by the
apparent inability of parts of the music industry to reinvent itself to suit the
changes we have seen in recent last years. This led us to take action and form
a new business based around our team, our beliefs, our values, and a new
business concept that we think will enable us to service the market well.
We needed to fundamentally rebuild the mastering and control rooms
to bring them up to surround and future format standards, Prent adds.
There will be some enrichment of the recording spaces but we will preserve
their essential character, the loved acoustic and vibe because, for us they are
very special.
S
ince its launch, the compact DiGiCo SD has made a significant impact on
audio rental and sound reinforcement companies who need a digital console for
medium-sized productions. An example is Soundlink, a Dutch audio company
whose SD has been in constant use since it was purchased a year and a half ago.
Owned by Bas Jansen, Floris Roelfzema, and Hugo van Meijeren, Soundlink is based
near the town of Roden, just west of Groningen. After five years of providing sound
reinforcement as a hobby, in they turned Soundlink into a full-time business and
have not looked back since.
In the summer of we were in the market for buying a new analogue console and
multi-core, says van Meijeren. We contacted TM Audio in Utrecht and they suggested
that we look at digital consoles because of the advantages in size, weight, the convenience
of a fibre optic multi-core, and the many other possibilities that digital consoles offer.
Although we are a relatively small company, weve always had high standards. After
looking at all the available options, we agreed to do a side-by-side comparison between
the DiGiCo SD and one other digital console. Once we had done the comparison, we all
felt the SD was the best option. It is very user-friendly its really easy to understand if
youre used to an analogue console and the audio quality is excellent. Within a few days
of the test we contacted Martijn Verkerk at TM Audio to order an SD.
Eighteen months later, with the SD having been used on every show where more than
inputs are required, Soundlink is still very happy with its purchase.
We use the SD on a lot of our smaller shows, where an analogue console would be
impractical because of its size and the requirement for outboard gear, says van Meijeren.
Recent examples have included one of the many stages throughout Groningen at Gro-
ningens Ontzet, a celebration of the Dutch victory at the citys siege in ; Rodermarkt,
a festival in Roden which begins with an open air concert, and the two-day Christmas in
Harmony, a festive show with orchestra, choir and rock band.
Soundlink Goes DiGi-tal
A U D I O M E D I A F E B R U A R Y 2 0 1 2 19
Wisseloord Studios Re-Opens
One of Europes best known recording facilities gears up for re-opening.
www.dk-technologies.com
A One-Box solution!
The DK Meter is designed to meet the increasing demands
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Show Report
AKG introduced its DMS 70 a
true uncompressed digital wireless
system operating with 24-bit 48kHz
transmission in the 2.4GHz ISM band,
a worldwide license-free fre-
quency range. The range
includes quad or dual
receivers, pocket
tr ansmitter, and
handheld transmitter
with two choices of capsule
all available in three different
packages. 128-bit encryption ensures
secure two-way wireless communica-
tion.
www.akg.com
As well as the new GLD console (fea-
tured in last months Audio Media), Allen
& Heath launched the ZED-16FX and
ZED-18 multi-purpose live sound and
recording mixers. Both units have a
connection for USB send and return
for recording, playback, and effects.
Additionally, the ZED-16FX has a
built-in FX processor with TAP tempo
delay settings.
www.allen-heath.com
Alto Professional launched its new
MasterLink Live 16 and MasterLink
Live 24 consoles. They combine
analogue console tech with
Alesis DSP and support
for iPad and the Alto
Live Drive app. The
consoles offer mono
and stereo channels,
channel dynamics, four
auxes, and four busses. Live
Drive adds RTA, 12 band
parametric EQ, compres-
sor/limiter, two-channel
recording, and a program-
mable SPL meter.
www.altoprofessional.com
Apogee launched two new products
at NAMM. One was the Symphony
64 | Thunderbolt for connecting
Symphony I/O and any X-Symphony-
equipped interface to Mac via
Thunderbolt. The other launch was
the 16x16 analogue I/O module for
Symphony I/O offering 16-in and
16-out on four D-Sub connectors.
www.apogeedigital.com
Celebrating its 50th
anniversary, Audio-
Technica had a lot to
shout about at NAMM. It
unveiled a series of limited
versions of its products, as
well as the new ATM510
cardioid and ATM610a Hypercardioid
dynamic handheld microphones,
and the new AT2005USB Cardioid
Dynamic USB/XLR Microphone with
both USB and XLR connections. For
more detail, see Recording News
(page 6).
www.audio-technica.com
Auralex showed its new SonoFlat
Grid acoustic panels a new take
on its SonoFlat product. Each unit is
composed of nine bevelled squares
and is made from the companys
melamine-free Studiofoam.
www.auralex.com
Crown Audio announced the intro-
duction of its new flagship I-Tech
HD Series 4x3500HD DriveCore four-
channel
power
amplifier.
The unit
incor-
porates
Crowns
sixth-
generation Class I engine with
DriveCore technology and offers
features including a 4.3-inch TFT
LCD with capacitive touchscreen,
exclusive Harman HiQnet System
Architect 2.0 control functionality,
and Version 5 DSP preset support
for JBL Professionals new VTX line
array. The 2U I-Tech 4x3500HD deliv-
ers 1,900 watts per channel into 8,
2,000 watts per channel into 4, and
4,000 watts into 4 bridged.
Crown HiQnet
Band Manager 2
is an iteration of
Harmans HiQnet
NAMM Wrap-Up
This year's winter NAMM show was as up-beat and bubbly as ever. We present... The best bits.
A U D I O M E D I A F E B R U A R Y 2 0 1 2 20
U
niversal Audio revealed Apollo, its new high-
resolution x Firewire/Thunderbolt-ready
-bit/ kHz audio interface for Mac and PC, which
combines an analogue design with UAD powered plug-ins.
The manufacturer claims that in using Apollo, producers
and performers alike will benefit from being able to track
through the UAD plug-ins in real time.
Company founder Bill Putnam Jr. says a culmination of 10
years of analogue and digital audio development has led
to the release of Apollo.
In many ways, its brought the analogue and digital sides
of our company together, he suggests. With Apollo,
were delivering the sound, feel, and flow of analogue
record-
ing
with all
the
conve-
niences
of mod-
ern
digital
equip-
ment,
including next-genera-
tion Thunderbolt technology.
The product boasts premium mic pre-amps and convert-
ers, which UA says delivers the lowest THD and highest
dynamic range in its class. Its core audio and ASIO drivers
also make it compatible with all of the major DAWs such
as Pro Tools, Logic Pro, Cubase, and Ableton Live.
The Apollos console application and companion con-
sole recall plug-in delivers control and recall of all of the
interface and UAD plug-in settings within individual DAW
sessions, even months and years later; but what makes it
different from other interfaces, UA insists, is its on-board
UAD-2 DSP Acceleration processing.
Providing sub-2ms latency, producers will be able to
monitor, audition, and print audio using a range of ana-
logue emulation plug-ins from manufacturers including
Ampex, Lexicon, Manley, Neve, SSL, Studer, and Roland,
which UA believes makes Apollos sonic and tonal options
virtually limitless. The UAD-2 processors are also practical
for mixing and mastering, by offloading processing from
the host computer.
W
www.uaudio.com
Interface and DSP in one box,
combined with UAs Powered
Plug-ins and analogue know-
how... Whats not to like?
UNIVERSAL AUDIO APOLLO
21
system configuration and control
protocol.
www.crownaudio.com
Dangerous Music announced
its newest monitor controller, the
Dangerous Source portable and
desktop unit. The unit includes many
D-Box features, such as speaker
switching and volume, AES/SPDIF
digital in, two stereo analogue ins,
dual headphone outs with a separate
level control, and it can connect
directly to a computer for monitoring
of digital audio over USB.
www.dangerousmusic.com
DPA Microphones showed its new
2000 Series
MMC2006
Omni and
MMC2011
Cardioid
microphone
capsules. Designed to bring the
performance of the 4000 Series to
a wider audience, the new 2000
Series incorporates the same capsule
technology found in the companys
miniature microphones, but pairs
it with the 4000 Series microphone
bodies. The company also launched
an enhanced, dual-ear headset for its
popular d:fine directional and omni-
directional headset microphones
The dual-ear headset is available in
three sizes.
www.dpamicrophones.com
Electro-Voice launched the ZXA1-
Sub the matching subwoofer for its
ZXA1 compact self-powered loud-
speaker. The ZXA1-Sub is designed to
provide portability, performance, and
power in a lightweight, stylish, small-
format package. It features a 12-inch
woofer, a 700-W amplifier, a 15mm
wood enclosure, and a maximum SPL
rating of 126dB.
www.electrovoice.com
Furman showed its new CN-3600 SE
contractor series SmartSequenncer.
The unit allows complex AV systems
to be safely powered on and off
with the press of a button (or turn
of a key). Features include RS232
and Ethernet adapter web-based
control and monitoring, multi-stage
transient protection, extreme voltage
shutdown, linear filtering, and more.
www.furmancontractor.com
JBLs big news was the introduction
of the new VTX Line Array Series, fea-
turing the new D2 dual-diaphragm
dual-voice-coil compression driver,
claimed to overcome the limitations
of conventional compression drivers.
A U D I O M E D I A F E B R U A R Y 2 0 1 2 21
Avid used NAMM to launch
its new Venue SC48 Remote
Digital Live Sound System,
Stage 48 Remote I/O Box, and
Venue 3 Software.
The SC48 Remote System is
a compact digital live sound
system with remote I/O (as
opposed to the all-in-one
SC48) via fully redundant
Ethernet AVB snake. The Stage
48 Remote Stage Box will also be available as an add-on option (along with
its companion Ethernet Snake Card) to existing SC48 users, enabling them
to get more flexibility from their system.
The new Venue 3 software offers new features for all Venue users, though
SC48 users especially, as they get more busses, more input processing
channels, more plug-in slots, and more Pro Tools channels.
Sheldon Radford, Avid Senior Product Manager, commented: With the
SC48 Remote System, they get the sound, performance, and reliability
VENUE systems are known for, plus the flexibility to split up the I/O and
place each distribution where needed for optimal sound...
www.avid.com
THE headphone company
Come and trust your ears... Visit us in Frankfurt at Musikmesse
21.3. - 24.3.2012 / Hall 5.1 Stand B36
www.ultrasone-fanpage.com / www.ultrasone.com
22
The first VTX product is the VTX V25 three-
way line array element. For more informa-
tion of VTX, see page 22. The company
also launched its PRX400 series of passive
portable loudspeakers.
www.jblpro.com
JoeCo previewed a brand new BlackBox
App for
remotely
control-
ling and
monitoring
its range of
BlackBox
Recorders
and
Players. Designed for use on the iPad, the
BlackBox App will provide full high resolu-
tion metering on all channels and a range
of transport controls for remote operation.
It will also enable the BlackBox menu and
set-up options to be remotely controlled.
www.joeco.co.uk
KRK showed its recently introduced 12sHO
and 12s subwoofer units. The 12sHO fea-
tures a 12-inch driver cone and front-firing
quad-concentric port yielding a response
from 29Hz to 160Hz at SPL of up to 113dB
music and 123dB peak. The 12s offers a
32Hz to 170Hz response (110dB music
and 119.5dB peak SPLs). Both units can be
directly connected via dedicated subwoof-
er outputs from the source or by using the
built-in high pass filter.
www.krksys.com
Lauten Audio announced a new micro-
phone, the FC-387 Atlantis model, a large-
diaphragm condenser with three polar
patterns, both -10 and +10dB cut/gain
switching, and a voicing switch that give
three different timbres gentle, neutral,
and forward.
www.lautenaudio.com
Mackie created much debate with its
new DL1608 console, which strips the
controls from a digital mixer and replaces
them with an iPad connection and WiFi
capability. It has 16 Onyx mic pre-amps,
24-bit AD/DA, onboard plug-ins, and wire-
less support for up to 10 iPad devices.
For more details, see page 22. In other
news, Mackie has secured a partnership
with New Japan Radio Corporation to
develop a new op-amp exclusively for
Mackie mixers. The new M-80 op-amp is
currently being implemented in the exist-
ing Onyx, VLZ3, and ProFX series mixers.
www.mackie.com

MOTU launched Digital Performer version
8, a major upgrade to its flagship audio
workstation software. Digital Performer 8
will now be available for both Mac OS X
and Windows 7. The company also showed
A U D I O M E D I A F E B R U A R Y 2 0 1 2 22
In the Loud camp, Mackie announced the release of its
new 16-channel DL1608, a small-footprint digital live
sound mixer that features iPad control. The company
claims it has the ability to re-define live mixing,
maximising the hands-on approach, and at a
competitive price point.
What makes it stand out from the crowd, Mackie says,
is its seamless wired to wireless iPad control, which allows
mixing to take place anywhere within a venue, combined
with its full set of features which include 24-bit Cirrus
Logic A/D-D/A convertors and 16 high quality Onyx
mic pre-amps.
The remote control allows the user to not only control
the mix, but also a host of powerful plug-ins such as EQs,
effects, and dynamics. Other iPad features include preset
and snapshot recall, Grow and Glow visual feedback, and
an intuitive master fader app. Users also have the ability
to record the mix to the iPad for instant sharing as well as
integrate music from any app into the mix. Eight channels
can be shown on the iPad at any one time, and the master
fader remains visible at all times.
The mixing is going on in the hardware of the console,
but the main user interface is the touch screen of the
iPad, which slots into the centre, says Ben Olswang,
Product Manager at Mackie. When you slide the iPad out,
it instantly switches to wireless mode; and because the
console can support 10 iPads, different members of the
band can control their own monitor mixes, and engineers
can mix or tune the from anywhere they like in the room.
The DL1608 has eight outputs a master L/R for the main
output, plus six aux sends for monitor mixes. Its built-in
processing includes a gate, compressor, and high-pass
filter on each input; a four-band EQ; and a 31-band GEQ,
compressor and limiter on the outputs. There is also a
Global reverb and delay control.
www.mackie.com
Waves had
a very busy
NAMM show
this year.
Significantly,
the company
launched its
V9 plug-ins,
which includes
64-bit operat-
ing system
support, faster
scanning, and
faster loading
and process-
ing times. In addition, Waves has introduced a new authorisation
system, eliminating iLok and offering activation to computer or
any USB flash drive.
The company also launched a series of new plug-ins. First was
inPhase, a phase correction tool that features dual waveform dis-
plays with up-to-sample resolution zoom, manual or side-chain
alignment, a phase shift curve window, and a correlation meter.
Theres also the NLS Non-Linear Summing plug-in. The plug-in
models three consoles: Spike Stents SSL 400G, Mike Hedges EMI
TG12345 Mk4, and Yoad Nevos custom-made Neve 5116. Waves
modelled over 100 individual channels.
Lastly, Jack Joseph Puig has again joined forces with Waves, this
time to introduce the PuigChild Hardware Compressor, modelled
on a rare, pristine-condition Fairchild 670 from Puigs personal
collection. It features dual mono, linked and lateral vertical ste-
reo modes.
www.waves.com
Are you ready to ditch your
knobs and buttons? Mackie
thinks so. Its new digital mixer
is an iPad supercharger...
MACKIE DL1608
23
23
Line 6 is a company continuing to make waves in the pro-audio sector, and its new StageScape
and StageSource products are designed to make live mixing an easier and more pleasurable
experience for all users.
The StageScape M20d creates a visual mixing environment through its seven-inch, full colour,
intuitive touchscreen user interface so that users can dial in a sound quickly and stay in their
creative zone. It displays icons that represent each performer or input, rather than generic rows
of knobs and faders, and all the elements in the mix are there in front of the user: pressing on
an icon opens up all parameters relating to that channel.
Its sizeable DSP delivers professional audio processing on each of its channels as well as multi-
band feedback suppression, and its multi-channel recording function allows rehearsals or
shows to be recorded without the need for an external PC.
Whether its a solo performance or a full band show, gig set-up is designed to be fast and easy.
StageScape M20d activates each microphone or input as soon as the cable is plugged in and
configures a channel strip setting that encompasses EQ, gain, effects, and routing. The monitor
and main outputs also work in the same way.
Also new, and designed to work with the M20d, is StageSource L3t: a 1,400W,
three-way, tri-amped speaker system which,
according to Line 6, is the worlds most
versatile loudspeaker system for musicians.
The Lt3s six DSP-based Smart Speaker modes
optimise it for a number of performance
scenarios including FOH PA, floor monitor,
and instrumental backline; and its onboard
accelerometer and pole mount sensors auto-
matically detect the speakers orientation and
set the Smart Speaker mode accordingly.
The manufacturer says its multi-function
design means it can be the perfect loud-
speaker in a wide variety of applications
including floor- or stage-stacked, pole-
mounted, horizontal as a floor monitor,
Virtual Tilt-back for instrument backline, or
flown using its integrated M10 suspension
points for installation.
Our thought process for these products was
what other needs havent been met in the
live sector?; and after thorough research,
we found there were a litany of things like
getting rid of feedback, not hearing clear
enough in monitors, not knowing where
cables should go, and so on, says Simon
Jones, Vice President of new market develop-
ment at Line 6. We feel weve managed to
provide something
that has enough
musicality for an inti-
mate environment,
from a one-speaker
system if required,
all the way up to a
10k rig. Also, these
are standalone
products we didnt
want people to think
there was an inter-
dependency with
the two; theres no
emotion in buying
a loudspeaker, after
all.
www.line6.com
For easy live set-up and control, Line 6 thinks its new Stage products are the bees knees.
LINE 6 STAGESCAPE & STAGESOURCE
Studio Monitor Systems www.neumann.com
The frst member of
the Neumann KH Line
KH 120
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Sennheiser UK Ltd
3 Century Point
High Wycombe
Buckinghamshire HP12 3SL
+44 (0)1494 551551
www.sennheiser.co.uk
AWARDS 2011
QUALI TY & I NNOVATI ON
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24
A U D I O M E D I A F E B R U A R Y 2 0 1 2 24
its new MicroBook II, an updated version of the
compact audio interface. This bus-powered unit
comes in a cast metal case and sports four inputs,
six channels of computer output on eight physi-
cal outputs, and internal CueMix mixing and rout-
ing features including on-board effects.
www.motu.com
Nomad Factory has announced a new effects
plug-in suite. MAGMA is an advanced plug-in
suite that features 50 unique single-rack audio
processors that can be mounted into a user-cus-
tomisable rack interface. For added flexibility, the
Chainer Module allows the creation of FX chains
within chains. Future updates of MAGMA will sup-
port third party VST and AU plug-ins
www.nomadfactory.com
PreSonus announced several new and updated
products and technologies that further develop
its product integration strategy, with several free
updates to the StudioLive system. QMix is a new
system that lets up to ten musicians control their
own monitor mixes (aux mixes) using an iPhone
or iPod Touch with the QMix app. Presonus
has also begun to process of incorporating
Rational Acoustics Smaart Measurement
Technology for sound system analysis and
optimisation. The first version of VSL to incor-
porate Smaart technology will be part of
PreSonus Universal Control 1.6.
Lastly, Universal Control 1.5.3 and StudioLive
Remote 1.2 updates add QMix and an assort-
ment of VSL features.
www.presonus.com
RME announced the shipping of the new
Fireface UCX, a 36-chan-
nel USB and FireWire
pro audio solution
in an ultra-compact
format, for studio and
live recordings. A Class
Compliant mode allows
the unit to work with
Apples iPad and iPad
2, offering up to eight-
channel recording,
high-resolution stereo
playback, microphone pre-amps with EQ, dynam-
ics, balanced outputs, a hi-power headphone out-
put, and a Sysex-capable double MID I/O port.
www.rme-audio.com
Sennheiser launched its new XS Wireless Series.
Designed for users who want to easily go wire-
less, this entry-level series offers complete sets
with sturdy units, simple operation, and high
quality sound. The transmitters have a battery life
of up to 10 hours, while a switching bandwidth
of up to 24 MHz allows for flexibility in the choice
of frequencies.
The series is
comprised of two
vocal sets, an
instrument system
and presentation
sets with clip-on
microphone or a
headmic.
www.sennheiser.
com
Universal Audio announced Apollo, a high-
resolution audio interface and UAD Powered
Plug-Ins DSP acceleration with sub-2ms latency,
Thunderbolt connectivity, and high-end analogue
I/O. See page 23 for more detail.
www.uaudio.com
Vienna Symphonic Library was showing its new
Vienna Ensemble PRO 5 with one-click integration
of the new Vienna MIR PRO mixing and reverbera-
tion solution. Vienna MIR PRO uses Viennas Multi
Impulse Response (MIR) convolution technology,
combing specific directional frequency profiles
with reflectional information from every instru-
ment to provide, according to Vienna, An accu-
rate and satisfying recreation of musicians playing
their instruments in place and in space. The soft-
ware comes with 11,000 impulse responses from
the Vienna Konzerthaus, and optional Vienna MIR
RomPacks offer additional acoustic spaces
www.vsl.co.at
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#29559 - Rode BS AM_Layout 24/08/2011 16:00 Page 1
25
A U D I O M E D I A F E B R U A R Y 2 0 1 2 25
Harmans JBL revealed its new flagship VTX 25 line array, which has
evolved from the manufacturers popular VerTec system. One of its key
features, according to JBLs Director of tour sound product and applica-
tion engineering, Paul Bauman, is its D2 dual compression driver, which
features two annular polymer diaphragms capable of reaching 30kHz
with virtually no distortion.
Another stand-out feature, he claims, is its Differential Drive technol-
ogy, which has eliminated the mids from cross-firing. The VTX 25s
two 15-inch woofers have two voice coils and two magnets with a
2000W power handling, each of which is housed in a lightweight alu-
minium baffle.
The D2 compression driver is very clean and hi-fi, with a power han-
dling of 200 watts continuous there are three of them in the enclo-
sure, Bauman explains. The V25 also has a very sophisticated Radiation
Boundary Integrator (RBI) waveguide, and on the back side there are four eight-inch Differential Drive mid-range transducers along with the D2s.
The V25 has a track-tuned resonant absorbent chamber, which can create a standing wave in the throw section, and the volume of that is tuned to that reso-
nant frequency; the absorbent material helps eliminate that cancellation.
The height of the VTX V25 enclosure has
been lowered in comparison to other JBL
models by three-inches, and coupling from
zero to 10 degrees provides a 90-degree
horizontal control (+/- 15-degree) with a very
tight dispersion pattern.
There is also an improved suspension
system which features anti-rattle treatment
at the front, and a hinge bar mechanism at
the back that enables users to pre-select the
angle on the enclosure by sliding the bar up.
This eliminates the need for bumping motors
up and down, and makes the process safer,
faster, and more secure, Bauman says.
Its a full-size line array complete turnkey
package with a lot of interesting technology,
he concludes. The aluminium baffle is a very
strong system, and there is nothing like this
15-inch in the industry; you really have to
hear this system to appreciate it.
www.jblpro.com

JBL is excited about the new D2 compression driver. Its a key ingredient in the claim that theres nothing else like VTX...
JBL VTX V25
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26
I
n a world of convergence its hard to stand out from
the crowd, and in the mature industry of professional
monitor design, making yourself heard over the noise is
especially difficult. The default design for a monitor speaker
is a box populated with tweeters, mid-range bass units and
ports; and no amount of fluted fascias, unusual finishes, or
specialised amplification can disguise the fact that they all
attempt to do the same thing, more or less reproduce
a full range of frequencies without excessive colouration.
Some manufacturers resort to unusual box designs,
s o m e u s e
expensi ve and
uncompromising
components that
take them out of
the realm of most
peoples budgets
but ADAMs
maguffin is that it
has championed
the 'AcceleratING
R i b b o n
T e c h n o l o g y '
(now 'Extended'
to X-ART) tweeters so much so that every full range
speaker they build features one. In simple terms it's
a pleated ribbon that, rather than moving in and out like a
conventional diaphragm, compresses and stretches those
pleats laterally something like an accordian drawing
air in and squeesing it between it's folds. Adam states that
this "Overcomes the piston-like motion of all conventional
drivers and their inevitable problems." It says that X-ART
offers a greater effective surface area (improving dynamic
range), fast cooling, and improved HF response.
The AX is part of the companys AX series and, of
course, features the characteristic and distinctive X-ART
tweeter that sets the ADAM range of speakers apart from
other contemporary designs and which gives the range
a distinctive family
tonality. These are
hefty acti ve near-
f i e l d s p e a k e r s
conf i guraqbl e for
both horizontal and
vertical mounting.
The individual drive
units are powered by
their own amplifier, a
W A/B amp for the
X-ART tweeter and
a W PWM amp
for each of the bass/
mid-range units of which there are two per speaker.
These enable the AX to get very, very loud without
audible distortion or noticeable compression that made
them comfortable to listen to for long periods of time.
Adams A77X will give the world
something to tweet about, says
STEPHEN BENNETT and might
come as something of a surprise
to those who dont usually like
ribbon tweeters.
ADAM A77X
Active Near-Field Monitor
T H E R E V I E W E R
STEPHEN BENNETT has been
involved in music production
for over 25 years. Now based in
Norwich he splits his time between
writing books and articles on
music technology, running his
own Chaos studios and working
in the Electroacoustic Studios
in the School of Music at the
University of East Anglia. Hes also
a filmmaker with several music
videos and short films to his credit.
www.stephenjamesbennett.co.uk
27
A U D I O M E D I A f E b r U A r y 2 0 1 2 27
The two seven-inch drivers, while ostensibly
identical, perform different tasks in the A77X.
Both are responsible for the sub-bass frequencies,
but only one covers the mid-range ADAM says
that this prevents interferences between the two
drivers. The X in the X-ART ribbon tweeter indicates
that the frequency range has been extended up
to 50kHz, and ADAM also claims higher efficiency
at greater Sound Pressure Levels (SPL) for the
driver. The A77X is port loaded with two large bass
ports dominating the lower centre of the speaker.
Using a ported design like this is always something
of a compromise it enables the speaker to
reproduce lower frequencies than their relativity
diminutive size would allow if they were a sealed
unit design but it also adds its own colouration,
and the different way in which manufacturers
tackle this compromise is what makes monitor
design such an interesting challenge. However, the
A77X does not suffer from the one note and bass
overhang characteristic of poorly designed ported
speakers, and the bass seems to be pretty smoothly
integrated with the other drivers.
The front panel of the A77X features an on/off
switch and a level control that usefully remembers
its setting on power down. The cabinets are gently
sloped at each corner and are finished in a matt/
gloss black that can easily take the daily knocks
of a busy studio something I found out when I
accidentally dropped a power amp on one! The rear
panel has an IEC mains connector, XLR signal input,
and screwdriver-adjustable mini potentiometers
that allow for some adjustment of the tonal
characteristics of the speakers. You can vary the
high shelf and low shelf over by +/-6dB, while you
can adjust the tweeter level over a range of +/-4dB
but in my reasonably well treated studio, these
controls were not needed, the A77X being tonally
well-balanced between its various drivers.
Li sten I n
For listening comparisons, I set up the A77X against
my usual PMC TB2 passive transmission line
speakers and a pair of sealed box ATC SCM20 active
monitors. As predicted all three monitors sounded
completely different, the A77X proving slightly
brasher and with an obviously more extended low
end than the other two. In fact, the bass response
of the A77X is more in line with my Dynaudio M2s
which are also ported but about twice the size!
If your prejudice is that ribbon tweeters usually
sound harsh and seemingly dissociated from the
other drivers in the cabinet, the A77X might come
as somewhat of a surprise. Compared to ADAMs
smaller A7X, the A77X are smoother and more
detailed in the mid-range, making mixing decisions
much easier. Somehow the ribbon tweeter sounds
more integrated into the whole monitor. Id have
no problems if these were the only speakers that
I had to use for making critical mixing decisions.
ADAM has taken its popular A7X designs and
improved on it tremendously. The company
should be applauded for continuing to provide
an alternative to the plethora of soft and hard
domed tweeter based speakers out there. It still
has something of the family sound, but if you
liked the A7X youll like the A77X even more, and
if the companys smaller near-fields werent your
cup of tea, the A77X are definitely worth another
listen. They are not much bigger than a two-driver
cabinet design, so should slip into any installation
where a near-field speaker will fit, but the extra low/
mid frequency drivers mean that the bass is more
naturally extended and the mid-range clearer and
more detailed.
I like the A77X a lot and they make a refreshing
change from the usual mid-priced near-field
speakers.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I N F O R M A T I O N

GB1,949.00 (inc. VAT)

A
Adam Audio GmbH
Ederstr.16, D-12059 Berlin, Germany
T
+49 30 / 86 30 097 0
W
www.adam-audio.com
E
info@adam-audio.de
ADAM has taken its popular
A7X designs and improved on it
tremendously. The company should be
applauded for continuing to provide an
alternative to the plethora of soft and
hard domed tweeter based speakers
out there.
28
I
have had the pleasure of testing a number of Portico
units over the years and have always enjoyed these great
designs, which produce fabulous quality and, sometimes,
unusual sonic qualities.
The vast majority of these have been packaged in half-
rack boxes with external power supplies, but we have
seen a few full rack units incorporating new features and
a combination of existing features from other devices in
the range.
Joining the range of full rack units is the Portico
quad microphone pre-amplifier.
The microphone pre-amplifier is based on the Portico
Class A transformer design that we are familiar with,
but this is not simply two units put together.
Over vi ew
Each of the four channels of the Portico has a single
balanced XLR input and XLR output on the rear. No other
connections keep the rear panel clean.
Looking at the first two channels on the front of the
Portico , they are each fitted with a transformer
isolated Hi-Z DI input and paralleled thru output. These are
accessed via the front TRS sockets, and plugging into them
automatically replaces the microphone input.
Channels three and four of the Portico incorporate
M-S decoding.
The microphone input XLR connectors on the rear can
accept a line input signal as well, but it is when recording
that this function is likely to be used.
You can engage the decode matrix using the M/S
button that sits between these two channels of the Portico
and then record the decoded stereo signal from the
channels outputs, or simply disengage the button to record
your cardioid and figure-of-eight signals for later decoding.
The remaining functions apply to all four channels of
the Portico .
The problem with coming from
such a highly regarded family
as the RND Portico set, is that it
gives you such a high standard
to live up to. SIMON TILLBROOK
finds whether the 5024 will
reach the mark.
RND PORTICO 5024
Quad Mic Pre-amp
T H E R E V I E W E R
SIMON TILLBROOK is a UK-based
recording engineer and mixer with
an extensive freelance history both
in the UK and in the US - much of
that from the Nashville recording
scene.
Rycote's InVision USM microphone suspension system is a truly 21st-century mic shockmount: hard-wearing, up to twice as
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accommodating any mic from 19 to 55 mm in diameter. There was only one drawback what if your microphone was larger than
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sales@rycote.com www.rycote.com
Rycote
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A U D I O M E D I A F E B R U A R Y 2 0 1 2 28
29
|nput level can be ad[usted by a comblnatlon
of two rotary controls labelled Galn and Trlm.
Galn ls a course level control movlng ln 6d8 steps
from o to 66d8, and Trlm ls a constantly varlable
control glvlng +/-6d8 of flne ad[ustment.
The level ls lndlcated through an elght-
segment peak LLD meterlng dlsplay that
lllustrates a level from -:8 to zz.
we have a serles of backllt buttons for other
channel functlons on the Portlco oz(. Phantom
power, phase reverse of :8o-degrees, and mute
slt ln a llne along wlth a button called Sllk. Thls ls
a functlon seen on other Portlco unlts that many
have come to en[oy.
Lngaglng Sllk lntroduces a vlntage feel to
your sound, lntroduclng depth and warmth to
the slgnal.
Plnally, each channel of the Portlco oz(
has a HPP that attenuates by :zd8/octave wlth
a selectable turnover frequency of elther oHz
or poHz.
Use
| spent a few days wlth the Portlco oz( uslng a
varlety of mlcrophones and sound sources, and
can report that these pre-amps are every blt as
good as | thought they would be. Those famlllar
wlth the o:z wlll understand the sonlc attrlbutes
of the Portlco oz( pre-ampllflers. They are crlsp
wlth a real presence that you really appreclate
when uslng wlth vocal appllcatlons. The Portlco
oz( pre-amps exhlblt real depth wlth a smooth,
full bottom end reproductlon that ls falthful, rather
than exaggerated or coloured.
The mld presence ls nlcely balanced and the
hlgh frequencles detalled and muslcal wlth no
harsh attrlbutes.
They are clean, but wlth a good dollop of
character to llft them.
The lncorporatlon of the M/S decodlng lnto the
Portlco oz( ls somethlng that | found, and would
generally flnd, to be very useful. |t slmply comes
down to whether you need thls feature and, lf
you do, you wlll flnd thls works perfectly well A/8
checklng wlth the M/S button.
ConcI usi on
The Portlco oz( ls a real dellght. |t ls a hlgh
quallty versatlle pre-ampllfler, and wlth the D| and
M/S facllltles, lt ls that llttle blt more attractlve.
Sonlcally, lt ls every blt as good as we have
seen wlth prevlous Portlco unlts. Havlng four ln
a standard :U rack mounted frame ls golng to
appeal to many who want top end versatlle pre-
ampllflers.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I N I O R M A 7 I O N

G8z,1p.oo (exc.VA7)
A
Rupert Neve Designs
PO 8ox 1pp, WimberIey, 7X /8/, USA
T
+1 1z 8/ o1
W
www.rupertneve.com
A
Uk Distributor: Sonic Distribution,
Hunting Gate, Hitchin, Herts, SG o71
T
+ (o) 8 oo zoo
W
www.sonic-distribution.com/uk
A U D I O M E D I A F E B R U A R Y 2 0 1 2 29
Raise Your Standards
www.apogeedigital.com
Ultimate sound quality
Logic and Pro Tools compatibility
Total I/O fexibility
Welcome to the New Standard
in Recording Technology
30
31
I
blame Starbucks really for headphones like
the Ultrasone Signature Pro. Who would have
thought people would be willing to pay so
much more for a cup of coffee? It turned out
the secret was a decent cup of coffee in the right
setting, choice, and free wifi. Coffee had me
wrong-footed headphones too it turns out.
While the hifi market has always had high-ticket
price headphones from Stax, in the pro world
can buy you a pretty decent pair of cans.
Not 1ust A CasuaI Purchase
So, although the Signature Pro is not anywhere
near the most expensive headphone that
Ultrasone makes (that would be the Edition range) but its not a casual
purchase and qualifies in my book as grande. The Signature Pro is all about
packaging the Edition tech in a pro-friendly beverage. To look at the Pro is
subdued and business like. Sturdy, solid, and closed back the Ultrasones
look like a tool for people who have a job to do.
Theres a new headband, drivers from the Edition series, S-Logic PLUS, and
a noteworthy contribution from Ethiopian sheep. I kid you not. And joy of
joys, a detachable cable with a B-Lock connector at the headphone end that
seems to have a twist lock action, and you get two cables a long one and
a short one. Genius. Actually, at the risk of spoiling someones party, when
might a magnetic connector (a la Macbooks power cable) become an option
for headphones?
Over And Above
So back to the Signature Pros, theyre expensive but not flashy, but what do
they sound like? Brilliant. Every time I put them on I end up listening, if you
know what I mean. These are philosophical headphones. They answer why
questions. Ah, so thats why they put the hand claps in. Guitars have more of
the essence of guitar in them you hear the ur-guitar if you like. Toms have
more discernible tuning. Annoying buzzes on live recordings become even
more annoying Touch and Go, what were you thinking Clive?
The bottom end is as secure as money in the bank. Actually a lot more
secure than money in the bank more like gold sovereigns sewn into your
trousers, heavy and reassuring. The mid and top provide a wealth of detail
and that elusive monitoring experience of revealing things that you can hear
on lesser systems, but dont notice until something like the Signature Pros
shine a light in the dark places of a mix.
The Ultrasones do not smooth the top end away. When I first put them on
I wondered if the top end would intrude with extensive listening, but it didnt.
They fit snuggly and are comfortable for long periods, and solid enough
to take on the road.
Value for money? I dont know... some people dont like coffee.
Mines a double espresso. And a sticky bun.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I N I O R M A 7 I O N

G8/p.oo (inc.VA7)
A
UItrasone AG, 8ernrieder Str.1/b, D-8zz/ 7utzing, Germany/8avaria
T
+p (o) 818 po/8 o
W
www.uItrasone.com
A
Uk Distributor: Synthax Audio (Uk) Ltd
T
+ (o) 1/z/ 8z18/o
W
www.synthax.co.uk
ALISTAIR McGHEE wants to have his cake and eat it, when it comes to
headphones. Or his sticky bun. But in the Signature Pro series, he gets it.
ULTRASONE
SIGNATURE PRO
Professional Headphones
A U D I O M E D I A F E B R U A R Y 2 0 1 2 31
FOCUS.
Focus on one thing, and only one thing
long enough, and youll master it. Thats our
philosophy at KRK. We dont make PA gear,
mixers or motorcycles. Rather our focus has
always been to make the most accurate
studio monitors available at any price.
Our singular passion is about sound and the tools you need
to deliver a great mix. So when you use a VXT powered monitor,
you can be condent that you get the most accurate reproduction
of your mix. VXTs diracton-limiting curved surfaces, silk-domed
tweeter, seamless crossover, and KRKs trademark yellow Kevlar
woofer bring superior audio imaging, outstanding transient
response, and amazing detail. For over 20 years, KRK has focused
on the art of recording monitors. When you hear your music
through a pair of VXT 4, 6 or 8 monitors, youll understand
our passion, our craft, our focus...and your mix.
Our Focus, Your Mix.
For more information visit www.krksys.com
32
F
or Supervising Sound Editor Victor Ray Ennis, theres
one sequence in Drive that sums up how much thought
was put into the use of sound throughout the entire
film. Its where the central character Driver (played by Ryan
Gosling) pulls up at a pawn shop, which is about to be
robbed by his accomplices.
He turns on the car radio. Theres live commentary
of a basketball game, the LA Lakers are playing.
Youre thinking: this guys a getaway driver on a heist and
hes listening to the radio? Then the pawn shop is raided
and you hear the game playing in and out, so you hear
time progressing. Its intercut with the sound of the police
radio that Driver has in this car, with the cops describing
the pursuit. At the end of the chase Driver is pulling into
the arena where the games being played. Its now the
end of the game and the crowds are flooding out.
He was actually using the commentary as a guide to
help him lose himself in the huge crowds.
This one sequence, where sound is so key to the
storytelling, was written into the script by writer Hossein
Amini and brought to the screen by Danish born Director
Nicholas Winding Refn, whose previous credits include the
British movie Bronson.
Theyre both adventurous and original, Victor
said. Hes full of praise not just for the script but for the
approach that Winding Refn took to the whole
film-making process. It was a very collaborative
experience, with lots of experimentation to find out what
sounds worked well.
Brash. . . But Al so St yl i sh
Drive tells the tale of a Hollywood stuntman who
moonlights as a Los Angeles getaway driver. After a job
goes wrong, he discovers theres a contract out on him.
Its been hailed by critics for its brashness but also the
stylish, often surreal way in which it tells the story.
Sound plays a key part in Drive, helping to place the
audience in Drivers head so that they hear things as he
feels them. This marries with the visual style, where theres
rarely anything off-screen. You see what he sees.
This is not a traditional movie, said Victor, part of the
wider Soundelux audio team responsible for Drive.
Our job was about using sound to define how you feel.
The sound in Drive puts you in his [Drivers] head but not
just as a spectator.
Lon Bender echoed this. The Director never places
things beyond the screen, like lots of American movies do.
Most of my 33 years in movies have been on Hollywood,
by which I mean mainstream, films. This (Drive) is different.
This doesnt go beyond the screen. We home in on what
the central character sees.
Stri ppi ng Away Conventi on
And they did this by throwing out a few conventions,
particularly over the way they worked with the Director.
Hes not really from Hollywood so he had fewer
expectations, said Victor Ray Ennis. He gave us free range
over the sonic landscape. We really couldnt have been
more blessed. We would sit together and go through
material to find what fitted.
We stripped away the atmospheric layers so you just
hear what he might hear. Like breaths or a jostling door
handle. Or maybe footsteps on crunched glass. Its all
about focus. You normally build up those layers, starting
with atmosphere. With this movie we only had what we
wanted to show the thoughts and feelings of Driver.
For example, Drivers leather gloves define his
frustration at times. Theres a creaking sound that they
make as he pulls them on and flexes his fingers. Its an
iconic sound for that character.
Being a film about a getaway driver, there are a
number of car chase sequences. But these are far from
conventional. In a typical Hollywood blockbuster, a
car chase would involve lots of external shots of the
protagonists, often in wide angle as they slip, slide, and
squeal their way through the streets. Drive is different in
that it uses a lot of shots inside Drivers car. You see little
more than he does through the windscreen.
You also hear what he hears through the police radio
under the dashboard; eavesdropping on the cops as they
try to catch him.
Power I n Si l ence
In the first robbery, hes escaping. Youd expect to hear
squeals of tyres and roaring engines but you dont.
JERRY IBBOTSON talks to the
sound team behind Oscar-
nominated Drive about how
unconventional methods
have led to greater power and
impact in use of sound.
>
DRIVE
A U D I O M E D I A F E B R U A R Y 2 0 1 2 32
33
>
We virtually got rid of the engine sounds. Hes trying to be a fish
among the sharks. To slip away unseen. You just hear the clunk of
a tyre on a manhole cover.
On the bridge a few minutes later theres a scene with the
police chopper. It explodes into sound. You feel what its like to be
caught like being a kid whos been caught with his hand in the
cookie jar. But its still not about realism; more feeling. You hear
Driver shifting through the gears, even though you see both his
hands on the wheel. But that doesnt matter. Its about the energy
of the sound.
For Lon Bender, its about the age old technique of storytelling.
Sound design is a big term but it means youre taking things
outside of the physical world. Youre coming up with subjective
sounds to tell the story, coming up with sounds that suggest to
the audience what is happening. This is key to Drive because of
the way the main character sees the world. The way
the audience hears the world conveys whats going
on in his head. Plus youre always in the moment
with him. You never see ahead of him. Whatever
happens, happens as he hears and sees it.
The key to achieving this was the close level of
co-operation and collaboration between different
disciplines. Leading the way was the Director.
We spent a lot of time in the studio with him, said
Lon Bender. He sat there while we went through
sounds, trying things out. Directors usually spend
that kind of time with film editors, colourists, or
fx teams. Less so with sound. But wed already run
80% of the sound past him before we went into
the mix.
Also, the Film Editor Mat Newman had a
great sense of sonic structure for the film.
This encouraged us to take further risks.
Victor Ray Ennis said the integration of the sound with music
was also done in a less conventional way that other films hes
worked on. The music came in from Cliff Martinez at a later stage
than normal. That meant he was able to work with what wed
already done and cohabit the space. We were bouncing ideas
off each other making sounds to fit around his music and the
other way round. The music and sound were constructed around
each other.
This is a bit unusual as the sound and music guys often only
meet up at the final mix stage. With Drive we were already in a
mix stage from the very start.
For a film where cars (Drivers in particular) play a key part,
the audio team didnt record many actual vehicles for the project.
They stuck to library sounds and werent particularly focused
on realism.
Nick (Winding Refn) has never held a car licence and doesnt
drive, explained Lon Bender, So he wasnt bogged down by what
type of car engine sounds we used from a mechanical point of
view. He just said to make sure the sounds had real character.
He said, 'Just make them exciting', so we did.
Speaki ng Of Focus
One of the benefits of an audio mix where a lot of extraneous
sounds are dropped in favour of key, focused elements is that the
all-important dialogue is allowed to shine. You really do key in on
the voices, said Victor Ray Ennis. It draws you in, to lean forward
and really focus on what the characters are saying.
Hes a big fan of one of the lesser-known elements
of sound design: no sound at all.
People arent used to silence in movies.
When sound is stripped away it heightens
tension. When sound comes back in, its much
more powerful.
He also feels that a less mainstream approach
to film-making creates great sound opportunities.
This was throwing down the audio gauntlet:
telling the story much more through sound.
The visuals were often minimal but we had to
keep the suspense at its peak through the audio.
Drive has rightly been nominated for an Oscar in
the Best Sound category. This is the first time Victor
Ray Ennis has been nominated but the third for Lon Bender he
won an Oscar for the sound on Braveheart and was nominated for
Blood Diamond.
For him, it means so much because the initial nomination is
done by members of the movie audio world. The different classes
are recognised (at the Oscars) by members of their branch of the
film industry. You really are being judged by your peers.
Its an honour.
He also believes it gives a film like Drive a chance to shine in
the spotlight and have its other qualities recognised. The overall
qualities of the film are what make it so special. I was more
engaged than ever in the aesthetic of the film but it would not
have been so well received, or even nominated for sound, if it was
just a cool sound job.
You really do key
in on the voices
It draws you in,
to lean forward
and really focus
on what the
characters are
saying.
>
A U D I O M E D I A F E B R U A R Y 2 0 1 2
Lon Bender, and Victor Ray Ennis.
33
34
>
A U D I O M E D I A F E B R U A R Y 2 0 1 2 34
F
or ages, sound was a natural phenomenon, only
existing in the exact moment it was being played,
but technology allowing for recording and
reproduction has changed that once and for all. Now,
beautiful audible moments may be captured and reproduced
to enjoy at any time.
However, recorded audio can be extremely diverse,
for instance resulting in two seemingly similar pieces of
audio to be perceived very differently, especially when it
comes to defining listening level. Even a playlist of rock
songs of different ages creates systematic and annoying
jumps in level. It is all music, and it may even be of the
same musical genre, but many will probably have found
themselves turning the volume up and down quite fre-
quently due to loudness differences. Now, if we take a
look at an even more diverse palette, including all types
of music as well as audio for television such as drama,
film, promos and commercials, the difference in loud-
ness becomes even more evident. Therefore, one of the
most fundamental audio issues today is control of loud-
ness.
With the transition to digital broadcast, unacceptable
inter-program level jumps have become more frequent,
for instance between programming and commercials or
promos. Every day, millions of people adjust their vol-
ume controls over and over, so it is little wonder that it is
usually the volume buttons on remote controls that get
worn out first.
The actual way of controlling level in pro audio is
responsible for these systematic jumps as well as for
music CDs getting increasingly distorted. Level control
procedures that focus solely on peak level or speech
level have proven inadequate and led to the infamous
Loudness Wars were in. What it all comes down to
Loudness Special
Audio Media presents a special section on the loudness issues of the moment. The rise of the broadcast
standards, international legislation, guidelines, and implementation, and a technology overview....
THOMAS LUND,
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present tense.
The Rise of International
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35
the ri se of i nternati onal broadcast standards
>
is that fundament ally, audio is precious
and deserves to be reproduced respectfully; but
luckily there is a solution at hand.
The Mot her of Broadcast St andards
Since the above-mentioned problems are par-
ticularly evident in broad-
cast, it is no wonder that
it is primarily within this
field new loudness tech-
nology has been devel-
oped and is becoming
increasingly standardised.
Today, there are quite a
few regional broadcast
standards, but the funda-
mental one was defined
by The Int ernat i onal
Te l e c o mmu ni c a t i o n
Union, also known as ITU
BS.1770. Its latest incar-
nation is BS.1770-2, from 2011. This standard
aims at measuring perceived loudness rather
than focusing on peak level. But how can a sub-
jective phenomenon, human perception of loud-
ness, actually be measured? Studies based on
substantial listening tests performed by inde-
pendent organisations such as Communications
Research Centre (CRC), McGill University
in Montreal, and IRT in Munich have helped
develop a simple method to measure audio
level based on perceived loudness. Without get-
ting into the technical details, the standard is
based on an Leq measurement and so-called
K-weighting. Because of channel power sum-
ming, mono stereo and 5.1 signals may be mea-
sured using one and the same meter.
While users should concentrate on getting
loudness right, they cant ignore overloads
should they happen. BS.1770-2 is therefore
complemented by a new and better way of
detecting peak level, known as true-peak mea-
surement. With a true-peak meter, music tracks
that distort a downstream signal-path can also
no longer fly under radar.
In combination, the loudness part and
the true-peak part of BS.1770-2 is efficient at
normalising broadcast programs, music tracks,
films, and commercials, and also prevents
distortion from building up in DA convertors or
in lossy data reduction systems.
The Of f spri ngs
Apart from ITUs BS.1770-2 standard, there are
a number of additional broadcast standards that
typically apply to individual countries or regions.
However, most of them now have BS.1770 in
common. In this introduction to loudness and
broadcast standards, we will limit the field to
two offsprings: EBU R128 (Europe) and ATSC
A/85 (US).
In short, The European Broadcast Unions
standard, R128, was originally based on BS.1770,
but in order to make it even more efficient to
work with, and to align programmes across
genres, EBU employed a gating scheme that
focuses the measurement on moderately loud
parts of a program. Suddenly, movies and clas-
sical music could be transparently aligned with
e.g. pop music and commercials. The gating
scheme works so well that it was implemented
in the BS.1770-2 revision last year. R128 also
includes a suite of BS.1770-2 compliant tools,
Momentary Loudness, Short-term Loudness,
and Loudness Range, thereby forming a
transparent loop from production to multi-plat-
form distribution.
New recommended practices in the US, ATSC
A/85, also builds on parts
of the ITU standard, but
not to the same extent as
R128. While A/85 incorpo-
rates the K-weighted Leq
approach as well as true-
peak metering, the basic
concept differs in that it
assumes that the speech
of a programme defines
the average level, and
therefore, it is the anchor
poi nt . Across newl y
mixed movies, speech
indeed is considered an
anchor. However, the way speech is mixed in
movies is very different from how its used in
broadcast. Presented with the CALM Act, ATSC
therefore had to retreat from speech measure-
ment in promos and commercials. New annexes
J and K from July 2011 reflects this change. The
latest version of A/85 still references BS.1770-1
as a loudness model, but this will hopefully be
remedied shortly. Otherwise, A/85 users will
not be able to take advantage of the cross-genre
advantages and transparency of BS.1770-2.
Nonetheless, no matter what ATSC decides,
it is a positive development that loudness mea-
suring is beginning to become standardised,
and with the new standards at hand, produc-
tion, post, and broadcast professionals now
have a valuable and efficient set of tools to end
the Loudness Wars. Cross-genre programme
material can finally begin to co-exist transpar-
ently, and volume knobs and buttons can expect
longer lives, while audiences will be able to get
a more pleasant listening experience. In other
words, everybody wins.
it is a positive development
that loudness measuring is
beginning to become standardised,
and with the new standards at
hand, production, post, and
broadcast professionals now have a
valuable and efficient set of tools to
end the Loudness Wars.
35 A U D I O M E D I A F E B R U A R Y 2 0 1 2
A R T E M I S
Putting Sound in the Picture
ARTEMIS, FROM CALREC.
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AudioMedia_Artemis_173x122.indd 1 28/01/2010 10:00
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>
A U D I O M E D I A F E B R U A R Y 2 0 1 2 36
I
ts too easy ages, sound was a natural
phenomenon, only existing in the exact moment it was
being played, but technology allowing for recording
and reproduction has changed that once and for all.
Now, beautiful audible moments may be captured and
reproduced to enjoy at any time.
I
ts too easy to think that nobody has the same problems
as you do. National, regional, and local broadcasters in
each country have their specific challenges and
difficulties, but broadcasting is an international
business that relies on a high proportion of programme
exchange and general co-operation between companies,
whether public or commercial, so one broadcasters
problem can easily become anothers.
Loudness is an issue that has dogged broadcasters
for almost as long as the medium of television has exist-
ed. When the BBCs former research and development
facility at Kingswood Warren was opened in the 1950s,
on the list of areas to be looked into was how to deal
with discrepancies in sound levels between different
types of programme material.
The perceived difference in sound levels, particularly
between programmes and commercials or trailers, has
been a long-term irritant for TV viewers round the world
for many years. The problem and the irritation has
grown even more in the last 20 or so years due to the
adoption of digital transmission and the availability of
multiple TV channels.
Broadcasters, regulators, independent developers,
and manufacturers alike have made several attempts
to deal with loudness, but these either did not have
any long-term effect or were purely a local solution.
At the root of the problem is the fact that two separate
programmes can register exactly the same level on a
PPM (peak programme meter) or a VU (volume unit)
meter, but one can still sound substantially louder than
the other.
This is usually due to a combination of one piece of
material having a greater amount of compression as
has been common with TV commercials and the pro-
gramme it is immediately following containing a wide
dynamic range, with a quiet section leading up to the
advertising break.
During the late 1990s a new type of meter was intro-
duced that could quantify comparative sound levels,
rather than merely peaks. Among the first generation
of loudness was a unit from Chromatec, which featured
an algorithm designed by Dr John Emmett, formerly
with Thames Televisions R&D department and now
Chief Executive of Broadcast Project Research (BPR).
This was released around the same time as a similar
product from Dorrough; both were then followed by
offerings from Dolby, TSL, RTW, and DK-Technologies.
Despite such units being used by broadcasters and
companies that specialise in delivering commercials
and other broadcast inserts, TV companies and
regulators continued to receive complaints from view-
ers tired of having to pick up the remote and change
the volume when what they perceived as an overly loud
programme or commercial came on.
CALM Down Dear
Showing that everyday concerns are still important to
the most powerful man in the world, when he signed
the CALM (Commercial Advertisement Loudness
Mitigation) Bill into law during December 2010,
President Barack Obama said he didnt want to keep on
picking up the clicker while he was watching the game.
The CALM Act shows that the US has taken loudness
seriously in recent years. It also illustrates the different
approaches and degrees of regulation that individu-
al countries have chosen; while America has resorted
to the law, with the FCC (Federal Communications
Commission) having the power to impose fines on any
The Level
Playing Field
The war on loudness
is ra ging worldwide,
with different countries
going down different
regulatory routes and
concern over un-dynamic
implementation amongst
the amplitudinally-
challenged. KEVIN HILTON
finds out just how many
broadcasters it takes to
turn it down (and up).
broadcast
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and more...
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ITU.1770/-2
37
Loudness Metering Loudness Adjustment Loudness Logging Calibrated Listening
Keep Compliant With Evolving Loudness Standards
tcelectronic.com/broadcast
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the level playi ng fi eld
>
organisation breaking the rules from December
13 this year. Other countries, including the UK,
have less wide-ranging guidelines.
The technical basis of the CALM Act is the
A/85 specification drawn up by the Advanced
Tel evi si on Syst ems Commi t t ee (ATSC).
A/85 itself is based on ITU-R BS 1770, the
first formal algorithm, spec, and guidelines
to address loudness, which were published by
the International Telecommunication Union
(ITU) in 2006-7. BS 1770 covers algorithms to
measure audio programme loudness and
true-peak audio level, while its accompanying
document, ITU-R BS 1771, deals with require-
ments for loudness and true-peak meters.
Publication of these guidelines was soon
followed by new loudness meters from
manufacturers, and the first formalised regula-
tions to deal with the problem.
Euro- ears
Among the first countries to put such guidelines
in place was Italy, where in 2006 the Authority
for Communications (AGCOM) brought in rules
based on 1770 that cover all broadcast material,
including commercials, promos, idents, and the
main programmes, with a maximum difference
between them of 0.6dB.
BS 1770 was similarly at the heart of
guidelines introduced in the UK during 2008
by the Broadcast Committee on Advertising
Practice (BCAP) of the Advertising Standards
Authority (ASA). These were drawn up to apply
only to commercials, with the stipulation that
Measurement and balancing of subjective loud-
ness levels should preferably be carried out
using a loudness-level meter, ideally conform-
ing to ITU recommendations. However, BCAP
did write some flexibility into the document,
allowing operators to continue using peak-read-
ing meters if they adhered to a maximum level
for commercials that was at least 6dB less than
the maximum level of the programmes.
Although 1770 and the first regulations were
seen as a move in the right direction, there was
still the view among broadcasters and man-
ufacturers that these did not go far enough.
In 2008 the EBU instigated its own research
into loudness, led by the PLOUD working group,
comprising representatives from European
broadcasters, manufacturers, regulators, and
research bodies. After two years of testing
and discussion, PLOUD released the R128
specification for loudness normalisation and
permitted maximum level of audio signals
during IBC 2010. This is supported by four
EBU tech documents, two of which were pub-
lished at the same time: 3341 defining Loudness
Metering, with specific details for loudness
meters, known as EBU Mode, while 3342 cov-
ers Loudness Range, describing loudness nor-
malisation as in R128. Two longer volumes were
published in 2011: Tech Doc 3343 is a practical
guide for Production and Implementation, with
3344 outlining Distribution of Programmes.
Manufacturers updated their units to offer
R128 as well as 1770 but there was some
concern that there were now several loudness
specifications appearing ARIB TR-B32 in
Japan, the USs A/85 and OP-59 in Australia, as
well as the EBU offering which, although all
similar and based on the ITU algorithm, were
all slightly different.
During 2011 the ITU introduced an updated,
version two of BS 1770, which went some way
in unifying the different approaches. BS 1770-2
comes into line with R128, not only in terms of
measurement targets but also by adopting the
gating mechanism that PLOUD introduced and
which was seen as an omission from the origi-
nal ITU spec.
PLOUD was chaired by Florian Camerer,
Senior Sound Engineer at Austrian public broad-
caster ORF. He describes R128 as a robust
open standard that can be used for a variety of
programme genres. R128 sets the loudness
target at -23 LUFS (Loudness Units relative
to Full Scale), which is now being used as the
benchmark set for and by broadcasters across
Europe. The US A/85 regulations go with -24,
which Tim Carroll, President of specialist manu-
facturer Linear Acoustic, said was close enough
for jazz in relation to R128.
38 A U D I O M E D I A F E B R U A R Y 2 0 1 2
>
Rian Camerer. Jeffrey Riedmiller.
39
the level playi ng fi eld
> The publication of R128 has led to more
structured regulation of loudness control
in Europe. In the Netherlands national
broadcaster NPO began adhering to standards
from September 1, 2011, while France intro-
duced a single loudness alignment system on
December 19. The French regulations, which
comply with R128 and work to the target of -23
LUFS, were agreed by all national broadcasters,
including public service France Tlvisions,
advertisers, and the CSA (Audiovisual Superior
Council).
Loud I n France
This consensus was reached after viewer
complaints and several previous laws over
the last 20 years. The first law was passed in
1986, followed by a second in 1992. France
adopted 1770 in 2008 and added Dolby
Dialogue Intelligence to the ITU metering/
monitoring process. A listening reference level
was also set but by the end of that year broad-
casters reportedly felt the standard was limited,
with approximately 20 percent of programmes
sounding outside the set range.
The French broadcast sec-
tor later joined PLOUD and new
loudness tools based on R128
were developed during 2010.
Seminars were held to promote
the standard, leading to broad-
casters and advertisers agreeing
to the single recommendation.
Under the new law all broad-
cast material including com-
mercials, domestic programmes,
and bought-in English-language material has
to adhere to strict guidelines: programmes
under two minutes cannot exceed -23 LUFS
(integrated) and -20 LUFS in the short term;
programmes longer than two minutes must
have an integrated loudness of -23 LUFS +/-1
and a loudness range between 5 and 20 LU;
dialogue has to be set between -30 and -16
LUFS in the short term.
Wi deni ng Reach
These regulations apply to distribution
companies as well as broadcasters; anyone
breaking them face penalties of up to two
percent of revenue. Florian Camerer calls the
French approach a great role model for
broadcasters and regulators in other countries.
Germany and Austria have also been prepar-
ing new regulations based on R128 but did
not hit the original target for implementation
of January 1 this year. The plan now is for full
compliance and regulation to begin from either
August 31 or September 1. Camerer stresses,
however, that this does not mean nothing will
happen in the meantime.
Since January 1 German regional broadcast-
er WDR has been working to -23 LUFS. ORF
is to follow an incremental programme, provi-
sionally beginning with commercials, promos,
and self-produced material at -21 LUFS dur-
ing early April and moving all programmes
to -21 on July 1, with the final switch to -23 on
September 1. Camerer says this was not all
fixed on paper yet but very likely. Switzerland
is switching completely to -23 on February 29,
coinciding with the countrys move to HDTV
from standard definition.
R128 is now part of the new technical and
metadata standards for file-based delivery of
TV programmes in the UK, established by the
Digital Production Partnership (DPP), which
comprises the BBC, ITV, and Channel 4. Kevin
Burrows, Technical Standards Chair of the
DPP and Chief Technical Officer for broadcast
and distribution at C4, says R128 is becoming
standard. Theres a fair bit of equipment out
there now complying with R128 so it seemed
sensible to stick with that, he says.
War Rages On?
With various regulations already in place in
Italy, Israel, Japan, and Australia, and Canada
set to implement formal loudness controls
in September, the impression is that a once
almost insurmountable problem is now
under control. The reality is that, however, the
so-called Loudness War is not over yet.
Despite regulations being put in place and
standards set, there is still some
uncertainty surrounding loudness.
Camerer thinks there are three areas
that continue to cause confusion:
target level; loudness range param-
eters, which he points out are not
the same as dynamic range; and
loudness pressure in the master
control room and at output.
The main misconception appears
to be that operators think a pro-
gramme has to be at -23 through-
out. Camerer dismisses this, saying the result
would be a loudness sausage because the
resultant audio waveform would resemble a
think tube. We encourage dynamic mixing,
he says, explaining that the -23 target should
be an average. There can be momentary loud-
ness but you have to think what is right for
the target audience. Camerer comments that
people should look at the subject on a macro,
not a micro, basis and take a birds eye view
of a whole programme, not concentrate on
segments.
Even with this approach there are still
some pitfalls that can catch anyone out.
Richard Kelley, Sales and Marketing Director
of DK-Technologies, points out that archive
material, because it was recorded on older
equipment using different techniques in the
past, is more than likely going to sound very
different to modern material.
Over- Baked Sausage
Jeffrey Riedmiller, Director of Dolbys Sound
Platform Group, says there is a genuine
risk of having 1975 sound on modern TV
audio systems if local broadcasters or cable
head-end operators revert to a play-it safe
approach along the lines of the loudness
sausage. In reality, he says, because the tools
are now on the market to do the job properly,
the main thing is not to over-bake the whole
situation because loudness can be extremely
simple. Which is reassuring but there are many
people waiting to be convinced on that one.
A U D I O M E D I A F E B R U A R Y 2 0 1 2 39
We encourage
dynamic mixing
There can be
momentary loudness
but you have to think
what is right for the
target audience.
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LIZ MAY finds out...
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Taklng up less than two square feet, the :6.o.z offers
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Features
The :6.o.z provldes :6 channels elght mono, four stereo,
:z of them (:-8, p, ::, : and :) equlpped wlth Class A
XMAX pre-amps. The channel lnputs are as follows: mono
channels :-8, p and :: (the left slde of the stereo palrs
p/:o and ::/:z) have both XLP and quarter-lnch balanced
lnputs, channels :o and :z have quarter-lnch balanced
lnputs only, channels : and : (the left slde of stereo
palrs :/:( and :/:6) have XLP, quarter-lnch balanced
and PCA unbalanced lnputs, whlle channels :( and :6
have balanced l/(-lnch and unbalanced PCA llne lnputs.
Peature-wlse, PreSonus Pat Channel ls the golden tlcket
of the :6.o.z, each lndlvldual channel, aux, PX bus, and
the maln stereo bus, when selected, has one of lts own,
complete wlth a downward expander (more versatlle
than a gate), compressor, three-band seml-parametrlc LQ,
llmlter, and hlgh-pass fllter. Phase reverse and phantom
power are avallable on the channel lnputs, stereo
channels access the Pat Channel as stereo palrs. The Pat
Channel ls engaged by presslng the Select button on the
deslred channel, promlnently located at the top of each
fader (except for PX A and 8, where there are no faders).
The workflow and loglc of Pat Channel glves englneers the
ease and qulckness needed to troubleshoot and execute a
command, where some dlgltal consoles leave you burled
ln layers and pages to flnd your way back out (often too
late ln llve appllcatlons).
The :6.o.z has four aux buses wlth pre/post-fader sends
and quarter-lnch balanced lnput [acks for every channel,
whlch glves the console the near-lmmedlate famlllarlty
of an analogue board. |t also provldes two lnternal PX
buses for delay and reverb effects. |n all, there are over :o
optlons for slgnal processlng. The two z-blt floatlng-polnt
stereo DSP effects channels are loaded up wlth reverbs
and delays, lncludlng useful controls such as a tap tempo
control and parameter ad[ustments. PX asslgn, dlgltal out,
pan, and copy/load/save buttons, talkback, solo bus, and
headphone sectlons, and a :-band graphlc equallser for
the maln outputs complete the work surface controls.
Lrgonomlcally, the :6.o.z has a lot of buttons for a
small mlxer, yet the plethora ls really what makes lt so
user-frlendly, especlally for users wlth only a few hours
experlence on a dlgltal board. At flrst glance lt can be
somewhat overwhelmlng untll the operator gets ln the
StudloLlve groove. Once famlllar wlth lt, the mlnlmal
layerlng of pages ls what makes thls board a great cholce
for so many [obs.
The :6.o.z can slmultaneously handle multl-track
recordlng as well as llve mlxlng. Lqulpped wlth a
:6x:6 Plrewlre lnterface, PreSonus lncludes the cables
and software needed to record stralght to a laptop.
Thls PreSonus software Capture (multl-tracklng
appllcatlon) and Studlo One Artlst (DAw) provldes the
tools for multl-track recordlng and playback through
the :6.o.z, lt wlll also work wlth any DAw that supports
AS|O or Core Audlo, lncludlng Pro Tools p and later.
Once the software ls lnstalled (whlch llterally takes only
mlnutes), thls slmple system ls ready to record.
Also lncluded wlth the software ls vlrtual StudloLlve
( vSL) consol e control /edl tor/l l brarl an software.
|t runs on a Mac or PC over Plrewlre , whlch can, ln turn,
host a network so you can run SL Pemote on an lPad.
SL Pemote ls a free download from the Apple App Store,
and PreSonus has also [ust started shlpplng QMlx for
lPhone/lPod touch provldlng wlreless control of the auxes
from up to ten lOS devlces, so each band member can
control [ust thelr own aux mlx.
T H E R E V I E W E R
8|O: L|Z MA ls a producer/
englneer, scorlng artlst and owner
of SoundLlzzard Productlons, LLC.
soundllzzard.com
A U D I O M E D I A F E B R U A R Y 2 0 1 2
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A U D I O M E D I A F E B R U A R Y 2 0 1 2 41
presonus i studiolive 16. 0. 2
MIDI features abound in the .., unique
to this smaller StudioLive desk (the larger
models do not offer MIDI). Users may MIDI
control main level output, scene change, effects
assign, effects pre-set change, and effects level
via the hardware MIDI I/O. This I/O also acts as
a regular computer MIDI interface, so a MIDI
control surface, synth, keyboard controller, and
so on, can be attached. The .. also can send/
receive MIDI over FireWire, which means you
can automate these parameters from a DAW.
The .. can recall stored information in
scenes; save individual channel settings; and
copy information between channels. If using
VSL, users may choose which settings to save
and restore, in any combination..
In Use
I installed the PreSonus StudioLive .. at
the Underground Theatre in Winston-Salem,
NC., at the Community Arts Caf, an intimate
performing arts venue where artists of all kinds
can present a showcase, hold an album release
event, screen film shorts or movies, hold poetry
slams, and so on. A variety of organisations
regularly present shows here, including the
Piedmont Jazz Alliance, Nashville Songwriters
Association International, Fiddle & Bow Society,
Cinema Pub, Comedy Pot Luck, Press , the
East Coast Songwriters Conference, as well as
my own production company, SoundLizzard.
The venues requirements are numerous and
expect much from a small digital mixer.
Upon first installing the board, there was
some hesitation from the resident groups to
use it over the older analogue board that had
been there. However, it didnt take long for
curiosity to get the better of them, and they
began testing the waters to find the StudioLive
functional for their purposes. The ..s mic
inputs initially seemed a bit limiting for some at
the Underground, the number of inputs proved
to be more than sufficient in practice.
For install, the Undergrounds existing
-channel snake was ready to use; balanced
mains left and right as well as monitor outputs
were provided, the latter of which is used to
feed a half-stack of main mix-augmenting
speakers in an area of the room where the
main mix doesnt quite reach. The .. also
allowed additional control over independent
channel mutes, phantom power selection, and
outputs (previously restricted by the normal
house mixer).
StudioLives software bundle that ships
with the .. was fairly easy to install, and the
board connects simply via FireWire cable
to a computer to record enabled independent
channels. When recording live shows, I typically
run Pro Tools via MacBook Pro and a Digi
Rack, so I was a little unsure of how stable this
system would be for its first gig: an active live
mix while multi-tracking an entire three-hour
show at the Underground.
I was up and running in no time. It was great
to be able to record all separate tracks with
minimal recording gear. Newer MacBook Pros
only have one FireWire port but an external
drive could be used as the mixer itself has two
FireWire ports. However, I recorded to my
laptops internal drive, with no problems.
On December , I ran sound for acts ARGUS
with Small Town Gossip at the Underground
Theatre and recorded eight tracks to my laptop.
At the end of the day, the recording went as
smooth as one could have hoped for and the
minimal set-up time, to me, was incredible.
Most i mpor tantl y, I was pl eased wi th
my recorded results. Another artist that
SoundLizzard works with Joe Next Door
used the .. to record their show too. It was
very easy to record from it, offered Zoo of Joe
Next Door. Minutes of set-up are all it took to
be rolling.
Summary
I recently met an engineer working in Los
Angeles and, in our conversation, and he
brought up a new piece of gear he was stoked
about. At first, he didnt tell me what it was, but
mentioned how it fed his need for a live mixing
board he could also transport easily for mobile
remote recording. Once he said it was the ..,
we immediately began to trade our thoughts
on its great functionality and price.
The PreSonuss low learning curve makes
it a great tool for a venue that has many
different individuals in the engineering hot seat,
especially for those that may not be familiar
with digital consoles. Jim Tedder, the owner of
the Community Arts Caf and Underground
Theatre, was so pleased with the board he
does not want to be without it; we are now
looking into making it a permanent resident
of the venue, as it perfectly facilitates the goal
of offering live recordings as a package to its
visiting artists.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I N I O R M A 7 I O N

G81,z8p.oo (inc.VA7)
A
PreSonus, USA
7eI: +1 zz z1 /88/
W
www.presonus.com
A
Uk Distributor: Source Distribution, Uk
T
+ (o) zo8 pz o8o
W
www.sourcedistribution.co.uk
>
www.riedel.net
BUT WHAT
ABOUT
VIDEO ON
A DIGITAL
SNAKE?
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studio
recording mixer
>
Theres been a lot of talk about
the R16 and its new bigger
brother, the GS-R24. So much so,
that the mixer itself could fail
to live up to the hype. ANDREW
GRAEME finds out if it will.
O
n paper it looked almost too good to be true,
but I was to find out that the new GS-R really
does live up to its promise and more!
I had already heard some of the excited
buzz about the R, a budget desk from Allen & Heath
with built-in AD-DA converters and -channel Firewire
output. The GS-R is hailed as the logical development
of R into a full-blown hybrid desk.
First Impressions
Each channel strip is fully featured, i.e., mono strips
means mic pres and EQs. The rear of the desk
has analogue ins and outs, as well as inserts, for just
about everything, including groups and the extensive
monitoring section on regular 1/-inch jacks and XLRs.
The physical build is good, in fact good enough for the
desk to be taken on the road. Although the front of the
desk is one sheet of steel, each channel is on its own circuit
board and the fader is a separate component.
The power supply is reassuringly heavy, has a toroidal
transformer, and is conventionally built. It probably
provides about double the current the desk actually needs,
which is how things should be. For some strange reason,
many retailers list the power supply as an optional extra.
Access for servicing and changing the jumpers is done
by taking off the back panel. All channel strips are clamped
from the rear with a metal bar held in place with screws
and again, access and removal is fairly easy, given the
right tools and sufficient care. In these straightened times,
speed of service and repair is important. Allen & Heath has
obviously built the desk so that it is both physically robust
and easy to service, and is another sign of the thought and
care that has gone into the design of the GS-R.
The attention to detail does not stop at the channel
strip. Just about every other desk, large or small, uses
op-amps to sum the various buses, but not so the
GS-R. Designer Matt Griffin claims that, by using low
noise transistors instead, he can get between and dB
less noise across the whole desk, than would otherwise
be possible
The mic pres are clean and showed plenty of current
reserve for tracking meaty drums and other sudden
transients. Although the last few decibels of gain had the
usual thermal noise, this was never a problem when it
came to tracking quieter sounds with a low-output ribbon
mic. The pre has masses of headroom and even when
very heavily overloaded, showed only marginal increases
in distortion.
The inserts are the usual tip-send, ring-return, and the
user will probably want to add semi-normalled patchbay
strips to give feed-off and break-in points for every one
of the channel inserts, line-inputs and direct-outs, to
give the ultimate in flexibility of ins and outs and match
the extreme flexibility of the rest of the desk.
As a bonus, you get two tube channels, which without
EQ or auxes, are useful either as an effect, or as an
alternative pre-amp. Driven hard, the two valve channels
provide excellent bite to a vocal, or can be used on mix-
down to crush a heavy drum kit in a very satisfying way.
The Equaliser
For me, the EQ is the star turn of this desk. Two fully
parametric controls can boost or cut by dB with
bandwidth controls between two octaves and a quarter
of an octave. The upper controls range from kHz
down to Hz, and the lower section goes from
kHz down to Hz. Yes, you read that correctly Hz!
Two fixed frequency shelving controls also provide dB
at kHz and Hz. The EQ can be switched in and out,
and an LED lights up when on. There is also a very useful
Hz HP filter in the pre-amp section that is not within
the EQ.
The phase compensation for the EQ can only
be described as immaculate! There just is no phase
drift whatsoever, no matter what you try to do to it.
Also, frequency selectivity is perfect. I fed the pre-amp a
sine wave with a little glitch at the crest of the curve and
observed the results on an oscilloscope. On altering the
relevant frequency on the EQ, the glitch expanded and
contracted without the main wave form changing shape
or otherwise moving. Similarly, by changing the selected
frequency on the EQ, the body of the sine wave could be
altered, without the glitch changing shape. That speaks
of perfectly calculated circuitry and the sort of quality
you could reasonably expect from a studio desk at a
completely different price level.
T H E R E V I E W E R
A N D R E W G R A E M E i s
Studio Manager at the Byre
Recording Studio, in the UK
(www.the-byre.com).
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A U D I O M E D I A F E B R U A R Y 2 0 1 2 43
allen & heath i gs-r24
Ins And Outs
The quality of the converters matches the
quality of the rest of the desk. The sound is
clean and free of any distortion or perceived
harshness in any way. The Firewire streams can
be brought down to a latency of under ms
one way and the ADAT streams should be less
than ms, though any additional processing
by the DAW has to be added to that figure.
If the user already has enough converters, but
still wants to integrate the desk into a DAW
environment, there is an analogue IO card,
but unfortunately the inputs and outputs are
via two -pin D-Subs and are not balanced.
There is just no room on the rather-narrow
backplate for the eight -pin D-Subs we know
and love, so the user will have to fork out for
a set of bespoke breakout cables, or get the
soldering iron out. There are plans for a MADI
card to be introduced.
The GS-R can be linked to either another
GS-R, or to an R to give channels of AD/
DA. A moving fader version of the R, however,
is not available.
Opening DAWs
Four rather innocent looking buttons, labelled
A, B, C and D give the user eight different
ways to insert the DAW into each channel strip.
For example, no buttons pressed and the DAW
is fed directly from behind the pre-amp, ideal
for recording live sessions without effecting
the main mix. With button A depressed, the
DAW is post insert and EQ. Button B down, and
the DAW is between the pre-amp and the rest
of the channel strip and so on! In this way,
just about any one part of the channel can be
bypassed or used by the DAW.
Most importantly, the excellent EQ, as
well as any outboard that has been patched
into the channel insert path, can be placed
into the DAW between output and input.
This may sound confusing, but in practice, I
found this button arrangement easy and simple
to use and means that mixing-in-the-box can
also include analogue effects and real EQ.
DAW control/integration is comprehensive,
and includes the option of moving faders with
the GS-RM version that can also be used to
write automation data to the DAW.
The GS-R has three different MIDI
controller modes which can be set on power
up. There is emulation of a controller plugin in
Logic, Cubase can be mapped manually, and
SONAR, Reaper, and Pro Tools utilise the MIDI
Translator pre-set maps to run with Bomes
MIDI Translator. This latter system is flexible
and allows customisation, but the end user
needs to download and purchase the Bome
software. A&H is currently working on including
HUI emulation for the GS-R firmware.
There are twelve assignable rotary MIDI
controls and eight illuminated switches that
can be mapped to pans, plug-ins, or other
functions within a DAW. There are also the usual
five transport buttons for stop, play, and record,
and a jog-shuttle wheel.
Monitoring And Groups
Of the six aux-sends, two are pre fader, two
are switchable, and two are post; and settings
can also be altered with an internal jumper.
Two stereo sub-groups, a stereo bus and, rather
interestingly, a mono bus can be fed to a
separate mono-bus fader.
Without listing every feature, the monitoring
is extensive and the user can chose the main
stereo mix bus, mono bus, interface module,
or stereo inputs, and switch between two sets
of stereo speakers and add a centre speaker
and sub-bass for surround monitoring.
Monitoring is overridden by the AFL/PFL buses
and there is a useful solo-clear button.
Unusually for a studio desk, it has a built-in
talkback mic that can be routed to the studio
monitors or the aux-sends, and there are direct
headphone outs front and back.
Despite offering . monitoring, it makes no
pretence to be a surround-sound desk by any
means. There is, for example, no front-to-rear
panning or bass controller. But given the lack of
interest in music in . for anything other than
film scores and live concert DVDs, combined
with the fact that nearly all DAWs offer full .
routing and mixing, this is almost certainly the
correct way to read the market. It is not only just
convenient to have one fader to control the mix,
but also saves having to fork-out for a separate
. controller on those occasions when surround
is called for.
Conclusion
In the market of reasonably priced recording
consoles, the GS-R really is a game changer.
The advantages of a hybrid analogue mixing
console with fully integrated DAW control are
undeniable, but until now, a fully integrated
adult system was only available at ten times
the price!
The digital audio workstation has been a fact
of life for about years and in the long run, the
hybrid desk may become the natural successor
to the in-line console. But so far, we have only
had a handful of offerings at the top end of the
market and some DAW controllers of limited use
for project rooms. We have been told again and
again that the pro-audio market is hopelessly
overcrowded, and then along comes something
like the GS-R and its baby brother, the R,
to show us that there is a yawning gap for
good quality hybrid desks at reasonable prices.
The GS-R is also one of the few bits of kit I
have come across, that, when tested, actually
lives up to its own technical specifications.
The only thing I can find wrong with the
GS-R is possibly the lack of a MADI card.
As this is an issue that designer Mike Griffin
says is being addressed, I am totally stuck for
anything negative to say about this desk.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I N I O R M A 7 I O N

GS-Rz: G8,ppp.oo + VA7
GS-RzM (motorised faders):
G8,pp.oo (exc.VA7)
A
AIIen & Heath
T
+ (o) 1z /zo/o
W
www.aIIen-heath.com
A
Uk Distributor: Audio-7echnica
T
+ (o) 11 z// 11
W
www.eu.audio-technica.com/en/
>
MEDIORNET
COMPACT
The 50G Real-Time Media Network
Fiber-based network for 3G/
HD/SD-SDI video, audio,
data & intercom
Flexible signal routing
Integrated signal processing
100% RockNet compatible
www.riedel.net
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>
Halls are alive with talk of a
young DAW that is making
waves amongst establishment.
ALISTAIR McGHEE samples the
low-fat alternative.
F
irst I must begin with my apologies it was back
in July that Cockos supplied me with a copy of its
Reaper DAW for review. As it happened this timing
wasnt great, as shortly afterwards I was winging my
way to Juba in South Sudan, the worlds newest country.
Never mind plenty of time while stuck in a UN portacabin
to get down to reviewing business. Ahh. First I was too busy,
then my PC laptop died, and then the trackpad failed on my
MacBook Air. Not only did I miss any August or September
deadline, I missed the DAW special and now the upgrade to
version . Mea culpa.
So covered in sackcloth and dripping with ashes I
return to Reaper to pay my debts to society. Reaper is
an unusual product in the sense that who would have
thought that there was room in the crowded digital audio
workstation market for another player? Who indeed?
And yet over the last few years in a quiet but impressive
way Reaper has been winning friends and influencing
people. Its also not very expensive, which helps; but
when I heard BBC outside broadcasts were trialing it in
their new vans I thought there really must be something
going for the big R.
Rev Those Engines
So, to the bat cave and first the audio engine. I recently
laughed out loud while reading a post on an audio forum
when a user of a well-known DAW wrote the ability
to play files in different formats is of no interest to me.
At the risk of rudeness you need to get out more. In the
words of the Eagles, I want to do everything all the time.
Why wouldnt I? By contrast the Reaper audio engine is
pretty slick. I loaded a -bit .wav, a .flac, and an mp. file
into a project and after a moment of peak drawing, playback
ran just fine no conversions, no tricks, just playback.
Which in is not too much to ask. While playing
back you can arm a track and then drop into record on a whim.
If you move a clip while playing no problem, a moment
of digital spooling and youre back in the playback room.
I loaded stereo tracks, and playback was refreshingly
unsluggish and the CPU meter was reading to .
On a Macbook Air thats not bad. Though maybe the
Flash disk helps.
Nice obvious things. Fades are directly applicable in the
playlist a double click takes you to the object parameters
where you get to play with all the toys. Fade shapes and
durations are selectable here you pick a shape from a
choice of six and you can type a duration directly into
a numeric dialogue. One little niggle is that Id like to be
able to click and drag to change the numerical values.
Picky kind of a guy, me.
You can apply FX to the clip individually, and as you
can play your clip while the dialogue is open you are able
to hear what exactly your clip sounds like with the effects
applied. In version theres a comprehensive surround
sound plug-in that will deliver octophonic sound or up to
.. It might be nice if the blue level controls at the bottom
of the dialogue dont reset to normal when you double
click them, but okay, I am a small-minded and lazy man.
Reaper comes with a variety of home brewed FX EQ,
Compression, Delay, Reverb, and an FFT EQ and dynamics
package among a range of others. I think its fair to say
none of these will win any prizes for fancy visuals, but
all the ones I needed did the job in a no-fuss way and
sounded fine.
The question of plug-ins and add-ons raises some
difficult questions for developers. Do you try and emulate
what everyone else is doing and add a bell and a whistle
for everything? Or do you invest your development
effort into base band productivity and direct features
and interface improvements? Reaper doesnt come
with an orchestra of virtual instruments or three DVDs
of samples, and in my book is all the better for it...
And Cockos releases updates regularly.
I must say though, I do like Sadies approach of
bundling some iZotope kit you get quality effects that
look great and you dont have to redevelop wheel ..
T H E R E V I E W E R
ALISTAIR McGHEE began audio
life in Hi-Fi before joining the BBC
as an audio engineer. After ten
years in radio and TV, he moved
to production. When BBC Choice
started, he pioneered personal
digital production in television.
Alistair is now Assistant Editor,
BBC Radio Wales, but is allowed
out occasionally.
A U D I O M E D I A F E B R U A R Y 2 0 1 2
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workstatio n
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A U D I O M E D I A F E B R U A R Y 2 0 1 2 45
cockos i reaper
Pushing
Envelopes
Bac k t o t he
item properties
d i a l o g u e .
Here too you can
select a variety
of envelopes
level, panning,
mute, and pitch.
Yes just click
to draw a pitch
envelope on your track and the material will faithfully follow pitch in real time.
Tidy. Nice too to have access to normalisation in this dialogue directly.
One big and slightly controversial feature of Reaper is the degree of
customisation offered. You get a bunch of themes to choose between, and a
variety of layouts. You get a Theme Editor so if you are an ardent follower of
Heart of Midlothian football club, you can colour your DAW maroon. I checked
the pages of downloadable themes at the Reaper site, but the Jam Tarts
theme doesnt seem to be available yet. Its only a matter of time. I ignored
the Pro Tools wannabee themes and went for Apollo.
In some ways, themes are less interesting than Actions. With just about
everything that you can do with a mouse or menu available as an action,
Reaper makes it easy to do fancy things. In the Action chooser I define a new
custom action. I select the action that picks a crossfade shape, then the one
that splits the audio under the play cursor, then the one that cross fades across
the time selection and voila, I give my new Frankenstein custom action a new
name and Im ready to go. Drag a time selection at the point I want a crossfade
and click on run for my new custom action and there it is, crossfade to go.
Once you have run through the process to get familiar with the workflow, its
a slice of Battenberg... and theres probably a theme for that too.
If that sort of thing isnt enough for you, theres the ReaScript option
allowing you to programme the thing with Python. Hang on, isnt that
what we pay Cockos for? And thats the root of some of the controversy
one editors flexibility is anothers confusion. I have mixed feelings about
customisation. It is a short step from there to a mess, but somehow Reaper
gets away with it and the interface to it is very straightforward and the results
so pleasing I forgive them. As long as I dont have to learn Python or any
other reptile-based language.
MIDI has been considerably beefed up in V, but my guess is if you are MIDI
editing king, or regularly stretch Cubase with your MIDI requirements, then
Reaper is not for you. But if you just want solid sequencing to accompany your
song writing genius, V will do fine.
Conclusion
Is it for me?, I hear you ask. Well to state the bleeding obvious, at this price
of course it is. Reaper has more regular updates than Aljazeera, and these
guys listen to their users. Why wouldnt it be for you? The caveat is: what is it
you want to do? The flexibility of Reaper means that with a small investment
in time you can have it your way to coin a phrase. However I came across a
situation the other day where a producer used DAW P rather than DAW PT
purely because of the crossfade editor in P. I sympathise and Reaper, for me,
really needs a comprehensive crossfade editor. On the other hand I know
plenty of people who never use a crossfade editor and dont know what all
the fuss is about. They want virtual drum kits.
Either way I still like Reaper its a blast, has less fat than other
workstations, is cheaper than many plug-ins, is more flexible than a Slinky, and
you can theme it to your football team. What more do you want?
Now I have to go work on the Queen of the South theme: blue and white,
tinged with failure.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I N I O R M A 7 I O N

DownIoad: USszz.oo (discounted Iicense USso.oo)
A
Cockos Inc., z 8th Street, San Irancisco, CA p1o
W
www.reaper.fm
E
support@cockos.com
>
46
>
P R O D U C T S A MP L E R
Broadcast Consoles
AEQs Forum is a self-con-
tained digital audio mixing
console with a exible design
that allows it to be adapted to
any on-air application.
The console incorporates all the features
necessary for use in a broadcast environment,
including automatic monitor speaker cut-o,
cough muting, fader start, control signalling,
interface signalling for automation of external
equipment, external communications manage-
ment, and intercom. The control surface can be
congured with a minimum of four faders, and
easily expanded to eight or twelve channels.
www.aeqbroadcast.com
Oxygen 7 is Axel Technologys agship broad-
cast analogue audio console. The fully modular
system was designed
to be as exible for the
operator as possible.
It can be set up in a
traditional manner with
separate control and
announcer rooms, or in a studio complex
environment where more than one studio/con-
trol room is being used for broadcast.
In this situation, the Oxygen 7 is capable of
being the main on-air console, due to the three
main outputs it contains.
www.axeltechnology.com
Axia Audios iQ Console and routing system is an
all-in-one system that can be used to build cus-
tom consoles of sizes
from 8 to 24 faders. The
basic system consists of
one eight-fader iQ Main
Frame and one iQ Core
integrated console
engine, which includes
a DSP-based mixing engine, audio I/O,
machine-control logic, and Ethernet switch.
Faders and control capabilities can be expanded
by adding one or more of the available iQ
Expansion Frames.
www.axiaaudio.com
DATEQ oers the
BCS25. Its exibility
allows it to be used in
a radio studio, an OB
van or on location, but
it can also be placed
in an audio and video post production studio or
the main control room of a TV station. The BCS25
is based on a modular 19-inch chassis with up to
eight input modules plus a master module with
integrated meter unit and communication facili-
ties. The console features VCA-controlled faders, a
three-band EQ, integrated telephone hybrid, and
automatic mix-minus mode.
www.dateq.nl
The DiGiCo SD10B pro-
vides a blend of features,
performance, exibility,
and sonic clarity at a price
point that brings advanced
digital technology to a
wider broadcast market than ever before.
Facilities include 96 channels with full process-
ing, 48 assignable busses that oer multiple
congurations, plus a stereo, LCR, or 5.1 master
buss, and a complete 5.1 monitoring matrix.
It works with the DiGiCo SD-Rack, which delivers
up to 192kHz high resolution analogue conver-
sion, complemented by fully integrated Waves
Sound Grid.
www.digico.biz
The XB-14 Radio Broadcast
Mixer from Allen & Heath is
designed for a broad range of
applications, from small radio
or Internet broadcast studios, to larger studios
with multiple rooms, hospital radio, university
radio, and community radio. It has a wide range
of features specically for broadcasters, includ-
ing telephone communication modules, mic
faders start sensing for external connection and
internal automatic muting of speaker outputs,
stereo channel start/cue outputs, separate
headphones mix and outputs for guests,
and an audition bus.
www.allen-heath.com
Audio Developments added the AD144 Mixer to
its range to provide
wider customer
choice with regard
to location mixing,
and for use in small
studios and OB
vehicles. Customised
extruded metalwork
developed for the AD140 series gives the mixer
a robust chassis. It has four outputs and four
auxiliaries, M-S stereo facilities on inputs and
outputs, transformer balancing throughout, and
comprehensive monitoring facilities. Each input
has a three band EQ, phase switch, and separate
routing switches for the four main groups.
www.audio.co.uk
e broadcast console world caters for a very wide range of needs, from the tiniest home Internet radio
station to the big boys of television. No matter what your requirements are, dont worry, because we have
rounded up a selection for you to peruse over a nice cup of tea.
Calrecs Apollo console utilises Bluen2, the
next generation of
Bluen HDSP, which
provides resources
of up to 1,020
channel processing
paths, 128 program
busses, 96 IFB/Tracl
outputs, and 48
auxes. Its single and dual fader options allows
the console to squeeze in more faders than,
Calrec claims, any other consoles, and its inte-
grated router provides total network exibility.
Apollos I/O functions are performed by the
Hydra2 network, which uses high capacity 81922
cross-point routers and a variety of I/O units.
www.calrec.com
The 52/SX is the new
powerful modular
mixing console system
made by DHD for radio
and TV applications.
It is ideal for on-air
and pre-production in
broadcast studios, at audio workstations, and in
smaller OB vans. The console uses a simplied
version of the DHD Toolbox5, providing a func-
tionality similar to its predecessor, the RM2200D.
The 52/SX makes use of established DHD-PC
software productions: DSP Control, Remote Con-
trol, Snapshot Manager, and Snapshot Server.
www.dhd-audio.de
A U D I O M E D I A F E B R U A R Y 2 0 1 2 46
47
Focus on functionality the mc

66 MKII.
45 m rope
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Inspired by your needs the mc

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66 MKII stand out with proven efciency and outstanding functionality, but
also with its new features, which once again make high tech equipment from
Rastatt a worldwide standard for mixing consoles. Now you can benet from
the latest touch screen displays, a revised layout and totally reliable control
computer redundancy. One of the best consoles available suddenly became even
better. Only one thing has not changed: The mc

66s outstanding usability,
which will continue to inspire audio engineers in OB trucks, studios and theatres.
For more information visit www.lawo.de
48
>
Logitek Audios ROC console is
housed in a tabletop enclosure
allowing it to be used anywhere,
even in temporary studio set-
ups. The monitor module includes controls for
source selection, timer start/stop, two moni-
tor feeds, and headphone output; it also has
12 user-assignable softkeys that may be used
for a wide variety of functions such as scene
selects or triggers. The console can be expanded
with additional banks of six faders, a separate
12-button softkey panel, and an onboard multi-
channel router control panel with LED source
and destination indicators.
www.logitekaudio.com
D&Rs Sirius all digital on-air console features a
simple directly-accessible and modular control
surface, enabling users
to customise depend-
ing on their require-
ments. Access to more
complex functions for
technical users is avail-
able on the optional
Super Module Control
Surface. The Sirius is designed and built around
the latest development in DSP design from
Texas Instruments. There are eight busses/auxes
available for production work, and all in/outputs
are electronically labelled.
www.d-r.nl
Qphonics router-based
VADIS DCII console
system is a completely
modular system designed
for individual client
needs. A selection of con-
sole modules are available in dierent sizes.
The actual control surface includes a at screen,
or touch screen version, for metering, clock/
timer, and transmission path indication.
The VADIS bre-optic audio network on the
VADIS DCII control surface provides direct access
to the router from any VADIS DCII console in
essence working as a decentralised master
router for the entire studio.
www.qphonics.com
Lawos zirkon is a reliable
mixing console for day-to-
day radio broadcasting. Its
intuitive operation, simpli-
ed user interface, and short
learning curve make it a popular console with
radio presenters. It has a exible conguration
for individualised workows, high-performance
networking of audio and control, sophisti-
cated mix-minus/conference logic, multi-layer
operation, and support for surround. The VisTool
touch screen surface is an optional extra, for
visualisation and enhanced user interface.
The console oers support for 5.1 and 5.1+2
broadcast formats.
www.lawo.de
The T3 Broadcast Console
from Glensound Electron-
ics is a modular analogue
mixer for radio and televi-
sion audio, available from
three to 32 channels, in
a single console or a split frame. There are 24
module options and 11 bridge options. The ex-
ible upgrade path means users can start small
and expand as their needs evolve. It has a clear,
uncluttered layout, making it easy for a non-
technical presenter to operate. Digital inputs
and outputs are available as an option and can
be added at any time.
www.glensound.co.uk
The mc290 is
Lawos new high
end console. Its
modularity allows
it to convert from
broadcast production to a surround studio,
or a freely congurable desk surface with up to
200 faders, while direct access to all parameters
is possible at any time. It features integrated
loudness metering, complying fully with the
EBU/R128 and ATSC/A85 requirements.
Other features include AMBIT, a DSP module
for the perfect conversion of stereo signals to
surround sound, and 512 signal processing
channels with 144 summing busses.
www.lawo.de
P R O D U C T S A MP L E R
|
B R OA D C A S T C O N S O L E S
A U D I O M E D I A F E B R U A R Y 2 0 1 2 48
SERIX from Mandozzi
is a stand alone mixer
with integrated matrix
and DSP, but it can
also be connected to a
central Mandozzi ma-
trix. The SERIX mixer is
composed of the console, with modules of four
faders each, the central module for managing
the mixer, optional ancillary modules and the
touch screen; the central processor with one to
three PCIMIX modules, up to four concentra-
tors with the interfaces for up to 128 inputs and
outputs each and 64 GPIO, and the congura-
tion software.
www.mandozzi.ch
The S2 from Sonifex
has both digital and
analogue input chan-
nels, together with si-
multaneous analogue
and digital outputs.
Following on from the Sovereign range of audio
mixers, S2 combines all the features needed in a
radio broadcast mixer in a ush-mounting chas-
sis, a wide range of input and output channels,
PFL/cue, fader-start operation of equipment,
automatic monitor muting on mic-live, light
controlling remote outputs, optional EQ on
input modules, gram amp input options, and
two main audio busses.
www.sonifex.co.uk
Stagetec's Aurus is a fully
digital audio mixing console
system, which consists of a
main console and the sepa-
rate audio processor Nexus
Star. The mixing console sys-
tem comprises of the main console for operating
and controlling the audio signal processing, an
optional secondary console, optional remote
control units for the console, router-integrated
DSP for digital audio processing and the Nexus
audio network, which handles dierent audio
formats and provides extensive signal distri-
bution. Aurus systems are available in a wide
variety of exible congurations.
www.stagetec.com
The Studer OnAir
2500 is a totally self-
contained system
and builds upon the
operational concepts
of its predecessor, the OnAir 2000. With the
OnAir 2500, the control surface, I/O breakout,
DSP core, and power supply are all integrated
within a single compact chassis. The fader strips
include a graphical OLED screen and the large
TFT colour touch screen uses Studer's patented
Touch'n'Action system. The system provides the
user with a large number of inputs and outputs
in many standard signal formats.
www.studer.ch
The Dimension One
TV Audio Console
from Wheatstone
is designed around
Wheatstones DSP
engine. The control surface uses motorised
faders, and is layered so that each fader controls
two sources, each of which can be mono, stereo,
or full 5.1. Dimension One features Automatic
Mic Mixing, which automatically optimises the
levels of several microphones during dialogue,
and Audio-Follow-Video (AFV), which allows the
console to automatically control input channels
based on the video source currently being tak-
en. The console features two 5.1 mixing buses.
www.wheatstone-tv.com
Studers Vista 8
Digital Live Pro-
duction Console
follows on from
the Vista 7, simi-
larly incorporat-
ing the Vistonics
User Interface.
The Vista 8 combines and extends
the powerful broadcast features with the dy-
namic automation of the Vista 7 to oer a
exible multi-purpose live broadcast desk.
The new Control Bay design oers more faders
in a smaller footprint, making it suitable for both
xed install broadcast and OB van applications.
www.studer.ch
49
The talk of broadcast.
From local radio to large-scale live television productions, we provide powerful and
intuitive digital mixing solutions that help to create the memorable events in broadcasting.
www.studer.ch
More Info
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#30312 - Broadcast BVE TVT_Layout 01/02/2012 15:46 Page 1
50
>
A U D I O M E D I A F E B R U A R Y 2 0 1 2 50
T
he Mousetrap is what you might call a theatrical
institution. Boasting the longest run of any play in
history currently on over 24,500 performances so
far the Agatha Christie murder mystery quietly
gets on with being a West End staple, with audiences filing
in eight times a week to find out whodunnit.
It opened in London at the New Ambassadors Theatre
in November 1952, where it ran until Saturday, March
23, 1974. It then immediately transferred to the next
door St Martins Theatre, opening again on the eve-
ning of Monday, March 25 not a single show missed.
By tradition, at the end of each performance, audiences
are asked not to reveal the identity of the killer to anyone
outside the theatre, to ensure that the end of the play is
not spoiled for future audiences. So if you havent seen
it, you simply wont know who the killer is (unless you
dont tip your London cabbie notoriously, London
black cab drivers are known for letting slip the secret if
you are a bit tight).
And on that fairly simple premise, the play runs...
and runs...and runs. Part of the charm of the play is its
air of being a bit of a time warp; it really is like stepping
back into 1952. But while that is clearly a winning for-
mula, how do the producers ensure it remains a living,
breathing performance, and not a museum piece?
They addressed this with a re-launch in October 2011,
with a new cast, and for the first time in many years, a
new Director in Geoff Bullen. Andrew Mills, General
Manager, and Denise Silvey, Production Supervisor for
The Mousetrap, sought Orbitals advice on a re-think of the
shows sound design. This resulted in Orbitals Richard
Carter taking on the role of Sound Designer and specify-
ing a CSC Show Control system to replace the shows
rather recalcitrant CD player. Richard also cleaned the
older effects and created others from scratch, generating
over 70 refreshed cues.
We are very proud of the shows heritage, and are
naturally cautious about making any changes to the
production were reluctant to alter anything purely
for the sake of it, but we are also keen to keep the show
fresh and ensure its continuing appeal, explained Silvey.
The productions sound effects were long overdue for
improvement and, due to our long-standing relationship
with Orbital, it was natural to approach them for help.
With no sound operator until recently the Assistant
Stage Manager/Christopher Wren (a principal character
in the play) understudy operated sound, now the Deputy
Stage Manager the system needed to be fairly simple.
The thing was to try and make a more flexible system,
and also the kit that was in was getting old you can
re-burn CDs every so often, but the rest of the system
was getting a bit sticky, said Carter. It was time to
The
Mousetrap
Now in its 60th year, its
the longest running play
in the world and Orbital
Sound has been involved
in helping it to sound as
fresh as the day it opened.
JO FLETCHER-CROSS finds
out how.
Agatha Christies Endless Mystery
51
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tickets now on sale
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The MPG Awards ceremony will see the UK music industry coming together
in one room to celebrate with the shortlisted candidates and sponsor
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There will be a limited amount of tables available on the night to sell and
individual seats on these will be sold on a first come first served basis. Awards
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ceremony and join in the after party.
To book your ticket visit www.mpgawards.co.uk/tickets.html
or contact karen@bubblesqueak.co.uk
Sponsorship and advertising opportunities are also available.
Information on the MPG Awards can be found at
www.mpgawards.co.uk
mpg12_AudioMedia_Dec_2011_v2 06/12/2011 12:36 Page 1
52
the mousetrap
>
A U D I O M E D I A F E B R U A R Y 2 0 1 2 52
put in something new, and computer playback
is standard at the moment. Its great because it
can be programmed, pre-set, and left to do its
thing night after night. Quite a difference from
the system that was in before. Though even that
was pretty high-tech compared to just a few years
before that.
I was first involved with the Mousetrap in
1994, said Silvey. When I did it the first time,
in 94, they were still using reel-to-reel, which
was extraordinary even in 1994. Splicing tape
was the order of the day if you wanted anything
changed. The reel-to-reel recordings had been
made from records, direct-cut acetates. The suc-
cess of an individual effect back then depended
on the operator dropping the stylus onto the
record at exactly the right cue point a system
not only prone to timing errors, but also mean-
ing that each sound effect was heralded by a
burst of surface noise.
Progress Of Sort s. . .
The reel-to-reel recordings were eventually
migrated onto CD, with the cues running on a
CD player, with the target replay levels of the
various effects marked on strips of masking tape
arrayed around an amplifiers gain pot.
It still had the tape hiss, said Carter.
That was operated from one amplifier, and a
big switch box for the speakers. So it would be:
its time for this effect, get the volume at the
right level, and the Christopher Wren understudy
would press play at the right time, with the
DSM waving their arm going...now!
Denise Silvey takes a moment to point out
where, until a few months ago, there was a mir-
ror hung up backstage so the DSM could do just
that, with the understudy watching the reflection
for cue prompts.
There were two principal issues to address
the effects replay chain, and the qual-
ity of the effects themselves, explained Carter.
We addressed the first issue by upgrading the
CD-based hardware to a CSC v3 Show Control
software system running on a PC, linked to a
Yamaha 01V96 digital mixer and four Yamaha
power amps. Migrating to CSC has enabled
sounds to be layered whereas the show
was previously limited to one cue at a time.
Dual screens for the CSC were installed, one
beside the system, and one at the prompt corner.
The DSM has a very simple control box for the
sound effects, with just Go, Stop, Next and
Previous buttons. A bit of clever adjustment in
the auditorium helped things along too.
We found when we listened to it, when we
went up higher we couldnt hear much, because
everything was down in the pit and it was a bit
muffled. There was no mixer, so there was a
speaker for the front of house announcements
and a speaker for the music, so we liberated
some and moved them around a little bit, so that
theres a bit more coverage in the auditorium.
The theatre has a beautiful wooden proscenium
arch and surrounds, which although visually
stunning, make it rather difficult to attach speak-
ers anywhere. The re-arrangement of the old
1970s speakers has improved the sound, but
there may still be some improvements to be
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53
the mousetrap
>
A U D I O M E D I A F E B R U A R Y 2 0 1 2 53
made. When Geoff put the new design in he kept saying louder, louder,
and I had to say, Geoff, its distorting now. Thats as loud as it gets,
laughed Carter. Potentially further down the line it will get redone, but we
think its working.
Ef f ect i ng I mprovement s
Once the physical improvements to the system had been made, it was time
to move onto the other important issue. The next stage was to evaluate
the effects and start to make whatever improvements we could, Carter
told me. I received all the effects on CD, and auditioned them all in detail.
There were a lot of pops and clicks that needed cleaning up, some tape
hiss was apparent peculiarly more so on the right hand channel as
well as several instances of original vinyl surface noise. I spent a long
time de-noising and re-EQing to brighten up some effects, and applied a
variety of de-clicking and de-popping algorithms, auditioning these until
Id achieved the best possible fit. The target was to reach the optimum
compromise between minimum noise and top-end accuracy. All the effects
were in mono, so they were re-processed with a touch of reverb and stereo
widening algorithms to generate a larger sound field. One music cue even
had a glitch right over an obvious flute solo, presumably due to a tape drop-
out, but we managed to micro-edit it at sample level, and restored the cue
to its original state but now rather cleaner-sounding. We also restored all
the other music cues.
The new music that Director Bullen had requested was incorporated into
Carters new sound design, as well as 25 new wind cues that complement
the hand-driven wind machine. The wind machine is almost as famous
as the production itself, whooshing away in the background since 1952.
The new wind cues give a rather eerier atmosphere than had previously
been possible, run at a low level to give a convincingly spooky effect.
As well as the rather wonderful and archaic wind machine, there are a few
other effects which are manually operated, including a crackling fire cre-
ated by someone scrunching a lighting gel in the fireplace something
which Denise Silvey is delighted to tell me is new for this production and
an early 1950s Electrolux vacuum cleaner heard offstage. Another veteran
of the production, the mantlepiece clock which is the only item left
from the original set, has a new lease of life. Since 1952 it has looked on
silently at the action, but in the refreshed production, it finally has a voice.
Its somebody in the wings with a triangle, explained Silvey.
New Ol d
For a production like this, its not just getting things pristine again that is
important. Part of the productions enduring appeal is its period nature,
something that threw up an unusual challenge for some of the effects.
An old radio plays an integral part in the play. It was a weird process with
the digitisation, said Carter, because actually, although I cleaned it up, I
had to go completely the opposite way and make it messier and dirtier, to
make it sound like a 1952 valve radio. Everyone I asked had no idea how
they sounded so we had to kind of guess at how this thing would sound.
I went through and thought of all the things that could have possibly come
out of a valve radio, and we created this effect where it warms up and then it
goes on. So hopefully when they turn it on you get the sense that this thing
is warming up. And we did that by adding some distortion as well, and by
guessing really. Nobody has actually said it sounds wrong yet.
When asked what the biggest challenge he faced on this production was,
Carter doesnt hesitate. It was trying to get the realism, to make people
feel like they were back in 1952. How does the phone ring in 1952? Does it
go ring ring or does it go riiiing like an American phone? And we did a
lot of research, we spoke to people who used to work for BT, and no-one
actually knew.
It might be a refreshed version of the play, but one of the original cast
still makes an appearance. Actor Derek Guyler recorded the voice of the
radio announcer in 1952, long before noise reduction was available for tape.
Denise Silvey tells me that when the voice was cleaned up, she suddenly
realised that a place name she thought he had always said Penge was in
fact Paddington. Its like hes in the room, its stunning. And hell prob-
ably be here for quite a lot longer.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I N F O R M A T I O N
www.orbitalsound.co.uk
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Focal theme:
Media Systems
Media technology
and system integration
21 24. 3. 2012
Prolight + Sound covers with its Media Systems focal
theme the various product groups, technologies and
services involved in system integration. These include
display, video, sound and lighting technologies that
were developed for fixed installations but are also
used in mobile applications. During Prolight + Sound
technology issues will be examined in seminars and
workshops in the Media Systems Congress.
For further information visit:
www.mediasystems.messefrankfurt.com
info@uk.messefrankfurt.com
Tel. +44 (0) 17 84 41 59 50
54
video guide
A Sound Pros Guide To Video
Television Technology: Part 5
KEVIN HILTON compresses
all there is to know about
compression in his continuing
look at all-things TV.
A U D I O M E D I A F E B R U A R Y 2 0 1 2 54
T
here was a time when compression was a technical
process used for specific purposes. Early rock &
roll recordings and AM radio programmes were
compressed heavily to make them both more exciting and
to cut through background noise when they were played
on jukeboxes in diners or through the atmospherics on
unsatisfactory transmissions. It was later used on FM radio
for the same reasons and in general was never considered
a good thing.
Now compression is the bedrock for both industry
and entertainment. In the latter category this includes
music with the MP file now becoming the norm
despite widespread criticism of its quality and digital
television (DTV). Compression is at the heart of DTV and is
the key to getting many channels on to a single frequency
a process known as multiplexing. The coming of digital
has made compression techniques
less obtrusive and relatively easy
to perform, although there are
still concerns about the amount of
processing used, which can affect the
quality of both audio and video.
Two formats have been developed
to compress images: JPEG named
af ter the Joi nt Photographi c
Experts Group established by the
International Standards Organisation
(ISO) in which is used for still
pictures; and MPEG (Moving Picture
Experts Group, established by the
ISO in ), the umbrella term now
used for a series of technologies to
compress video.
The ai m of compressi on i n
general is to reduce the bit rate of a
file or signal so that it takes up less
bandwidth on its carrying medium,
which would be a computer hard disk
or SD card in the case of still images
and a media server, removable disk
or card storage or transmission
frequency for video.
Because video is fundamentally
a series of still images in succession,
it can be compressed using JPEG
technology, which is based on a
technique called spatial inter-frame
compression. I n a sequence of
moving images, each frame does
not change substantially from the
one previous to it. This means the
compression process can do away
with the segment of subsequent
images that has not changed from
the first image to be scanned, and so
are redundant. This means only the
changes are processed, which is done
using a technique called temporal
DCT (discrete cosine transform)
compression. DCT is the complex
mathematics that forms the basis of
the process; it is a Fast Fourier Transform related to the
discrete Fourier Transform, the difference being it uses
only real numbers (that is, a value representing a quantity
that is part of a continuum).
MPEG- encoding, the basis of standard definition (SD)
video used in DTV, comprises three main components:
data preparation; temporal and spatial compression;
and quantitisation.
Video material is prepared to ensure that a raw-coded
sample of the image frame selected for processing
is arranged in a form that will suit data compression.
The video is fed into the encoder as line-scanned coded
samples that have luminance (Y) and chrominance (both
Cr and Cb). The preparation stage rearranges the samples
into x blocks that are used in the removal of redundant
spatial material. The blocks are then in turn rearranged as
x macro-blocks, ready for the removal of temporally
redundant data. The structure of a macro-block depends
on the form of the MPEG- coding being used. In ::
sampling, a macro-block will be made up of four blocks
of luminance and one block of each of Cr and Cb, which
determine chrominance.
Sl i ce And Di ce
Once this stage has been completed the macro-blocks
are formed into what are described by experts as slices.
It is these slices that are the foundation units used in the
compression process. Theoretically a slice can be anything
from a single macro-block to an entire picture. In the
majority of cases a slice will be either a full picture row or
a section of a picture row.
The next part of the encoding process is temporal
compression, also known as inter-frame compression.
This is done on successive frames and works on the
principle that there will be only minimal differences
between two successive frames. It is at this stage that
any repeated information is discarded and the differences
from one frame to another passed on to the next phase
of the coding process. The two constituent parts of an
image being processed are called motion vector and the
difference frame; together they create a description of
the differences between the frame being processed and
the one that went before it.
For example, in a shot
of a car being driven
along a road, the car will
be the motion vector
and the coding process
wi l l retai n the basi c
descriptive data of both
it and the background,
regi steri ng onl y the
changes i n these as
the scene progresses.
A motorcycle entering
t he s c ene i s t he
d i f f e r e n c e f r a me .
This is derived through
an involved process that
adds the motion vector
to the first frame in the
GLOSSARY
P-frame
Short for predictive frame, or predicted frame, a
video compression method used by the MPEG
standard. In a motion sequence, individual frames
of pictures are grouped together (called a group of
pictures, or GOP) and played back so the viewer is
able to register the videos spatial motion. P-frames
follow I-frames and contain only the data that have
changed from the preceding I-frame (such as colour
or content changes). Because of this, P-frames
depend on the I-frames to fill in most of the data.
P-frames and B-frames are also referred to as delta
frames.
I-frame
Short for intraframe, this is also a video compression
method used by the MPEG standard. Also
called a keyframe, an I-frame is a single frame of
digital content that the compressor examines
independently of the frames that precede and
follow it and stores all of the data needed to display
that frame. Typically, I-frames are interspersed with
P-frames and B-frames in a compressed video. The
more I-frames that are contained, the better the
quality of the video. The drawback is that I-frames
contain the most amount of bits and so take up
more space on the storage medium.
B-frame
Short for bi-directional frame, or bi-directional
predictive frame. As the name suggests, B-frames
rely on the frames preceding and following them.
B-frames contain only the data that have changed
from the preceding frame or are different from the
data in the very next frame.
REFERENCES
Newnes Guide to Television and Video Technology by KF Ibrahim,
Newnes 2007
The New Oxford Dictionary of English
>
55
video guide A Sound Pros Guide To Video
Television Technology: Part 5
sequence to create a predicted
frame, which is then subtracted
from the second frame, thus
producing the difference frame.
The two elements motion vector
and frame difference are then
joined together to make a P-frame
(see glossary).
Temporal compressi on i s
performed on a group of pictures
(GOP), which usually comprise
non-interlaced frames. The first
frame in this grouping is called
the I-frame (see glossary) and is
the reference point for the whole
subsequent process of compressing
the images. The P-frame comes
after the I-frame and is produced
when the second frame in the
sequence i s compared wi th
the I-frame. The process continues
in this way, with new P-frames
being compared to the preceding
P-frame, whi ch regi sters the
changes in the image and so moves
the sequence on. This procedure
carries on until the group of twelve
is complete. A new I-frame is placed
at the end of the group of frames
to be the reference for the GOP that
follows next. The process, called
forward prediction, continues until
processing of the selected material
is completed.
Another aspect of temporal
compression is block matching,
which is used to derive the motion
vector from the luminance element.
In block matching the Y (luminance)
component in the reference frame
is divided into x pixel macro-
blocks. Each macro-block is then
moved sequentially in a specific
part of the next frame. At the same
time it is examined for matching
block pixel values. Despite the
fact that the sample values of
the macro-block may have altered
only to a small degree, a correlation
process is employed to find the best
equivalent position from one frame
to another. In MPEG- compression
the distance between the matched
macro-blocks is half of one pixel,
while it is a quarter of a pixel for
MPEG- compression.
Once a match has been made,
displacement is used to find a
motion compensation vector that
can express the movement that
is the speed and direction of the
macro-block. Motion compensation
vectors need only a small amount of
information to describe them and
the pixel values of the macro-block
do not have to be re-transmitted.
The resultant motion compensation
vector can then be used for the Cr
and Cb elements.
Next Month
Next months Video Guide will
conti nue to exami ne MPEG
compression technology, looking
at predicted and difference frames,
bi-directional prediction, and
spatial compression.
When the concept of
DTV
was first discussed the
digitisation process
was explained in simple
>
Broadcom Corporation, a leading manufacturer of MPEG- compression encoders for audio and video, as well as products for the wired and
wireless communications market, announced a range of technologies, collaborations and contracts at the International Consumer
Electronics Show (CES), held in Las Vegas during January.
Broadcom is among the many companies now targeting the potentially lucrative market for delivering multi-screen video and Internet
connectivity round the home. Broadcoms CES announcements for this year included: the integrated MoCA . range, which comprises
a full choice of set-top box platform systems aimed at the next generation of full networking for the home; the Over-the-Top Media
Player, which is reportedly capable of converting a conventional television set into a SmartTV with full internet connectivity; integration
of Comcasts new reference design kit for set-top box development; a joint venture involving Echostars Sling Media to push on multi-
screen TV entertainment; LGE selecting Broadcoms Bluetooth technology to work with TV sets and remote controllers that are designed
for games playing: Broadcom and Hisense joining forces to produce Wi-Fi capable consumer electronics products to the Chinese market;
Qualcomm Atheros and Broadcom adopting HomePlug AV Powerline Performance for the home networking applications market; and
technologies for the mobile entertainment market.
Broadcom is also continuing to look at the growing demand for digital programmes and other material on smartphones and tablets.
To this end Broadcom introduced its first range of .ac chips (designed for G Wi-Fi) that is aimed at a wide range of product areas.
Broadcom additionally introduced a GHz G baseband and reference design that is intended to produce cheaper smartphones.
The company is also attempting to move mobile devices away from small screens by introducing a cross-platform Wi-Fi display system.
The in-car entertainment market has long been regarded as a major area but both manufacturers and broadcasters/content providers
still have to find the way to crack this area. During CES Broadcom demonstrated its approach to the travelling conundrum. The BroadR-
Reach automotive range is based on Ethernet technology and comprises large number of products. These are designed to enable multiple systems in a car, including infotainment and
automated driver assistance, with the ability to simultaneously access information over a single twisted pair cable. Broadcom says that by eliminating cumbersome cabling, auto manufacturers
will be significantly able to reduce connectivity costs and cabling weight, which in turn will allow them to bring in-car entertainment and information systems to more consumers.
Commenting on Broadcoms CES presence, the companys President and Chief Executive, Scott McGregor, said, The ability to seamlessly and instantaneously access content is the defining
moment of a great consumer experience. At CES, Broadcom is showcasing an array of connectivity innovations that are powering many of the top products at CES and driving ever-more
powerful consumer experiences.
news
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58
The Haunting
The building of dread and
terror in an audience doesn't
need CGI to be effective.
KEVIN HILTON looks at how
Wise created effect in the
classic horror, The Haunting.
H
orror films have always exploited sound
to add to the shocks and scares, but too often
this only stretches as far as eerie music,
screams, owls hooting, wolves howling, and
assorted squelching noises to accompany something
unspeakable. The Haunting (1963) relies on a strident
score and a variety of unnerving, other worldly sounds to
represent the unseen terror that lurks in a favourite
movie cliche, the haunted house.
But Hill House is far more than just the scene of
unexplained goings on; Dr John Markway (Richard
Johnson), a dashing scientist with an interest in the
paranormal, views it as a diseased place that absorbs evil
and torments susceptible people. Markway assembles a
research team who are in fact guinea pigs to test
his theory and discover whether the Crain family,
which built the place, has been cursed by their own
acts and misfortune or the forbidding edifice that they
have now abandoned.
A Horror- i f i c Star t
The Haunting was directed by Robert Wise, now better
known for mainstream movies, including West Side
(1961) and The Sound of Music (1965). But he got his first
directorial credit on The Curse of the Cat People (1944),
a psychological horror film produced by Val Lewton
that implied its threats through noises and high
contrast black and white photography.
Wise took a similar approach with The Haunting,
which he dedicated to Lewtons memory. Although set
in New England USA, the film was shot in England,
UK, with a largely British cast and crew. Hill House is
represented by Ettington Hall (now the Ettington Park
Hotel) in Warwickshire. The opening titles run over
a shot of this imposing facade made all the more
unsettling through the use of infrared film
and are accompanied by portentous music,
composed by Humphrey Searle.
This sets the scenario, creating dread and tension in a
manner that dates back to the earliest days of the horror
genre. Scenes from Hill Houses dark past, explained
matter of factly by Markway in a voice-over, leave us in
no doubt about what a terrible place it is.
The scene cuts to Markway persuading Mrs Sanderson,
the present owner of the House, to let him investigate
in the name of science. To help him in his research
Markway has drawn up a list of people who have had
brushes with the paranormal, among them the neurotic
Eleanor Nell Lance (Julie Harris). Since the death of her
mother, who she looked after for many years, Nell has
been a barely tolerated guest of her sister.
As Nell argues with her sister and brother-in-law about
borrowing a shared car to get to Hill House, tinkly
music plays on the radio, creating a brittle, child-like
atmosphere behind the confrontation, mirroring
Nells psyche and personality.
Arriving at Hill House Nell meets Markway and
Theodora (also known as Theo, played by Claire Bloom),
who claims to have ESP. All three are jumpy
and disoriented by the long, confusing corridors,
odd angles and doors that shut by themselves.
As they walk into the dining room Nell is spooked by a
slightly sinister tinkling sound which turns out to the
be ice in a jug of martini being mixed by Luke Sanderson
(Russ Tamblyn), a sceptical rich wastrel who stands to
inherit the property.
By this stage Wise has set up the feeling that
something is going to happen in a fairly conventional
way, with a few false starts. As the characters prepare
for bed he begins to up the ante with more sophisticated
touches. Hearing an unnatural loud and aggressive
banding sound, Nell runs into Theos bedroom.
The two women cower on the bed as the noise becomes
an insistent drumming, implying poltergeist activity.
The unease increases as the sound changes and distorts.
The uncredited electronic treatments were by
Desmond Briscoe, at the time head of the BBC
Radiophonic Workshop.
The soundtrack was mixed in mono but Wise gives us
a sense of the drumming moving by panning the camera,
shooting from high angles and having Harris and Bloom
follow the sounds with their eyes.
Although he did not witness it, this first manifestation
leaves Markway and the audience in no doubt that
something in the House is beginning to stir.
The second night does not pass peacefully either but
Wise releases the pressure slightly. Nell hears laughter
and a childs voice, which is treated to sound like a radio,
as though the spirits are trying to contact our realm
from somewhere else.
By the third night passions and tensions have risen,
brought to boiling point by the unexpected arrival
of Markways wife (Lois Maxwell, who had become
Miss Moneypenny in Dr No the year before), arousing
jealously in Nell. By this stage Nell is convinced she
belongs in the House and with Markway; Harris
voice-overs push the conversations of other characters
into the background, showing how much Nell is in
her own world.
Mrs Markway insists on sleeping in the old nursery,
the hotspot for all paranormal activity. The drumming
and banging soon returns, louder and wilder than
before, accompanied by frenzied rattling of the door
handles, leading to the Houses final victory.
Mi ssi ng The Poi nt?
The Haunting was remade in 1999, starring Liam Neeson
and Catherine Zeta Jones, swamped by CGI effects from
Industrial Light and Magic and a 5.1 sound design by
Gary Rydstrom. Some might consider this missed the
point that Robert Wise, Sound Supervisor AW Watkins,
and Desmond Briscoe understood on the original film
Hill House itself is the monster and all that was needed
was some imagination and a few good nudges for the
audience to scare themselves.
A U D I O M E D I A F E B R U A R Y 2 0 1 2
58
59
60
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