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Issue 28 • April 2010

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

ULTRA HIGH
TRANSMISSIONS
United Music brings a new level of production to the Czech Republic
PL+S REVIEW • MUSCLE SHOALS • SMALL FORMAT PA • FREEMASONS • PLASA FOCUS
ISSUE 28 April 2010

CONTENTS
> Regulars: Behind the Board 37 In Session 38 Products 40 People 43 Marketplace 45 Mixdown 49

///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
> IN THIS ISSSUE
NEWS
EDITORIAL
W
e have returned from
TOA ABSORBS TRANTEC • 4 Frankfurt in one piece.
Corporation takes over worldwide sales Well, I say that, but my
colleagues and I have all come
down with the post-Messe flu –
HH ELECTRONICS RETURNS • 4 we have managed to muster the
Brand reincarnated with new PA line strength to bring you this issue.
How was PL+S? Well,
attendance was down 2,000
OPTOCORE PARTNERS • 5 people, but considering 110,000 people showed up, I
Wigwam and Lawo join the Optoteam would say that those who stayed home may have
been wasters anyway.
EMI SELLS OLYMPIC • 5 As usual, many new products were launched,
many new friends were made and several people got
London studio bought by commercial
very drunk and crossed the work/social boundary,
developer
and perhaps woke up in a hotel lobby with a splitting
headache wondering how they ended up there. But
that is half the fun of Frankfurt: the smoking in the
EVENTS halls, the live music stages, the after-show parties,
PLASA FOCUS • 11 and somewhere in-between it all we all do a bit of
A preview of new seminars and what to work, or in the case of journalists, we collect our
expect in Leeds environmentally-friendly thumb drives with all of all
the latest and greatest new products to hit the scene.
This year’s highlights were some new, and even
PL&S REVIEW • 14 more compact consoles, loudspeaker innovations
Big news and new product launches from and rack after rack of wireless microphones.
the year’s second big show Late one night, after leaving the small city known
as the dB Technologies/RCF/SGM stand, I made a
wrong turn out of the exit and literally got lost in the
halls of the Messe Frankfurt. As I wandered the empty
LIVE SOUND/INSTALLATION building, I noticed how enormous the place is. There
is no denying that the community of pro audio
COVER FEATURE professionals that gather over the four days is a force
TRANSMISSION • 16 to be reckoned with. More to the point, there are
several issues that affect our business, ranging from
The Czech Republic’s high-end Trance event illegal downloading to the Digital Dividend Review to
noise restrictions, and if a united group came
together we could really change things in our favour.
SMALL FORMAT PA • 19 If one bloke on Facebook can rally enough people
A roundup of the best middle-weight boxes to beat the X-Factor marketing monsters and get
Rage Against the Machine to Christmas number one,
CROWN • 26 surely with a bit of effort we could change a few
Harman’s green initiatives explained in Watts things and help out all those people that we love to
and Ohms get drunk with every year at Messe Frankfurt? Or
maybe I have just taken to much cold medication.
Andrew Low - Editor
STUDIO/BROADCAST andrew.low@intentmedia.co.uk
HEADPHONE REVIEW • 29 A bookmark us in your phone
Chris Frost gives his thoughts on
headphones from leading manufacturers
mobile.audioprointernational.com
Contacts for Audio Pro International
FREEMASONS • 30 Editorial: +44 (0)1992 535646 Ads: +44 (0)1992 535647
Brighton’s dance duo talks production Fax: +44 (0) 1992 535648

Editor: Andrew Low

MUSCLE SHOALS • 34 andrew.low@intentmedia.co.uk


Subscriptions Manager: Hannah Short

The reconstruction of Alabama’s most Deputy Editor: Rob Hughes hannah.short@intentmedia.co.uk


rob.hughes@intentmedia.co.uk
renowned vintage studio Designer: Claire Brocklesby
Advertising Manager: Darrell Carter claire.brocklesby@intentmedia.co.uk
darrell.carter@intentmedia.co.uk
Managing Editor: Andy Barrett
Editorial Production: Helen French mipro@intentmedia.co.uk
helen.french@intentmedia.co.uk
Publisher: Dave Roberts
Ad Production: Rosie McKeown dave.roberts@intentmedia.co.uk
rosie.mckeown@intentmedia.co.uk
> NEWS

Trantec absorbed by Toa Corporation


Wireless mic specialist brought into the corporate fold – move appears to signal end of BBM Electronics
IN A letter to its staff and be maintaining its normal high Trantec brand name and has this move will effectively see the end
management, dated March 15th, the standards, offering top quality care functioned in the south of London for of BBM and the incorporation of
Toa Corporation and BBM and support to all its customers. We R&D, marketing and sales for the Trantec as a Toa brand.
Electronics’ bosses, Takefumi will update you of any further entirety of its near 30-year history. > toaelectronics.com


Nishigaki and Tamotsu Hirai, have information and would like to thank Although no confirmation has yet
revealed that the Toa you all for your past been received, it would appear that
Corporation (UK) support, and
will be taking over It appears that this hope this will
responsibilities for move will effectively continue in the
the sales of Trantec see the future.”
branded goods and Toa bought
accessories, as well as incorpoartion of the British
all functions in the Trantec as a wireless
UK and Europe developer,
from BBM. Toa brand. BBM
The process of Electronics,
take-over, the letter explained, will be in 1998, with the latter having
completed by May 31st, with Toa UK been founded in the early 80s
assuming official responsibility from by Steve Baker, Dave Binks
June 1st. and Terry Mabey. The
The letter to BBM’s workforce company was created and
concluded: “In this interim period, developed around radio mics
the sales and service team at BBM will and systems under the

Samsung adopts MP3HD HH Electronics returns


New range to include large scale PA enclosures
Electronics giant puts its faith in new high-
resolution audio compression format

TECHNICOLOR HAS light characteristics as the HH ELECTRONICS is to be gear and some PA gear, but in that
announced that its high-res MP3 standard MP3 format. reincarnated with the launch of a new respect, the HH range will take off
format MP3HD has been In recent times, a number of range of PA equipment. where Laney stops. We have been
adopted by electronics giant renowned audio engineers have HH, a brand name owned by the planning this for a while now, but it
Samsung, for its first portable bemoaned the degradation Laney/Headstock group since the was really important for us to make
music player, Ice Touch. caused by the original MP3 1980s, was a common badge on the sure that the divisions between the
Introduced last summer, format, calling for pub gig circuit, alongside other British three companies, HH, Headstock and
MP3HD is one of the first audio standardisation on a higher- solid-state names, in the 60s and 70s. Laney, were very well defined. It is
formats to claim lossless audio fidelity format such as WAV. Headstock MD James Laney told important that each functions as its
compression as well as Others, however, have Audio Pro that the venture, which is own entity."
compatibility with the widely acknowledged that the being headed up by Duncan Boniface, Boniface, who has been working on
used MP3 standard. practicality of MP3 means that it will be essentially a standalone designs and travelling to China to find
Theoretically, this would enable is here to stay and that we should enterprise, slotting in neatly alongside manufacturing partners for the new
content creators, the music instead look to refine the format the other Headstock brands of Laney, gear, feels that he now has a complete
industry and consumers to with a less-destructive variation. Tama and Ibanez. range, stretching from small practice
benefit from WAV-like audio MP3HD could be the answer. “People know and think of Laney as guitar combos to large scale stackable
quality and the same memory- > technicolor.com a valve amp company,” explained or flyable PA enclosures.
Laney. “Laney does some solid state > headstockdistribution.com

4 audioPRO April 2010 www.audioprointernational.com


PAGE 14 PAGE 16 PAGE 19
Prolight+Sound report Transmission Small format PA
NEWS <

Optocore joins forces with Wigwan and Lawo


Fibre network specialist forms strategic partnerships to pool resources and develop new products
IN TWO separate collaborations, worst connectors in the world. What
Optocore has teamed up with rental we needed to do was develop a data
firm Wigwam and digital console tunnel which we could support and
manufacturer Lawo. standardise on, run on fibre and
In the first of these alliances, which was completely future-proof,
Optocore worked with Wigwam’s because some new digital protocols
rental division to design a new data are already becoming redundant.”
returns system, after the two In another partnership, Optocore
companies agreed on the need for a


flexible solution to the restrictions
which many hire/production firms
are finding with CAT5 cable 100 to 125-metre
systems. The result is the OptoRack,
which will get its first airing on the runs are no use to
Leona Lewis world tour, beginning our industry.
in May. It enables high quality audio Chris Hill
and data transmission over distance
to all system ports, allowing plug- Wigwam
and-play at the FOH and stage end,
with a locked-out preset.
“I was getting sick to death of worked alongside Lawo on a project
spending thousands of pounds every for which Optocore developed a
year on cable and transmission ‘Lawo emulation mode’ that enables
systems, which we were never going a Lawo console to communicate
to use again,” said Wigwam’s hire with Optocore I/O units. This
director, Chris Hill. “I was also fed allows the console to receive audio
up with manufacturers continually signals and control Optocore
bringing out Ethernet-based preamps. Following the success of
equipment – 100 to 125-metre runs the project, the two companies have
are no use to our industry and we reported their intention to continue
were finding ourselves hanging large this co-operation going forward.
format systems with some of the > optocore.com

EMI sells Olympic studios Focusrite establishes US branch


Legendary London facility may become a cinema Former SSL man to head up the new company

Phil Dudderidge (left) welcomes Phil Wagner as president of US division


EMI HAS sold the Olympic studios Well known for classical recordings,
complex in South West London for Olympic has also hosted an impressive FOCUSRITE HAS announced the market. Creating Focusrite
£3.5 million. list of legendary bands over the years, formation of a dedicated American Novation Inc. enables us to enhance
Rumours of the sale surfaced last including The Rolling Stones, The division for Focusrite and Novation. our presence with increased levels of
January when EMI stated that Who, Jimi Hendrix and Led Zeppelin, The British manufacturer has set dealer support and various
Olympic would be closed in order to making it one of the most recognised up the new branch, located in Los forthcoming marketing initiatives.
focus more attention on Abbey Road. studios in UK recording history. Angeles, to further establish both We are extremely pleased to have
It was at one time thought that U2 This sale of Olympic is another hit brands in the US. Former SSL Phil Wagner on board as president.”
were interested in purchasing the to the already suffering London president, Phil Wagner will head up “Phil Dudderidge was a key factor
studio. However, last week it was recording industry. Many of the the new company. in my early career when we started
announced that the studio was remaining commercial studios have Phil Dudderidge, MD of Soundcraft NY in the 80s,” added
bought by an unnamed businessman. been forced to diversify their services Focusrite, stated: “We want to Wagner. “It is only fitting that we
Sadly, the new owner does not plan in order to survive the recession and increase the recognition of and work together once again in the
to reopen the facility, hoping instead the ongoing decline of record sales. support for the Focusrite and next phase of my career.
to convert it into a cinema complex. > emirecords.com Novation brands in the vital US > focusrite.com

www.audioprointernational.com audioPRO April 2010 5


> NEWS

New ‘Behringer
City’ for 2011
Music equipment giant announces plans for a
wholly owned manufacturing plant and creates
a new installation department
ULI BEHRINGER chose his firm has announced the launch of a
recent Partner Event 2010 to new range of installed sound
announce his plans for a new products, as well as the creation of
'Behringer City' manufacturing new department within Behringer,
plant, where all of the Behringer the Behringer Install Group (BIG).
and Bugera products will be made, The idea behind the new division
as well as a good amount of Midas is to create an industry-specific
Klark Teknik’s overseas group that deals solely with what is
manufacturing programme. seen as a very unique sectors,
Eurotec, the official name of the looking to take advantage of the
manufacturing business within the restaurant, HOW, retail and
newly formed The Music Group conference markets, where the
holding company, which umbrellas entry-level audio group has been
Behringer, Bugera, Midas and Klark conspicuous by its absence.
Teknik, is currently situated just Costa Lakoumentas, who will
outside the city of Zhongshang and head up the new division,
is a leasehold site. commented: “This is a significant
The new facility, which will be global market. It is also a market
wholly owned by The Music Group, that has a significant way of doing
will cover some 640 acres of land business. We recognise that the
and will be operational initially contractor is the end user and while
from 2011. the consultants are important,
The site will feature its own developing a relationship and trust
power plant and extensive leisure with the contractor is key to the
facilities for the nearly 3,000-strong success of this new group.
workforce, which lives on site. “We are looking to be in every
The factories will include space market sector – obviously not from
for the implementation of Midas day one, but eventually we will work
Klark Teknik's exacting our way in to the business.”
requirements for manufacturing, Lakoumentas previewed some of
allowing some of its more the new products, such as powered
specialised processes to be moved mixers and amps which, he said,
away from the UK for the first time. represented “a new benchmark”.
In other Behringer news, the > music-group.net

Vicoustic splits into three divisions


New market-focussed departments will enable the development of products that better serve each sector
VICOUSTIC HAS announced its target product development and sales
division into three separate business more effectively.”
segments – Music & Broadcast, Hi-fi The latest developments coincide
and Home Cinema and Industrial, with the new appointment of Luis
with immediate effect. Teixeira as international sales
Cesar Carapinha, Vicoustic’s CEO, manager. Teixeira has a background in
explained: “Over the past year we have construction engineering, specialising
seen a growing demand for products in acoustics. His brief includes
within the home cinema market, overseeing Vicoustic’s various
often linked to interior design certification processes and developing
projects. We have also seen an the company’s new industrial division.
increase in sales of our products to the Vicoustic is also reviewing its
construction industry, for example, distribution network. In several
new housing developments and noise territories, additional specialist
reduction in classrooms and other distributors are being appointed to
workplaces. support industrial and home
“These new departures require cinema/interior design customers,
more specialised support and the with many existing distributors
development of more specialised continuing to focus on the music and
acoustic solutions. By splitting the broadcast sector.
firm into separate divisions, we can > vicoustic.com

6 audioPRO April 2010 www.audioprointernational.com


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Publishing
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> THIS MONTH IN BROADCAST

A new breed of broadcast


Experimental miking captures sound from all ends of the Breeders Cup in ‘hardest sport’ to cover for audio
ESPN’S SENIOR technical audio by a chase vehicle with gyro camera Neural’s Microphone Array was
producer, Kevin Cleary, used experimental equipped with a camera microphone. the basis for the mix. “I have tested
measures to shake and rattle the houses of Although Cleary is using a raft of new this microphone successfully for
viewers watching the 25th annual techniques for the race, it still only used Monday Night Football and college
Breeders Cup horse race. “We want to be approximately 100 inputs. The main audio football this season,” said Cleary. “I
able to convey everything but the smell of console was a Calrec Alpha in the IMS also had mics on both the starting
the horses,” Cleary said. Production primary remote truck, with a gates and a host of [Sennheiser] long
The new techniques used for the races Yamaha 4000 for the submix. Audio and short shotguns around the track
employed Holophone’s H3D binaural veteran Dan Bernstein was the production in strategic locations to capture the


microphone and Neural Audio’s Neural mixer for the broadcast, Thom Mangan hoof sounds as well as the nuances of
Microphone Array multichannel jockey noise to give the viewer the
microphone. Cleary had previously tested feel of the race.”
the mics during the broadcast of the X
Horse racing is a In addition to the main host
Games and selected collegiate and difficult challenge. position, wired microphones were also
Monday Night Football games to find the It’s one of the placed in the paddock area, and there
sweet spot for the first Breeder’s Cup were three roving RF reporters, an RF
broadcast in 5.1 surround sound. hardest sports in on horseback and an RF pony rider.
Another new technique, first used at the world to The audio signals were transported on
the Belmont Stakes, was the placement of fiber via LightViper Booth Kits supplied
the network’s own custom-manufactured cover, audio-wise. by CP Communications. “We utilised
Xducer piezo-electric microphone on the Kevin Cleary some of the sends on the LightVipers
starting gate to document the release of ESPN for the EFX mics,” Cleary said. “I
the gate and its clanging bell. like to see horse racing as a
According to Cleary, the horse racing is handled submix duties, while Shawn challenge, not only for the overall
not actually the loudest source captured Peacock oversaw the integration of all sound design, but in creating an
during the broadcast. “Viewers also want to audio sources and sends. infrastructure of this size and
hear the sounds that give them a sense of “Horse racing is a difficult challenge,” covering so much ground during
place and event, like the starter calling said Cleary. “The tracks are huge, the the course of an event. It's kind
‘Riders up!’” he explained. As such, the horses are quiet and the crowds are wildly of like a football game with a field
track is ringed along the outside and inside extreme and go from talking to screaming that is a mile long and announcer
with Sennheiser 416 and 418 shotgun in a split second. It’s one of the hardest positions potentially anywhere on
microphones, and the action is also tracked sports in the world to cover, audio-wise.” the 320 acres of Santa Anita Park.”

Jünger to launch TV Lawo mixes for 220 million


Zirkon console added to Shanxi TV News Centre
Audio Processor at NAB
Loudness, upmix and surround sound processor debuts
JÜNGER AUDIO will be unveiling a compliant). It also offers dynamic filters so
new TV Audio Processor at this year’s that the sound can be ‘coloured’ much
NAB Convention in Las Vegas. more easily than with a traditional multi-
The device is primarily designed for TV band sound processor. Optional Dolby
playout facilities and will provide loudness decoding and encoding (D, D+, or
control, upmix and surround sound Pulse), as well as metadata management,
processing for up to eight channels of audio. are also provided, along with 5.1
Peter Pörs, managing director of Jünger Downmix and Jünger Audio’s recently
Audio, said: “This latest addition to our introduced UPMIX functionality.
product range fulfils the quality “The new processor is capable of
requirements set by major broadcasters handling digital inputs (AES) and, through
around the world. Maintaining loudness interface slots, all other usual audio formats
consistency is now a major issue for our including all SDI versions (SD, HD, 3G),”
industry and one that particularly affects Peter Pörs added. “It is controllable through
playout facilities because they have front panel and web-based GUI, plus SHANXI TV in Taiyuan, China hosts with 48 inputs and 40 outputs was
absolutely no control over the broadcasted remote control, and GPI – and it comes eight channels and broadcasts over 100 chosen by Mr Jian Jingyuan, technical
content’s average operating levels. Our with a redundant power supply as standard.” hours every day, covering 220 million director of the news centre.
processor is designed to solve this problem Jünger Audio will also be using the NAB people in China via a satellite output. “Not only does the Zirkon console
in an easy and cost effective way.” platform to show its entire suite of DSP The broadcasts are sent from its News have excellent sound quality and
The wide band eight-channel processor and interface cards for its C8000 Level Centre Studio, which became the first reliability, its design offers an operating
(8x1, 4x2, or 6+2) focuses on automatic Magic automated audio loudness control broadcast studio in China to use Lawo’s interface which is really simple to learn
and adaptive loudness control using the system for production and broadcast. new Zirkon on-air audio mixing console. and use,” said Mr Jingyuan. “The audio
company’s Level Magic algorithm (ITU > juenger-audio.de Last year, Shanxi TV commenced an operators were able to master the
upgrade programme for its news console’s operational features in a very
operation, to provide HD capabilities to short time, which was extremely helpful
the News Centre Studio. A 16-fader in the context of the whole HD project.”
Lawo Zirkon digital audio mixing console > lawo.de

www.audioprointernational.com audioPRO April 2010 09


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PLASA FOCUS EVENT PREVIEW <

PLASA Focus: Leeds 2010 April 27th - 28th

Northern exposure
PLASA Focus: Leeds 2010 is promising to bring new products and interesting seminars to the North of
England. Andrew Low explains why Focus is the place to see what you missed at PL&S, NAMM and ISE...
t is grim up north, or so the saying According to PLASA, Focus has production manager and Ear To The flight cases, build FOH and start

I goes; however, if the success of the


the first PLASA Focus: Leeds is
anything to go by, this is a region with a
been an easy sell. “PLASA Focus:
Leeds has become the annual creative
hub of a thriving industry community
Ground live director Jon Drape, who
will give a presentation on
Manchester’s The Warehouse Project.
setting up the stage for sound checks.”
Rob Ashworth of audio rental
company Audile and Pete Robinson of
lot of heart. The second annual in the North,” says event manager Located in the industrial arches lighting supplier DBN will be on hand
PLASA Focus will be held at the Royal Sophie Atkinson. “Visitors and below Manchester's Piccadilly train at PLASA Focus to discuss the
Armories, UK on April 27th and 28th. exhibitors love the fact that they have station, The Warehouse Project is an technical side of the respective systems
Already established as the a top quality event that brings the iconic clubbing event that attracts and explain how they make it work,
quintessential show for the North of global reach of the PLASA 55,800 people and 270-plus performers look and sound good.
England’s entertainment technology organisation to the North. As last year and DJs over 12 weeks. Drape explains: David Stuttard, technical director of
community, Focus 2010 is boasting a shows, this is a very friendly and social “The car park that we use for The Ireland’s new Wexford Opera House,
sold-out exhibition floor with 115 occasion which presents a great Warehouse Project closes at 5pm on will give a presentation, in addition to
exhibitors and a unique two-day opportunity for everyone from Friday and we have to turn it into a special classes from The Theatres
Education and Learning Programme to chairman to technicians.” 2,000-capacity live music venue within Trust, the Stage Managers Association,
help visitors and exhibitors make new New additions to this year’s seminar four hours each week,” Drape says. “As the National Skills Academy,
connections in the region. schedule include Ex-Hacienda soon as the cars leave we roll out the InfoComm and Julies Bicycle.

www.audioprointernational.com audioPRO April 2010 11


> EVENT PREVIEW PLASA FOCUS

While the show’s exhibition stands ensuring many more


do not allow space for a full range of kit frequencies are available
and giant loudspeakers, product reps in a narrower band, with high
will be bringing the latest products for switching bandwidth. Automated set-
the live sound and installation markets. ups can be assigned to country-specific
frequency bands, offering up to 200 drivers are higher level. The
ALCONS AUDIO channels in parallel. mounted at the rear, internal circuitry of
Alcons has several new product The company also released the which creates a fully horn- the S6 beltpack and
additions that it will shout about in Opera 610D, DVA S08, a 12-inch high loaded cabinet with a compact size handheld transmitter has
Leeds. Its new LR24 system is the power active bass-reflex subwoofer, the of 700mm wide, 600mm deep and been upgraded, extending the
company’s foray into the live touring DVA S09 W active subwoofer 300mm high. The cabinet is three-way frequency capability to 80MHz.
market, designed to deliver the same featuring an integrated active stereo active with an impedance of sixteen Trantec will also be exhibiting the S-
SPL of equivalent products in the mid- crossover and the new Cromo Series Ohms and has a flat frequency D7000, as well as the 12 channels S5.3
size line-array category, with 15dB less loudspeakers. response from 100Hz to 20kHz with a system, the Racked'n'Ready S5.5, 24
distortion. The system comprises line- maximum SPL in excess of 140dB. channel system, the entry-level S4.4
array, line-array bass, ground-stacked LAB.GRUPPEN system featuring four licence-free
subs, multi-channel amplification and Lab.gruppen recently unveiled the RCF channels and the 16-channel version
processing, featuring an all-new pro- PLM 20000Q at PL+S. Featuring two With several new product launches at S4.16.
ribbon mid-high transducer platform. Lake processors and four, 5,000-Watt PL+S, RCF will have a lot to talk
Also new from Alcons is the LR7 channels, the new amp incorporates about at Focus. The company released CLOUD
micro pro-ribbon line-array, including several new developments to maintain the new ES 3323, which is a Cloud Electronics will show
the LR7B micro line-array bass unit. Its rated performance even with extreme 320W CD/USB MP3 the MA60MEDIA, which
Cinema Ribbon Monitor System program demands or under marginal player receiver amplifier combines the standards
(CRMS) is a new three-way reference operating conditions. A new universal that manages paging of Cloud mixer-
cinema sound system featuring fully power supply with power factor and program sources amplifiers with an
matched loudspeaker, processing and correction (PFC) is featued, in addition into three separate added on-board
amplifier components, launched at ISE. to a differentiated load on each of the audio zones and media player. The
four outputs. the weatherproof company will also
ALLEN & HEATH P8015-S bass reflex show its new VTX-
Allen & Heath will be exhibiting the NEUTRIK subwoofer. WM1 web monitor
newly launched iDR-16 3U MixRack Neutrik recently unveiled the Xirium Other new card, a web server
and iLive-R72 rackmountable control professional multichannel wireless products include the Ethernet option card
surface, launched at NAMM. It is a system at PL+S to address the ART 4 Series portable option for Cloud's new
lightweight digital live mixing system impending eviction of PMSE from the speakers with the latest VTX power amplifiers.
with many of the same attributes as the 800mHz radio frequency band. digital Digipro amplification
larger touring iLive systems at a lower The firm has developed a new technology developed for the ART 7 NEXO
price point. wireless technology known as DIWA Series, three new coaxial transducers, Nexo will be showing the new RS18.
It will also show the (digital data transmission and the new TT051-A and TT052-A With a frequency response of 31Hz-
ZED-10 and ZED-10FX without data compact active loudspeakers with a 100Hz, RS18 is a compact 2x 18-inch
mini mixers, which compression); Xirium is state-of-the-art input board. sub that performs equally ably in both
feature two ultra the first product to directional and omni-directional
high impedance operate on it. YAMAHA modes, offering output figures such as
discrete Class A Yamaha will show the new M7CL- 143–146dBPeak (2x1750W to 2 x
FET inputs. OHM 48ES digital console and MY8-SDI-ED 4000/81) in Omni mode, and 140–
Ohm has recently interface, launched at ISE. The latest 143dBPeak (2x1750W to 2 x
DURAN launched Ersa M7CL replaces the 48 internal mic 4000/81) in Directional mode.
AUDIO Major, an pre-amps with two EtherSound ports,
Duran Audio integrated line keeping the MY card slots free for POLAR AUDIO
will show its new array system other uses such as multitrack Polar Audio will exhibit new and
range of AXYS intended for large recording, the Dante communication existing pro audio products from ASL,
Beam Shaping scale concerts, festivals protocol or the use of Waves plugins. Australian Monitor, beyerdynamic,
Subwoofers. The range and sports events. The The MY8-SDI-ED interface card Biamp, MC2, Novosonar, Renkus-
is designed to allow system is run in four-way offers from eight to 64 I/O channels Heinz and Revolabs
dispersion control of the bass array. active mode with the amplifiers flown (depending on the console and number The company’s focus will be on new
in the array. Matching dual 18-inch of cards used) of HD-SDI embedded additions to its lines, including the new
DB TECHNOLOGIES PUKK sub bass bins can be flown or audio signals. AV Revolution DSP from Australian
dB Technologies recently launched the ground stacked. Monitor, beyerdynamic’s new MPR-210
DWS800 digital wireless mic system at The mid/high cabinet has dual Ohm TRANTEC desktop mic – which utilises Revoluto
PL+S. Dubbed as ‘future-proof’, the ten-inch midrange woofers with a two- Trantec will focus on the Channel 38 technology, the Stegos – encrypted
DWS800 series addresses the problem inch, plus one-inch coaxial ready, S6 wireless system that is wireless boundary microphone and the
of narrowing frequency bands by using compression driver mounted on a modelled on the S6000 range, and wireless Revoluto range.
digital transmission technology, proprietary horn flare. The mid-range takes the 19-inch, 8-way concept to a > plasafocus.com

12 audioPRO April 2010 www.audioprointernational.com


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> EVENT REVIEW
MARCH 24TH - 27TH MESSE FRANKFURT

Done+Dusted
Another Prolight+Sound has been and gone, but was it a rip-roaring success? Rob Hughes finds out…
ell, the main thing is that, visitor figures – which were down just out that slightly smaller stands (though

W despite the best efforts of the


BA cabin crew, most of us
got to PL+S okay. In fact, it seems
2,000 on last year across the
combined show – were probably the
result of company decisions to send
more impressive than ever in terms of
design) made for wider aisles and this
contributed toward the impression of a
FACT FILE
that those who did have flight fewer employees. I’m sure however, quieter show. Nevertheless, the usual Venue: Messe Fankfurt
problems were with alternative that every pro audio firm worth its PL+S buzz was very much present. Date: March 24th – 27th
airlines, so props to BA for keeping it salt was represented in some way. It “It was a brilliant show for us,”
Exhibitors: 829
together. Although I do think that is, after all, Prolight+Sound. recalls Vicky Wills from Allen &
Visitors: 110,000
the rust bucket they rolled out for So how positive was the industry’s Heath. “We were consistently busy on
Audio Pro’s return journey should be post-show reaction? Very, as it turns the Allen & Heath stand, especially (combined with
immediately decommissioned before a out. I was expecting a few gripes in the iLive area, which was Musikmesse)
precariously mounted cathode ray along the lines of: ‘not as much absolutely buzzing with visitors Verdict: Slightly lower
television claims its first victim. It’s footfall as we’d hoped’, but not a bit coming to see the new R72 control visitor numbers than last
just a matter of time. of it; in actual fact, I didn’t hear a surface and iDR-16 MixRack. We year, but neither that nor
Those of us who wanted to be single complaint. It seems that the were in Hall 8 and I heard that some smaller booths could
there got there and I reckon that was visitors who weren’t crowding the of the other halls were a little quieter, detract from the positive
nearly everybody. Admittedly, the aisles were enthusiastically crowding but that certainly wasn’t the case for atmosphere. A successful
halls weren’t quite as busy as before booths instead and many exhibitors us; we were busy the whole time.” show for most.
but the exhibitor numbers were as had more guests than they could deal Tony Andrews from Funktion-One
strong as ever and the slightly lower with anyway. It should also be pointed says: “We’re really pleased with how it

14 audioPRO April 2010 www.audioprointernational.com


PL&S EVENT REVIEW
MARCH 24TH - 27TH MESSE FRANKFURT

line array system, the result of three


year’s work by MD Tom Back and his
team. The LR24 boasts the same SPL
output of equivalent products in the
mid-size, line-array category, yet with
15dB less distortion. Alcons is
stating that the LR24 system sets a
new benchmark in terms of
projection control and sound
quality. The system is a
complete package, comprising
line-array, line-array bass,
ground-stacked subs, multi-
channel amplification and
processing. All parts of it
have been developed from
the ground up, resulting in
three patents pending. Back
comments: “Hi-fi quality
sound at concert SPLs has
always been the holy grail of
sound reinforcement. Now it is
finally available.”
Roland Systems Group
introduced the world’s first battery
and remote-powered 8x8 digital
snake, the RSS S-0808, an
eight-in/eight-out
compact, lightweight
digital snake that
supports multiple
power options
including battery-
power, embedded-
power over REAC
and power over
Ethernet. The inputs
offer remote
controllable preamps,
phantom-power, 24-
bit/96kHz AD
conversion, as well as
choices of XLR, TRS line and
Hi-Z capability, to reduce the need
went. We were glad to be in Hall 8 not just for direct boxes.
this year and we managed to get the the digital TFT LCD Lab.gruppen unveiled the new
demo up to a good size and with wireless touch flagship of the acclaimed PLM series at
acoustic characteristics that really system, but sensitive the show. Along with two Lake
contributed to the playback process. also the screen, 24 full- processors, the 20000Q boasts four,
The show itself was a little quieter Plug2Plug, length motorised 5,000-Watt channels, making it the
than last year on the whole, but then which got such a faders with touch- most powerful amp of its kind. Miguel
we hardly had a minute to ourselves good reaction that sensitive fader caps and Hadelich, VP of the touring market
the whole time and we can’t really ask we’ve decided to enter for a much more. It features the third division at TC Group International
for much more.” PLASA award.” generation Stealth Digital Processing says: “It’s no longer necessary to split
“For us it was a really good show,” So the exhibitors were largely a software; its Super FPGA technology configurations across several amplifier
adds Patrick Almond from happy bunch, but what about the incorporates floating point processing types. Rack configuration and
Studiomaster, “the busiest in some visitors? Well, there was plenty to see for optimised headroom, dynamic inventory management can be
years. We launched over 30 new as always, but the number of new range and audio quality. vastly simplified, saving time and
products and that got a great products that were debuted – and, Neutrik was also a big crowd-puller labour costs.”
reaction, highlighting the extent to more to the point, the calibre of them with its own solution to the radio mic There were also a couple of exciting
which the brand has a made a – was very reassuring. PL+S gave us crisis – a new wireless technology sneak previews, including one from
comeback recently. We had a lot of plenty of all-new, innovative and in known as DIWA (digital data MC2, had a prototype of its first four-
footfall in Hall 6.1, actually better some cases pioneering bits of kit, transmission without data channel, Class D amp on display. The
than the guys in Hall 8 were getting suggesting that the manufacturers are compression), which utilises the five- E100 is expected to deliver 3,200W per
at some points, so we were really beginning to invest a lot more in gigahertz frequency band. The firm also channel into two Ohms, or 2,500W
pleased to be in there too.” R&D once again. A handful of showed the first product to operate on into two Ohms. Another attention-
And Neutrik’s Charlie Cook was highlights were as follows: DIWA, the Xirium professional grabber was the forthcoming recording
equally impressed: “The first day was Digico wowed its fans with the new multichannel wireless system. console from Allen & Heath, which
pretty much solid with press launches compact SD9 console, aka Red Although comparatively humble, will be the first of a whole new studio
and distributor meetings and the rest Snapper. Designed for touring bands, Neutrik’s new Plug2Plug connector, range for the company. There are no
of the time the stand was absolutely schools, smaller theatres and other which connects a pair of male jack details available at present, although,
manic, so it was certainly a successful users on a tight budget, the new plugs simply by gripping them together. having seen it, we can confirm that it’s
show for us. Everybody seemed very crimson desk, despite its diminutive Alcons Audio entered the touring a 24-channel model.
impressed with our new products and size, provides a large full colour digital market with the launch of the LR24 Watch this space…

www.audioprointernational.com audioPRO April 2010 15


> LIVE SOUND TRANSMISSION

Ancient transmissions
United Music’s annual trance music event, Transmission, is created with extremely high production
standards. Last year’s event featured the largest configuration of Funktion-One F221 bass bins ever used
and Glastonbury-sized loudspeaker clusters. Andrew Low talks to the Transmission team …

rom lasers to lighting, video and fireworks to bass stacks Audio Plus system tech Mark O’Neill comments: “There

F totalling 37 Funktion-One F-221 bass cabinets,


Transmission is praised as having some of the highest
production standards in Europe. Held annually at Czech
were huge expectations on us supplying this system; not only
did we have to out perform the VDosc system used before, we
also had to get a chest-pounding bass response to the back of
Republic’s O2 Arena, last year’s event was created with an a 15,000-strong audience. We knew they wanted the wow
‘Ancient Mysteries’ theme and featured a full Funktion-One factor, so we used 37 F221A twin 21-inch bass enclosures
system with MC2 amplification and XTA processing among compared with the 12 we would normally use on a rock n roll
elaborate stage settings and visuals that rivalled an show in this type of space. There were 14 per side, two wide,
intergalactic fight scene from a science fiction movie. seven high – these bass stacks ended up being 14 feet
United Music’s director, Anco van der Kolk, high by 11 feet wide giving us control and
explains that Transmission spares no expense definition that dance music demands in
in bringing an unforgettable experience to such a large space. We also had nine
the 15,000 punters that attend the F221A bass enclosures across the
annual event. He comments: “The center in blocks of three with two


events that I was familiar with from Res2s on each block for infill. The
growing up in Holland were focused 58 Res5s controlled dispersion
more on the details and production allowed us to ensure the mid/hi
then, say, in the UK where the coverage throughout the arena We create the
focus is more on the DJ. We create with plenty of headroom. We had concepts for
the concepts for Transmission two main clusters consisting of 20
ourselves and invest money to Res5 and five R4D(downfill) with
Transmission
make it as good as possible.” two delay points at approximately ourselves and
With no restriction on noise 50m, each consisting of nine x invest money in it
levels and an arena with great Res5. Sound quality was prioritised
acoustics, UK rental company Audio with the use of XTA DP448 to make it as
Plus and Funktion-One’s Tony Andrews processors, MC2 E45 amplifiers and a good as possible.
were able to design a mammoth system to Midas XL4 at FOH. The system
fulfil van der Kolk’s desire for thundering bass performed with outstanding results.” Anco van der Kolk
and even coverage throughout the venue. “The Funktion-One’s Tony Andrews was also on United Music
year before we used an L-Acoustics system, which was hand to help tune the mighty system. “It was a long
not bad, but I felt like it could be better. I had heard the venue, almost the size of Wembley, so we put them in a block
Funktion-One speakers in dance clubs and wanted to bring of subs to power the bass all the way to the back,” Andrews
that sound to an arena,” van der Kolk explains. “The main comments. “My main priority was to keep it on the floor for
difference I noticed with the Funktion-One system was the those who wanted to get the full experience, and it did that.
fantastic bass sound. The spread of the sound throughout the And around that stack when it was working it was notable
whole venue was also much better. “ that, although the space was packed, only a few people were

16 audioPRO April 2010 www.audioprointernational.com


TRANSMISSION LIVE SOUND <

standing around the stacks. Only the completely insane were XTA processors formed part of the AudioCore Control
near it,” he laughs. Network, along with Funktion-One powered enclosures that
“It not only had height but it also had a decent amount of were part of a FunktionNet monitoring network. The whole


width. We didn’t use them to full power at all. In fact I don’t system was accessible via wireless tablet.
even think we got out of the amber lights.” Andrews comments: “It was great to use the XTA wireless
The large and tall stacks were also configured specifically to control. Literally, as the show started we were able to dial the My main priority
avoid the problems created when subs are placed across the lip delays in. If you are at the top of the bleacher it is a single
of the stage. “If you put subs across the front of the stage they delays setting and if you are at the bottom it is definitely
was to keep [the
are going to give pretty narrow coverage and they will not get another, so you pick the medium position. bass] on the floor
back into the bleachers,” Andrews explains. “What they will “With the tablet PC and wireless system we were able to for those who
do is curl back on the stage and completely confuse your mix. adjust it so that the delay actually disappeared and it sounded
When you are working in a small place you might not have the like it was all coming from the front. The timing of the delays wanted to get the
choice but to put them across the stage, but by and large it is has to be done in real time by adjusting in milliseconds, and it full experience,
not a good idea. only took us about five minutes to do. And we were able to be
“I don’t like the idea of pointing bass backwards and in the crowd doing it. It is better to adjust them when the and it did that.
cardioding it. It is a timing issue that relates to dimension, and people are in the venue because, acoustically, it is less reflective. Tony Andrews
dimension relates to frequency, so it is only going to work at a “If you set the system during the day and then add people six Funktion-One
narrow band of frequencies. I guess you can do it if you are hours later it will have a totally different environment. The
using those one-note bandpass bins that are already very humidity and temperature will have changed, so you need to be
narrow because they are not making the rest of the bass able to do it at the start of the gig. Humidity and temperature
frequencies. I just figured that we should put up a solid stack change the speed of sound through the air. When you are
and power it the way we usually do. And we used our XTA self dealing with milliseconds, and bear in mind that we can resolve
powered speakers, which saved time and space.” down to 15 to 20 microseconds, it needs to be done.”

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show off their Funktion-One Res 2 system

Bang without bulk


These days, it’s possible to squeeze a fair old racket out of some rather modestly sized speaker cabinets.
Rob Hughes checks out what’s on offer in the current small-format PA sector…
imilarly to the way my friend’s fearless chihuahua is the OHM

S proud owner of a bark that completely belies his pint-sized


physique, my aging KRK monitors, despite sporting
nothing more than customary eight-inch woofers, are more
Ohm’s Ersa Minor, with dual six-inch neodymium main drivers
and a high frequency waveguide, gives a dispersion of 120 by 20
degrees and a power rating of 250 Watts (RMS).
than capable of frightening said friend – as I proved last Ideal for small venues, theatres and performance areas in
weekend – and quite possibly his dog, were I to allow schools, the individual Ersa Minor cabinets can be
it into my house. stand-mounted, singly or in pairs, to provide wide


Unlike the chihuahua, which, regardless of dispersion sound for conferences and meeting
its undeniable gusto, was clearly an ill- rooms. The cabinets can also be used singly
advised purchase, my monitors were for in-fills and under balcony applications.
worth every penny. Of this, I was Each cabinet is just 410mm wide and can
Ersa Minor
reminded recently when I upgraded my be hung in multiples by means of the cabinets can be
mixer to a new model with oodles of built-in wafer flying system and single- stand-mounted,
headroom and transparency (for the point hanging frame. The flying frames
price anyway), which grabbed the have a built-in patch panel, which allows singly or in pairs,
KRKs by the scruff of the neck and a multiple array to be transported with to provide wide
beat them into acoustic submission. the cables still attached to the cabinets.
They are now, at least within the The cabinets are fitted with twin dispersion sound
confines of my makeshift studio, ear- Neutrik Speakons allowing for easy daisy for conferences
bleedingly loud. It’s awesome. chaining and an HF attenuation switch for
As you can tell, I’m excited by my new single or multiple cabinet use. The eight-Ohm and meeting
setup, primarily because, as humble as it is, it cabinet has a frequency response of 80Hz to rooms.
downright shakes the house down. But am I 20KHz (-3dB) and has a maximum SPL of 123dB.
satisfied? No, since with my ever-increasing realisation of A range of Ohm sub-woofers are available to complete the
just how many SPLs you can squeeze out of a breezeblock-sized system. Six Ersa Minors would typically need a double 18-inch sub.
lump comes an ever-increasing desire to explore the
possibilities – and maybe extend my neighbour-annoying FUNKTION-ONE
potential to the next street (it currently ends at number 46, Funktion-One offers three sizes of full range, all-in-one PA
which, to my shame, is the house next door). enclosures, suitable for small to medium size venues. All three
I’ll let you know how I get on, but in the meantime, here is a models – Resolution 1.5, Resolution 2 and Resolution 3 –
collection of boxes that probably represent the zenith of what I feature F1’s signature Axhead mid range technology, renowned
could achieve on my quest for bang without bulk. bass and overall natural accurate sound achieved through

www.audioprointernational.com audioPRO April 2010 19


> LIVE SOUND SMALL FORMAT PA

proprietory driver design, rather than corrective processing.


All the enclosures offer high sensitivity and therefore big in the USA and
output for minimum input. Germany. The series
The Resolution 1.5 is a two-way enclosure with 90-degree comprises two-way, full-
dispersion, high fidelity and very effective low frequency output range loudspeakers, array
for its small size. It is suited for applications needing a single systems and subs, all of which
enclosure per side. A five-inch loudspeaker is integrated to offer a compact PA solution.
operate cleanly down to a low crossover point of 520Hz and The flagship LD VA-8 and VA-
enable a smooth transition to the 18-inch bass driver. PS215 sub offer a frequency
The Resolution 2 ups the driver count to three, with a 15- response of 70Hz to 19kHz,
inch LF, eight-inch Axhead mid range and a passively crossed 34Hz to 400Hz and a peak
over one-inch high frequency unit. Similarly, the Resolution 3 is power handling of 1,200W and
also a three-way enclosure, though substantially larger, 2,400W, respectively.
comprising a special horn-loaded 18-inch bass loudspeaker with
five-inch voice coil, new Axhead loaded ten-inch loudspeaker ALCONS
for mid-range and one-inch compression driver for high An asymmetrical enclosure and
frequencies. The mid high section can be rotated for horizontal revolvable 90 by 40-degree wave-
installation and it produces exceptional SPL for its size with bass guide make Alcons’ two-way VR8
so convincing that additional sub bass is unnecessary. ideal as a compact FOH system. It
has the multi-patented RBN401
ELECTRO-VOICE four-inch pro-ribbon driver with
EV’s Phoenix series employs Electro-Voice’s manifold ‘Real-90’ horizontal dispersion and
technology. Designed for huge SPLs and sonic headroom, as well eight-inch vented mid-bass driver.
as easy transport and setup, Phoenix is targeted at users that find Frequency response is 74Hz to
the X-Array too much and QRx not enough. The output of the 20kHz, with a peak output
boxes is optimised for rock, pop and dance music genres. Using reaching up to 125dB.
dual ND2 neodymium compression drivers on a manifold horn The 800W peak handling of
and state-of-the-art DVX woofers, the speakers can operate at the HF pro-ribbon features a
high levels for sustained periods with minimum stress on system 16:1 peak-to-RMS ratio
components. (traditional HF transducers
Passive and bi-amp selectable, the dual two-way PX2152 bring a 2:1 ratio). This caters
features twin DVX3150 15-inch, ND2 low-frequency for a virtually unlimited
transducers with forced air cooling, two-inch voice coil, and dynamic range of 1kHz to
one-inch, exit neodymium compression drivers. Maximum SPL beyond 20kHz. Pro-ribbons
is 136dB with a 60 by 45 degree rotatable coverage pattern. have a naturally flat
Power handling is 1,200W continuous or 4,800W peak. impedance, negating the use
of impedance-correction
DB TECHNOLOGIES circuitry in the passive filter
dB Technologies’ active DVX series pairs the company’s and considerably shortening
Digipro power amp with RCF speaker components such as the signal path. Production
neodymium woofers with double-wound voice coils for high tolerances are within one dB, so that any two VR8s can be
load handling and minimum power compression. High-quality regarded as a matched pair.
tweeter cones are made from Mylar or titanium and rotatable If line array is required, Alcons also offers the LR7, which
HF horns from aluminium, keeping drivers cool. The two-way features the same RBN401 pro-ribbon driver. With a
DVX D15 is the enclosure of choice for use as a full-range frequency response of 74Hz (-3dB) to above 20kHz, the LR7
FOH. Its 1.4-inch driver with a 2.5-inch titanium voice coil is enables a full-range deployment without the necessity of
designed to handle high loads and is capable of throwing additional sub bass systems.
punchy signals across medium-to-longer distances. Its
integrated Digipro digital power amp delivers high JBL
SPLs and with the 15-inch RCF low/mid Sharing components with the touring standard
woofer, will deliver a dynamic response and Vertec line arrays, JBL’s lightweight and
tight low-end reproduction. compact VRX900 series comprises two
DB also offers the Entire Active eight-inch and 12-inch formats, including
system design (EASD), a powered option in the latter. The
in which DVX models VRZ928LA has a frequency response of
may be combined 87Hz to 19kHz and peak power of 1,600
with DVA line array Watts and the VRZ932LA-1, of 75Hz to
active subwoofers. 20kHz and 3,200 Watts, respectively.
Both 15 and 18-inch, bass-reflex subs
LD SYSTEMS form part of the range
LD System’s LD The VRX accomplishes a consistent
Premium range has been sound field by way of JBL’s Array
on the market for a year now, Configuration Selector.
having been launched at
Prolight+Sound 2009 and if the VMB
amount of LD Premium branding seen VMB’s Lynx LX-F6 is a small-format powered line array
flying around in Frankfurt this year is module with a folded ribbon HF unit, 1,500W of integrated
anything to go by, it’s proving to be quite a Class-D, switch-mode amplification, VMB digital signal
hit. The LD Premium range has inherited processing and networking capabilities. It also features a built-
the same ‘bang for buck’ appeal that the in inclinometer and was the first line array element to do so.
firm’s MI products – including the Dave The LX-F6 uses two custom-made six-inch (1.5-inch voice
series of portable systems – have built a coil) Ciare transducers and one one-by-five-inch Beyma
solid reputation among many hard-working AMT. To VMB’s knowledge, the Lynx is the only commercial
professional musicians. line array on the market that is both self powered and employs
The entire range was developed by a team of an AMT (Air Motion Transformer). The advantage of this
experienced audio designers and FOH engineers device is the small and very controlled movement of each

20 audioPRO April 2010 www.audioprointernational.com


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fold, accelerating the surrounding air to produce an almost loudspeaker and 100W for the HF driver. A two-position HF
perfect acoustical output in amplitude, phase and all the eq compensation switch adjusts the high frequency response


radiating areas of the transducer. for arrays of four or eight or more units.
“Measurements show that our HF transducer exhibits a Low frequency reproduction is handled by DAS’ 8MN
Our HF reduction of 20dB in intermodulation distortion and 10dB in eight-inch low frequency transducer. The 8MN employs a
third harmonic distortion,” states Joel Damiano, VMB’s 62mm voice coil and neodymium magnet motor assembly.
transducer applications manager. “Spectral contamination is 15dB down High frequency reproduction is through the new M-60N
exhibits a in vocal ranges and transient response decay is twice as fast.” neodymium compression driver. Each motor system is attached
The LX-215S is the subwoofer complement to the LX-F6, to the new BPS-191 waveguide-horn assembly.
reduction of boasting two neodymium 15-inch woofers with four-inch
20dB in interleaved sandwich coils, each powered by a 1,000W amp. PEAVEY
The smaller member of the Versarray family and the speaker that
intermodulation ADAMSON launched Peavey into the line array market is the 112 ribbon-
distortion and The Canadian line array specialist offers two compact series of driver enclosure. It features a lightweight 12-inch Neo Black
loudspeakers, the SpekTrix and Metrix series, which possess true Widow woofer, with four-inch voice coil and neodymium magnet
10dB in third line-source array characteristics, made possible by proprietary structure in a 13-ply Baltic birch enclosure.
harmonic wave shaping sound chamber technology. Versarray Series enclosures utilise special bracket-and-pin
distortion. The larger SpekTrix is a three-way enclosure exhibiting a flying hardware for a flexible rigging system that allows full
significant output to size ratio. The sound chamber has a defined articulation of the top boxes. Users can adjust two modules
Joel Damiano coverage pattern of five-degrees vertical by 120-degrees away from each other in two-and-a-half-degree increments
VMB horizontal and produces a slightly curved, iso-phase wave front. from zero to 15 degrees, allowing for a classic straight-line
The Metrix is a two-way enclosure with the same coverage array configuration or a number of angling options.
pattern as the SpekTrix. 112 arrays can provide sound reinforcement for up to 10,000
Both speakers use the same components – Adamson 8.5-inch people and are intended for use with Versarray 118 or 218 subs.
Kevlar neodymium drivers and B&C DE 900 compression The 118 and 218 are vented subwoofers, incorporating Peavey’s
drivers – and are 15-degree trapezoidal cabinets for extreme ultra-high power Lo Max 18-inch woofer in a 13-ply Baltic birch
downward angles at the bottom of arrays. The SpekTrix Sub is cabinet. The 218 model also features Peavey’s patented UniVent
equipped with two 18-inch AW18 Kevlar neodymium bass system, which uses an exclusive process to pump air through the
drivers mounted in a tuned, vented and fully braced cabinet. enclosure, maintaining cool operating temperatures, increasing
reliability and reducing power compression under heavy
STUDIOMASTER continuous-drive conditions.
Launched at PL+S last month, the Studiomaster A6 series
marks the company’s entry into the line array market. EAW
The A6 series is a compact and self-powered modular system, Despite its trim dimensions, EAW’s JFL210 line array module
with each module comprising an A6-212SA bass unit, housing boasts a whole range of the firm’s principal line array
one 800W and two 400W amps and two A6-206-4 hi/mid technologies. It utilises a constant curvature design to form
cabinets. The system can either be ground-stacked or flown, easily configured arrays with predictable output and
with flying points fitted on both cabs. The A6-212SA features coherence, and coverage that is both horizontally symmetric
two 12-inch ultra LF drivers driven by the 800W amp, with and consistent from short to long throws.
each hi/mid cab driven separately by a 400W amp. The A6-206- Each two-way, full-range JFL210 module features
4 is fitted with two 6.5-inch custom drivers and a single 44mm neodymium drivers for an optimum performance/weight ratio.
throat compression driver. Two ten-inch (2.5-inch voice coil) woofers are complemented
A pre-set electronic crossover is integrated to ensure optimal by a three-inch (1.4-inch-exit) compression driver, closely
system performance with all types of program material and all matched with a horn for directivity. These components help
amps have level controls, bargraph displays and limiters. deliver a maximum peak output of more than 130 dB SPL,
Studiomaster also launched the JX series at PL+S. This allowing JFL210 arrays to comfortably fill large spaces.
comprises 14 different models – seven active and seven passive – The JFL210 can be flown or stacked in a variety of ways.
all incorporating a driver design that features a new magnet Arrays may be easily flown or ground stacked, and up to two
configuration to reduce distortion at high power. enclosures may be mounted on a tripod loudspeaker stand or
on a pole above the forthcoming JFL118 subwoofer.
DAS
At the recent ISE show, DAS introduced the latest member of MEYER SOUND
its Aero line array series – the compact Aero 8A. The 8A line In another Frankfurt unveiling, Meyer Sound introduced
array elements debuted alongside the LX-212A powered Mina, the newest and smallest member of the Milo family. The
companion subwoofer. Mina enclosure is just over a foot and a half long and weighs
Measuring only 24.5 x 52.6 x 35.5cm, the 8A unit is just 47lbs, yet is capable of producing up to 128dB over a 100-
equipped with a third generation Class D power amplifier and degree horizontal coverage area. Mina can be used in a
digital signal processing. The amp offers 250W for the LF curvilinear array system, for frontfill and under-balconies. It is

22 audioPRO April 2010 www.audioprointernational.com


> LIVE SOUND SMALL FORMAT PA


capable of integrating easily with its slightly larger sibling RCF
Mina is a M’elodie, yet powerful enough to stand alone in smaller A smaller brother to its flagship TTL55-A line array element,
mature product theatres, HOW, ballrooms and corporate AV. RCF’s TTL31-A is a compact and powered, full-range, wide
“Mina is a mature product focusing all of the advances we've dispersion module. It features 750W switching amplifiers, a wide,
focusing all of made since releasing Milo,” comments John Meyer. “These constant directivity coverage angle, high-power neodymium
the advances include a new digital amplifier, a new manifold configuration transducers, high quality analog input board and 96kHz, 32-bit
we've made based on the patented REM and new horn design.” DSP processing with soft limiter and RMS protection.
It features three one-inch Neo compression drivers with
since releasing RENKUS-HEINZ 37mm voice coil and one eight-inch Neo woofer with 64mm
Milo. RH’s IC Live incorporates the Iconyx digitally steerable array voice coil. The loudspeaker’s frequency response extends from
technology into a product designed for live sound reinforcment. 60Hz to 20kHz and max SPL output of 132dB.
John Meyer The IC Live module incorporates five neodymium 6.5-inch cone Intended applications of the unit include theatrical sound
Meyer Sound woofers and three neodymium compression drivers on purpose- reinforcement, portable and installed A/V systems, front and
designed waveguides. A multi-channel DSP/amplifier controls under-balcony fill, HOW, ballrooms, concert halls and other
each transducer individually. Complex signal processing shapes fixed venue installations. It should be used with the TTL12-AS
the array’s output and steers it in the desired direction, steering 1,000-Watt, 12-inch, active line array subwoofer module.
the sound and not the box.
CONTACTS IC Live arrays produce narrow vertical beams of 30- MARTIN AUDIO
degrees, 25-degrees and 20-degrees that can be Martin Audio’s W8LC is a compact line array
OHM
ohm.co.uk
steered up or down by up to 30-degrees at .01- enclosure that meets the need for a high power,
FUNKTION-ONE degree resolution. Horizontal dispersion is a high bass impact system that is easier to
funktion-one.com wide 150-degrees. The ICL215S is a implement than the larger W8L Longbow.
ELECTRO-VOICE systems matching dual 15-inch The enclosure packs in one 12-inch,
electrovoice.com bandpass subwoofer. two 6.5-inch and three one-inch
DB TECHNOLOGIES drivers, which together achieve a
dbtechnologies.com TANNOY maximum SPL output of 129dB
ALCONS AUDIO Tannoy’s Power V range is a line of continuous, or 135dB peak. It allows
alconsaudio.com compact, active sound reinforcement true 90° (-6dB) horizontal mid and HF
LD PREMIUM loudspeakers equipped with the Tannoy pattern control, with smooth off-axis
ld-premium.com Dual Concentric or PowerDual point response, useable out to 120° (-10dB).
JBL source, constant directivity drive unit The loudspeaker is fully compatible with
jblpro.com technology. Six, eight, 12 and 15-inch the full size W8L and W8LC grids allow
VMB models are available, plus a HP version of systems to be flown or ground-stacked.
vmb.es the 12-inch for high SPL applications. The Though compact in size, the W8LC is a
ADAMSON Power V 12 has a frequency response range of full-bandwidth system and may be used without
adamsonsystems.com 70Hz to 25kHz in full range mode and its rated subwoofers in many applications, due to its all-horn
STUDIOMASTER maximum SPL is 126dB peak, or 120dB average. design. Where additional low frequency extension is
studiomaster.com The Dual Concentric drive unit features a reinforced paper required, W8LCs may be complemented by the W8LS line array
DAS mid-bass cone and double rolled cambric surround for high subwoofer, WLX horn and reflex-loaded subwoofer or WSX
dasaudio.com sensitivity, as well as a dual magnet assembly and a Tulip horn-loaded subwoofer.
EAW
WaveGuide for the high frequency unit. The two drivers are
eaw.com
merged into one with the high frequency mounted in the throat of APG
PEAVEY
the mid bass, aligning both transducers to a point source. The APG’s Dispersion series is comprised of five multi-purpose
peavey.com
MEYER SOUND
result is a uniform frequency response over a wide coverage area. loudspeakers, all of which possess ergonomic and performance
meyersound.com For applications requiring bass extension, the Power VS15 BP is characteristics that make them suitable for FOH, distributed
RENKUS HEINZ a versatile bandpass subwoofer system, with integrated Class D sound, stage monitor or reinforcement. Each model employs
renkus-heinz.com amplification that extends the frequency response to below 40Hz. coaxial technology to offer a perfectly consistent conical
TANNOY acoustic field.
tannoy.com HK AUDIO The flagship of the series and what the firm calls “the driving
HK AUDIO HK’s Cohedra Compact line array series includes the CDR 108 C force of the APG range” is the DS15S, cited by the firm as one of
hkaudio.com single eight-inch and dual one-inch mid/high unit with a 100- the most powerful loudspeakers in the multi-purpose category.
RCF degree horizontal angle of radiation. It feature a compression APG notes that its sonic quality is often compared to that of
rcf.it chamber on the midrange transducer and Cohedra AcousticLens studio monitors. For the purposes of this roundup the pick of the
MARTIN AUDIO technology, for the one-inch driver’s true CD horn design. A bunch has to be the DS12S, a compact speaker equipped with a
martin-audio.com passive crossover is used with a corner frequency of 800Hz. 12-inch coaxial assembly and the same performance as a
APG Complementing the mid-high module is CDR 210 C subwoofer, standard 15-inch-based speaker in a much smaller box. It has a
apg-audio.com a direct-radiating dual ten-inch sub. The CDR 210 C also serves as bandwidth of 55Hz to 18kHz and can deliver a continuous
the base for the CDR 108 C mid/high unit. 124dB, with an efficiency of 98dB (1W/1m).

24 audioPRO April 2010 www.audioprointernational.com


THE
PERFECT
MIX...

HD 380 Pro

With their wide frequency response, high sound


pressure level delivery and excellent passive
attenuation of external noise, these collapsible
professional headphones are the ideal tool for
audio professionals - even in noisy
environments.
The perfect mix...whenever, wherever.
www.sennheiser.co.uk
> LIVE SOUND CROWN XLS

Softly lies the


With five patents covering various energy-saving technologies, there’s no doubt that Crown’s latest XLS model
finds out that, while environmental efforts are indeed being stepped up, efficiency is no new concept to the
espite being aimed squarely at the MI market, Crown’s up as Harman’s commitment to reducing its environmental

D new XLS amp is nevertheless of some interest to audio


professionals, because it seems to be an indication of
what the future holds for amplification in the touring and
impact as much as possible, by changing manufacturing
processes and raising the efficiency levels of its products.
In the factory, Crown has made a commitment to
installation sectors. Crown calls the amp a ‘game changer’ and recycling and the reduction of power consumption, while
is rightly proud of it, having set new standards of power and within the amplifiers themselves increasingly lighter and
efficiency at the ‘prosumer’ price level. smaller components that nevertheless combine to deliver
“The XLS amps are based on a whole bunch of proprietary escalating efficiency levels and power-to-weight ratios can
amp technologies developed by Crown that bring ultra high be found.
efficiency and performance, but at that entry level price point “Green Edge is a Harman-wide initiative,” explains Kellom.
where XLS lives,” says Marc Kellom, Crown’s VP of “For example, our automotive division has demonstrated
marketing. “There are five patents on what is happening some technologies that have facilitated highly efficient
inside that box and when you see those things and pick them amplifiers and signal processing for use in automobiles. That’s
up, you get a sense for what an accomplishment it really is. a huge issue for those who are making hybrid and electric
There are people out there that are claiming that they have vehicles, where every Watt wasted is a big deal. In that
seven-pound amplifiers that do 2,000 Watts, but when Crown industry, inefficient components add directly to battery weight
says that, it really means it. You’re going to see that type of and reduce the range of the vehicle, among other problems.
technology migrating to all the price points and all the But that’s just a snapshot – the idea behind Green Edge is to
product groups in the near future.” try to pull all of this into a simple message that people can get
The XLS is the latest Harman product to conform to the their brains around. For us it’s important not just to put a
group’s Green Edge initiative, which is probably best summed green shirt on and tell everybody that we’re environmentally

26 audioPRO April 2010 www.audioprointernational.com


CROWN XLS LIVE SOUND <

happy’. So nobody was really doing it because they were


concerned about the environment at the time; they were doing
it more out of a need to save money.
“Likewise, with the K series, which was the first amplifier to
use Class I technology, we were just going after the idea of
reducing power consumption for practical reasons. All the
things that are now interesting from an environmental
perspective, for us at the time were more about, for example,
getting more amplifiers on a single circuit or eliminating the
need for people to drag giant cables everywhere when they
needed lots of power. Also, we were building larger and
larger amplifiers and while no one really thinks too
much about the energy efficiency of a 500-Watt
amp, when you get to 5,000 Watts then it starts
to become more of an issue because you’re
dealing with bigger power cords, bigger mains
connectors, a larger chassis and all these
things that, ideally, people don’t want. So we
came at it from the practicality of use angle,
but now, we’re more than happy to talk about
being environmentally responsible, because it’s
something that we’ve been doing all along.”
And who can blame Crown? The real world
energy savings realised by Class I are staggering.
Since 2004, Crown has shipped 13,500 Class I amps
with a total weight of 189 tons and using
11,678,580kW of electricity per year. If it had
shipped 13,500 MA5002VZ amps, the total
weight would have been 519.8 tons and the
yearly electricity usage, 18,370,800kW. This
translates as an energy saving of 6,692,220,
which is enough to power 370 homes for a
year. And in freight terms, the weight
reduction of 331 tons is enough to prevent
the emission of 400 metric tons of greenhouse
gases annually, equivalent to taking 75 cars off
the road.
Perhaps even more impressively, these savings
have not been at the expense of sound quality, as
several big touring firms, including Audio Analysts and
Sound Image will attest. In fact, Class I has won so much

Crown
confidence over the years that when Crown announced its
flagship I-Tech HD last year, with features that on paper would
help to boost fidelity even further, a number rental companies
placed sizeable orders on the spot.
“What was so important to us – and the reason that class I
was such a big deal for us – was that it gave you lots of
efficiency improvements and all the great things that go with
that, but it never compromised sound quality. Class D has
come a very long way now, but in the late 90s that was not a
viable technology – it was only being used in situations where
conforms to Harman’s Green Edge initiative. Rob Hughes people could tolerate a lot of distortion, for subwoofers, for
amp manufacturer… example. Now it’s a lot better understood, so it’s become much
more useable, but even now most Class D designs at really
friendly, the point of it is to say that we’re serious about this and high power levels still face some challenges.”
that we have been for some time.” And now to the burning question: what kind of benefits has
With the XLS series, the company has applied the Green Edge Crown seen in return for its efforts?
concept to a Class D design that has allowed the amp to be “In the US, the end users of our products are starting to
delivered to the market at a price within reach of professional recognise that this is a big issue,” adds Kellom. “Local
musicians. However, for those with deeper pockets and a need to governments that are building, for example, a new library or
maximise return on investment, Crown’s Class I technology, convention centre are putting out requirements for LEED
found in the I-Tech and Macro-Tech series, remains one of the certification and they’re asking questions of their sub-contractors,
most efficient amplifier technologies on the market today, such as how much electricity they are going to use and if they can
despite having been around for well over ten years. Class I was come down ten or 20 per cent. This is not something that is new
invented and patented by Crown in 1996 to combine the to us and if you’re looking to design an energy efficient audio
efficiencies of PWM (pulse width modulation) with the fidelity system, we’re a great place to start. The other thing is that, since
of Class A, which, at the time, was required more for practical, we’re building smaller and lighter products, they are less expensive
than environmental reasons. to ship and they use fewer raw materials in the first place;
“We had clients doing some very large installations in the everything shrinks. We’ve done some maths on this and although
1990s and once we started networking amplifiers at that time we haven’t calculated the savings exactly, they are unquestionably
with the original HiQnet system, this is really where the there. A pallet of 48 Crown amplifiers now weighs probably one
emphasis on efficiency came in,” recalls Kellom. “Clients started third of what it used to, yet puts out more power – significantly
to say: ‘This is interesting, because it gives me a way to shut my more power. And you save a lot of money on fuel when you’re
entire system down when it’s not being used and that lowers my trucking one third of the weight.”
electric bill and my air conditioning bill and makes everybody > crownaudio.com

www.audioprointernational.com audioPRO April 2010 27


HEADPHONE REVIEW STUDIO<

Cans at a glance
Graphic Nature Studio’s Chris Frost puts his head between some of the market’s leading headphones...
ith so many headphones on offer, it can be hard to Headphone: Audio Technica ATH-M40fs

W decide what is best for a particular application. In this


review I have put six pairs to the test. They range
from £100.00 – £280.00, and each have their own sound and
closed back headphones
Spec: 5-28,000Hz, 60 Ohm, 250g, 3m
straight cable with quarter-inch jack
feel, especially when it comes down to critical listening during
long sessions. Here are my findings: Design/build:

Comfort/long term wearing:


Headphone: Beyerdynamic DT880 Pro semi open back
dynamic headphones Stereo imaging/width:
Spec: 5-35,000Hz, 250 Ohm, 295g, 3m coiled cable,
3.5mm and quarter-inch adaptor (gold plated). Sound:

Design/build: On-site replaceable parts: Elements, cables


and earpads can be changed in the field
Comfort/long term wearing: Accessories included: No
Extras: Collapsible design and ear pieces
Stereo imaging/width: swivel 180-degrees for one-ear monitoring

Sound: Headphone: Sennheiser HD 380 Pro closed back


dynamic headphones
On-site replaceable parts: No Spec: 8-27,000Hz, 54 Ohm, 220g, 3m coiled
Accessories included: Large padded soft case cable with 3.5mm and quarter-inch adaptor
Extras: Braille on each side to distinguish left (gold plated)
and right
Design/build:

Comfort/long term wearing:


Headphone: Audio Technica ATH-M50 closed
back headphones Stereo imaging/width:
Spec: 15-28,000Hz, 38 Ohm, 284g, 3m coiled
cable with 3.5mm and quarter-inch adaptor Sound:
(gold plated)
On-site replaceable parts: Replaceable
Design/build: single sided coiled cable
Accessories included: Padded case
Comfort/long term wearing: Extras: Collapsible design and ear pieces swivel
180-degrees for one-ear monitoring
Stereo imaging/width:

Sound: Headphone: Shure SRH840 closed back dynamic


headphones
On-site replaceable parts: No Spec: 5-25,000Hz, 44 Ohm, 317.5g, 3m coiled
Accessories included: Padded bag cable with 3.5mm and quarter-inch adaptor
Extras: Collapsible design and earpieces (gold plated)
swivel 180 degrees for one-ear monitoring
Design/build:

Comfort/long term wearing:


Headphone: Beyerdynamic DT770 Pro closed
back dynamic headphones Stereo imaging/width:
Spec: 5-35,000Hz, 80 Ohm, 270g, 3m straight
cable, 3.5mm and quarter-inch adaptor (gold Sound:
plated)
On-site replaceable parts: Detachable coiled
Design/build: cable
Accessories included: Carry case and additional spare pair of
Comfort/long term wearing: ear pads
Conclusion
Stereo imaging/width: Out of the six headphone sets I tested, a few of them really
stood out. I found the Beyer DT880s to be extremely
Sound: comfortable and the Audio-Technica ATH-M50s had a great
all-around sound. I would also add that, due to their
On-site replaceable parts: No extended bass, the Sennheiser HD 380s are perfect for dance
Accessories included: No music production. The Shure SRH840s were my favourite
Extras: Braille on each side to distinguish left due to their clear and flat frequency response coupled with a
and right very comfortable design.
> graphicnature.co.uk

www.audioprointernational.com audioPRO April 2010 29


> STUDIO INTERVIEW

Masonic mixing
Brighton-based dance duo Freemasons have had to up their game in recent times, after a string
of high-profile production credits. Rob Hughes gets the lowdown from band member James
Wiltshire, on how they’re adapting to the American market…

iven that Freemasons named themselves after the pub You produce and engineer your own music for both the

G located within staggering distance of their Brighton


base, you might be forgiven for thinking that they
underground club scene and the mainstream market. Do
you take a different technical approach to each; for


spend more time lifting pints of beer than tweaking example, does it become necessary to re-engineer an
compression ratios. However, if this is the case, then they underground track if it becomes successful and is headed
must make pretty damn good use of their studio time because, for the charts? We were actually
for two artists whose roots are firmly planted in the club music In the past we have had a number of our club mixes turned into commissioned to
scene, they’ve enjoyed a chunky slice of chart success. radio edits, and in those cases it’s often quite straightforward,
And it’s not only their own original creations that have hit though we do tend to go back to the original page, pull it up and do an alternate
the big time – Freemason remixes have been equally well re-balance stuff specifically for radio. However, recently we did a radio edit of
received, helping turn them into one of, if not the most mix of Shakira’s Gypsy. We were actually commissioned to do an
successful crossover dance act in the UK. After the rip- alternate radio edit as opposed to a full-on club mix, so we had Shakira’s song
roaring success of tracks such as Uninvited, international to adopt completely different principles, because it was destined Gypsy opposed to
acclaim was inevitable and saw the pair asked to put their for international radio – including the US – as well as Britain.
touch to records such as Déjà Vu by Beyoncé Knowles (for Over here we live in a nice little microcosm where we quite like a full-on club mix
which they were nominated for a Grammy). Their experience the vibe of a mix, whereas over in the States it’s very sonically and so we had to
and capability was quickly noted as they became established based. Their radio compression and the sound of their records is
hit-makers, working alongside the likes of The Neptunes and as big as their roads, and so we’ve had to really up our game with
adopt completely
Neyo to gain production credits on records by Solange what we were doing in our little room, just to compete, because different
Knowles (sister of Beyonce) and X-Factor winner Alexandra there are some incredible mixers in the US at the moment, principles.
Burke, respectively. absolutely incredible. Some of the stuff that they are doing with
Audio Pro was keen to find out how Freemasons managed to just Pro Tools boxes and decent monitoring rooms is actually James Wiltshire
balance their output across two polarised scenes in their quite phenomenal. Freemasons
native UK, but soon found out that there was an even bigger, Everything really changed when America grabbed hold of the
international juggling act involved. idea of dance music – or ‘four-on-the-floor’ stuff anyway – and it

30 audioPRO April 2010 www.audioprointernational.com


INTERVIEW STUDIO<

started coming through from the urban music producers. The urban guys
were fascinated by it but were programmed in a completely different way
and because these US engineers were getting amazingly loud mixes, it’s
really changed some of the landscape of the radio in America and Europe.
It has meant that we’ve had to start trying to work with two separate
heads on.
In Europe it can be slightly different – an edited version of a club mix
can often make it on the radio. There are normally some tweaks and also
some quite serious mastering that goes on to get it to the kind of level that
is required for radio. Obviously club stuff has so much sub bass in it and
some of that has to disappear.

What does all this mean in terms of the equipment that you’re using?
Have you had to put together a studio that would rival the sort of
facility commonly used to record and mix chart stuff in the States or
do you use the same gear that you would for UK club mixes?
Well it’s financially prohibited at the moment, at the level that we’re at,
for us to assemble a really high-end studio. That will hopefully be
something that we do at some stage of our career, but what we have done
is to dramatically change what was a very modest setup, specifically based
around the sonics of it. We got in touch with the guys at Prism Sound and
they’ve just been absolute diamonds. We ended up getting two new
Orpheus interfaces and as soon as they went in we noticed an enormous
difference, especially in the definition within the bottom end and the
stereo imaging.
The two Orpheuses go into a Neve 8816 summing mixer and
monitoring is on Event Opals, so we’ve got fairly high-end stuff at that


Wiltshire: The compression used on
American radio is very heavy, but it’s a big
full sound and you have to mix especially
for that. In Britain, there’s still an element of
punk that goes through mixing.
level. We’ve also bought a few other bits: we’ve got a nice big API rack
with 550 eqs and 512 preamps, an SSL X-Rack with two E-Series eqs and
two of the X-Rack series eqs and two Empirical Labs Distressors, a
matched pair, because we’ve found that a lot of the American guys were
using the same path for drums, which is Distressor into API. The great
thing about the system, the way we’ve got it now, is that we can finally
loop through Logic – in other words use direct ins and outs to plug
through the analog gear. Logic 9 finally allows you to actually ‘ping’ it and
work out the latency compensation.

So you’ve adopted a kind of a hybrid approach to mixing – not quite


inside the box, but not quite outside either. How are you getting on
with this method?
It’s almost like going back to basics from a technical point of view because
I’ve had to work that out, with Logic outputs you do have to be careful,
because as soon as you go back into the analog domain, all the stuff that
you’d learnt has been destroyed in your mind. I come from an analog
background and I had to relearn everything to work digitally and now I’m
having to learn all over again to go back to analog. Again, it’s about keep
two hats on and it can be complicated. But as soon as you can work out
the direct operating levels for stuff and things like that, the difference it’s
made to our records to have the drums coming out of one stereo pair and
the bass out of another is ten times better than what was coming direct
out of the computer.
The Neve’s headroom is something like +25 before it hits the rails and
that is incredibly useful with anything that is really dynamic, because you
can push mixes on it and you start to get a desk crunch to it. And this
links up with the Orpheuses because you can just pile a mix back in. The
difference when it comes to putting a mix back into the Orpheus is huge.
The old setup worked for us for years and we didn’t really realise that we
needed to change it until we started to work directly with the US. The
A&R guys there really do go for the sonics of a record. The compression
that’s used on American radio is very heavy, but it’s a big full sound and
you have to mix especially for that. In Britain, there’s still a naughty side
– an element of punk that still goes through mixing: “right, let’s just
turn up all the mid range and it’ll be all right”, but then that’s what
makes our mixes stand up against the American ones. Some of the
American mixes are incredible but sometimes they sound a bit bland.
So I think halfway in between is the way to go – I wouldn’t want to mix
a record just for the UK or just for America anymore.

www.audioprointernational.com audioPRO April 2010 31


> STUDIO URS PLUGINS REVIEW

It’s character building


Wes Maebe tries out the URS plugin bundle and adds an analog feel to Delta Unit’s latest EP
UNIQUE IN A COMPETITIVE MARKET the hardware, each plugin has its own character. In a world of
I first came across the URS plugins when I was mixing at ‘in-the-box’ mixing, this is such an important asset.
Elliott Randall’s studio. When someone with the recording A lot of plugin manufacturers try to supply us with all-in-one
heritage of Randall gets excited about a product, you can’t help bundles covering equalisation, dynamics, time and pitch based
but be very intrigued indeed. effects and de-noising. URS decided to focus on just eq,
compression and limiting.
LET’S BACK THE TIME TRAVEL TRUCK UP A TAD
Back to 1978 to be precise. This was when Bobby and Joanne GRILLED AT THE SONIC CUISINE
Nathan founded the Unique Recording Studios, smack dab in Nathan sent me the full URS bundle for review, which meant
the middle of New York City. URS started out as an eight-track 18 new plugins to learn and to play with. I had just been asked
facility, expanding to 16-track Tascam and quickly moving on to mix an EP for a new and upcoming London band called
to the first ever made Otari MTR-90 24-track. In the early Delta Unit. Trying the plugins out one at a time, URS ended
eighties, thanks to the fast-growing hip hop scene, URS had to up in most of the project. As time and budget had to be well
build another room to cope with the sheer volume of clients managed here, I had to do most of the work ‘in-the-box’ to
gravitating towards the facility’s vast collection of now vintage cut down on recall time. These plugins gave me an amazing
synths. At the turn of the century the complex had expanded to analog feel in operation, look and, most importantly, superior
five studios over three floors in the heart of NYC’s Times Square. sonic quality.


As engineers we can get a bit over-excited by new pieces of
FROM HARDWARE TO SOFTWARE gear, but the sound of these plugins did not go unnoticed by my
Bobby Nathan is no stranger to the software side of things. client, who was present at all the mixes. The keywords from As engineers we
Apart from running the very first MIDI studio ‘MIDI City’, he that session were ooh, wow, subtle, nice, clarity and old school.
has also been a design consultant for Digidesign, EMU, Akai, In my opinion, that’s all you want from a set of plugins can all get a bit
Fairlight and Yamaha, amongst others. Nathan was also the modelled on those vintage units we all love and mostly can’t over-excited by
first to sample James Brown’s screams on EMU’s Emulator I. afford. Which brings us nicely onto the next point.
The Unique Recording Software came to the public at the
new gear, but the
2003 AES exhibition and was nominated for a TEC award UNIQUE RETAIL STRUCTURE sound didn’t go
within a year. Each plugin can be purchased separately. But once you get your unnoticed by
hands on one of these you are going to want more. There are
NEW, YET FAMILIAR several bundles set up to serve your individual needs. From my client.
It is obvious that the brain behind the URS plugins has spent classic and eq only bundles to specific series, you name it,
most of his career surrounded by the all-time classics when it they have it.
comes to dynamics and eq. Every plugin you open up feels like I suggest you get out there, explore and add some URS
you’ve physically handled it and heard it before. These plugs warmth to our world of 0s and 1s.
are very well laid out, clearly labelled and easy to use. And like > ursplugins.com

www.audioprointernational.com audioPRO April 2010 32


> STUDIO MUSCLE SHOALS SOUND STUDIOS

Muscle building
Rather than investing in the latest recording technology, Muscle Shoals Sound Studios owner
Noel Webster is restoring the studio to the exact specifications as it had when the Rolling
Stones recorded there in the 1960s. Andrew Low talks to Webster about how to make a
period piece a fully functional commercial studio…

labama’s Muscle Shoals Sound Studios prides itself as the band feels that under their feet. It is sitting on 100-year-

A one of the last remaining studios to use tube recording


consoles and rooms full of vintage gear that simply
cannot be found anywhere else.
old red oak solid rough-cut beams and the floor is not
insulated. The whole building shakes when you play in it.”
Recent renovations made to the studio’s main room are


Famously known as the studio where the Rolling Stones proof that Webster is determined to maintain the spirit and
recorded Wild Horses and Brown Sugar, Muscle Shoals Sound history of the studio, rather than trying to compete with
Studios was started in the 1960s when Fame Studio’s backing modern studios. “The main room was set up from the 70s and
band, The Swampers, left to set up their own space on 3614 we are going back to put the original 1950s Celotex acoustic We were trying to
North Jackson Highway, in Sheffield, Alabama. The band tiling in the control room. So when people walk in the studio get that bass
operated the studio from 1969 to 79 and created a signature it will be just as it was in 1969, as opposed to 73. We had an
sound that was revered by artists like John Lennon and is still MCI 416 console in here at one time, and that is a great sound Arthur
highly sought after today. The successes of the studio led to board, but it doesn’t sound like the Universal Audio tube Alexander was
the arrival of a raft of mainstream rock and pop artists suh as stuff. We are going that route because that is what the clients
Traffic, Lulu, Boz Scaggs, Willie Nelson, Paul Simon, Bob want. Now when they come in and say they want to sound getting in Muscle
Dylan, Rod Stewart, Bob Seger, Bobby Womack and like the Rolling Stones, it’s nailed. Shoals – we love
Millie Jackson. “I have kept the original studio location and everything in
The studio made headline news in 2005 when a false story it exactly the way it should be. The building was closed and
his records.
about a different building being sold to a film company was the city was going to knock it down. I started rebuilding it and John Lennon
published in Rolling Stone magazine. It was a huge shock to registered it on the National Register of Historic Places. I The Beatles
owner Noel Webster, who has owned the original location cleaned up the whole place and even restored the original
since 1999. Muscle Shoals Sound Studios was recently furniture and lights.
brought back into the press when Akron, Ohio blues duo The “We have gone through some revisions to get it back to
Black Keys recorded their latest album, Brother, at the studio how it was in the 60s and put in the original MCI consoles
with producer Mark Neil. that they used. The consoles are all tube, and we will still
Webster feels that the continued success of the studio is a track to tape, but we also have a Radar system. We are also
result of the gear, great bands and engineers as well as the adding the mastering lab from the Hit Factory in NYC. I
building itself. “When you stomp your foot or hit a kick drum bought its entire Weiss system and its Sonic Solutions HD and

34 audioPRO April 2010 www.audioprointernational.com


MUSCLE SHOALS SOUND STUDIOS STUDIO <

Old gear needn’t be


resigned to the scrap
heap – as Muscle
Shoals Sound proves

DAW and Apogee UV1000 UV22s, so we do complete to the 50s and 60s. They are
mastering here as well. trying to make Fairchild 670s,
“We are now putting in a Universal Audio 610 desk. Of the but they don’t sound as good
three that are in this country, Mark Neil owns all of them. He as the original because the iron
came around here and made an album and he loved it so in them is a black art. The fact
much that he is moving his entire operation. He is physically is that you can’t go out and buy
moving here because he has a lot of projects and we are the anything that we have in this
only cats doing this kind of recording. building. We have Westrex
“All the instruments in here are historical. We have the compressors from 1947 that were built
Hammond that was used on Eric Clapton’s song Layla and for the film industry and they are
Alabama’s touring drum kit. There is no place to cut on tubes awesome. We have Bruel & Kjaer eqs that go
any more. Abbey Road has changed, you can’t go to Stax now from 12 Hertz to 40K. Everyone else has Neve in-
and American is gone. This is the last remaining fully-fledged line consoles and Pro Tools rigs, and that is fine. They can
analog tube recording studio period piece.” keep it because I don’t like it, and it doesn’t sound correct to
Webster argues that, although the studio isn’t filled with the me. If they made anything better we would use it.”
latest time-saving digital equipment, it is an extremely While most studio owners and engineers will argue that
efficient studio to work in. The fact that The Black Keys they do not use vintage gear because of the time and money
recorded 15 songs in ten days further strengthens this that is needed for maintenance, Webster contends that the
argument. “It is a period piece, but we can also track to Radar gear in Muscle Shoals Sound Studios is so well made that it
and capture the tube sound,” he says. “The sound we have in doesn’t require much maintenance at all. “We might get a
here sounds bigger per track than a 24-track mix on a Pro ringing tube in one of the consoles every six months, but we
Tools system – it’s huge. Most of the records we cut only need have extra modules so we can fix them very easily,” he states.
ten to 14 tracks for a whole band because we are using “We have a huge tech shop, but we don’t really need to fix
Neumanns and Telefunkens, all tube stuff and tracking just stuff all that often. This room sounded great then and it still
like they did in the 60s, and it works. does now and we haven’t changed a thing. We have still cut
“When you walk through the halls at the AES tradeshows everything live on the floor and it just works.”
you see that all the gear manufacturers are trying to get back > muscleshoalssound.org

www.audioprointernational.com audioPRO April 2010 35


BEHIND THE BOARD WITH… DARREN SIMPSON

London-based engineer Darren Simpson talks to Audio Pro


from behind Big Bird’s Board…

Which band/project are you Favourite venue/festival/studio?


currently working on? In London: The Luminaire for gigs,
I am currently recording a new act and the vibe of Livingston Studio for
for Decca Records: five sisters who recording. I wish I could get out of
all sing and play, write their own the studio for long enough to go to
songs, but yet still can't come up with an outdoor festival.
a band name.
Best toy you take on tour or have in
Where are you at the moment? the studio?
At The Church Studios in North Not so much a toy, but I'll never be
London, UK. without my custom-moulded earplugs.

What audio console are you What’s been your worst


utilising? And how many channels? professional experience to date?
I am using the API 8824, which has Spending months on an album that
24 channels with 550A eq modules. sounded great but then the plug got
It used to belong to the Children’s pulled and the record has never seen
Television Workshop in New York the light of day. I’m sure it’s
where all the Sesame Street music happened to everyone, but it’s
was recorded. absolutely no fun.

What decision process was behind What’s been your career highlight?
the choice of this audio console? I’ll never forget being lucky enough
Musician David Gray owns the to witness the recording of a Lou
studio and had worked in the API Rhodes vocal for her track They Say.
rooms at RAK Studios in the past. The sound of her voice through the
He liked it so much that he decided speakers alone was enough to
he wanted one for the main immediately give me goosebumps,
recording room at The Church. even before the drama of the whole
track that followed. And she claimed
Do you utilise any outboard to be feeling under the weather.
effects/eq, and if so, what are they
used on and why? What really pisses you off when
Compressors, definitely. Bit of top on working?
vocals, why not? I say, if you’ve got it, Poor organisation.
use it.
What makes you happy when
Favourite console? working?
My choice for favourite console is the When people know what they want,
the SSL G series. explain it clearly and don’t change
their mind afterwards.
Favourite PA or monitoring system?
Well obviously the room has a lot to And if you weren't working now,
do with it, but the Dynaudio M4s in you'd be?
The Pierce Room sound good to me. Sleeping.

“I'll never forget being lucky enough to witness the


recording of a Lou Rhodes vocal for her outstanding
track They Say.”
Darren Simpson

www.audioprointernational.com audioPRO April 2009/10 37


> IN SESSION

Studios: People and equipment behind studios


in the UK and around the world...

Rooms: ‘Music Room’, control room, booths and ‘sound locks’ Rooms: Control room, live room, vocal booth
Consoles: 64-channel API Vision, 96-channel Harrison Trion Consoles: Tascam DM-4800
Mics: Neumann, Coles, DPA, Schoeps, Earthworks, Royer, Korby Mics: Neumann, AKG, Sennhesier, Shure, Studio Projects, Røde
Outboard: Tube-Tech, DW Fearn, GML, Alan Smart, API, UA, Manley Outboard: Drawmer 1968 Mercenary, Neve 1073 DPD
Monitoring: Dynaudio, Adam Monitoring: Dynaudio Air 15 and BM6A mk2

Manifold Recording, NC Astar Studios, Lancashire


CURRENTLY UNDERGOING finishing free design is enhanced with a dual BASED IN HEYWOOD, Lancashire with For artists looking to release their
touches, the Manifold Recording studio symmetric four-step quadratic residue nearby residential facilities, Astar material independently and engage
complex represents an ambitious vision diffusor (QRD) rear wall. It features an Studios has been custom built to serve directly with the market, special
to serve the recording community with API Vision console, together with a the needs of modern, cost conscious recording packages are available with
a technically and aesthetically-stunning collection of other high-end recording record labels and the flourishing support from creative and promotional
facility using zero carbon emission technologies, monitoring, and independent music scene. associates with a wealth of music
practices. Wes Lachot Design provided outboard processing. The smaller The studio boasts a contemporary industry experience.
the stunning architectural plan based Control Room B has a digital console digital control room and a classic- Furthermore, a unique scheme that
on the priniciples of organic and both rooms are fully networked for sounding live room complete with a provides musicians with interest free
architecture, using forward-thinking any and every conceivable combined ‘world class collection of guitars’, loans of up to £5,000 for recording
sustainable practices. or separate use. Yamaha maple custom Absolute drum services is also offered, as Ross
Due to be completed in the third "The initial concept of the studio was kit, CVP-303 digital piano, S09 explains: "We are delighted with the
quarter of 2010, the 6,000-square-foot a simple one, based on organic synth, Marshall Anniversary success of the loan scheme,
facility is located on nearly 17 acres of architecture and the principle of working guitar amp stack and which has enabled us to
pastoral land that is half forest and half as much as possible with nature instead Ashdown bass rig. work with talented
meadow, with ponds, nature trails, and of against it," explains visionary, Michael Astar is owned by musicians we might
a variety of gardens throughout. A Tiemann (pictured). Andy Ross, an otherwise have had to
soaring ceiling encloses its 1,400- "As the studio build progressed, the accomplished musical turn away on grounds
square-foot tracking room, which can genius of the design encouraged and innovator with a of means. Getting any
hold up to 36 comfortably seated allowed us to be more and more wealth of studio type of credit has
musicians at one time. 23 acoustic ambitious with our programme. experience. Ross is an always been extremely
panels can be used to fine-tune the “We chose the API Vision console international contract difficult for musicians, so
room’s acoustics, which can allow for because, quite frankly, it was the only songwriter for Clippers the opportunity to offer
reverb times of up to a second. A one that remained true to the values we Music and has been interest free finance for
Yamaha CF-9 grand piano completes established at the outset, while also writing and producing an recording services sits well with
the impressive spec of the live space, having the power and flexibility we know eclectic mix of back-to-back Astar's philosophy to empower
which is referred to simply as the we will need as we step forward into the albums, for independent and major artists with the best possible recordings,
‘music room’. future. The console's breadth and depth releases including the Yamaha New visuals and business plan to get them
The complex’s Control Room A is is astonishing, and we are really enjoying Jazz Sessions albums that have noticed. The loans are of course
also substantial and can accommodate the response we are getting from the featured in successive years on the subject to status but can be taken out
up to 16 seated people. Its reflection- professional community." Christmas cover of Jazzwise Magazine. either by the artist directly or on their
Ross also recorded tracks for Classic behalf by a manager, family member or
“The API Vision console was the only one that remained FM's Summer Piano CD and the highly friend. For independent managers and
true to the values we established at the outset, while acclaimed debut trio album Golden labels on a limited budget it also
(Basho) by the BBC Jazz Awards creates the opportunity to develop new
having the power and flexibility we’ll need in the future.” winner, Kit Downes. artists on a profit share basis."

Telephone: +1 919 602 7739 Web: www.manifoldrecording.com Telephone: +44 161 280 0908 Web: www.astarstudios.com

38 audioPRO April 2010 www.audioprointernational.com


IN SESSION <

/////////////////////////////////////////////////////////////////////////////////////////////////
To have your studio featured in this section, please send all details to: TL Audio’s Sarah Yule explores the
andrew.low@intentmedia.co.uk or call +44 1992 535646 world of dark matter...

Sound between
the sound?
I AM WRITING this month’s something, doesn’t
article while airborne, heading mean it isn’t there and so should
towards the Frankfurt respect its existence. The same
MusikMesse trade show. As I could be said with sound – just
glance out the window at the vast because we can’t perceive all the
amount of air and space between sounds between the sounds we
the ground, I’m inspired to can hear, doesn’t mean they are
consider the concept of moving not there and we should have
air in terms of transition of sound respect for them in the recording
and how we think about it. and mixing process.
As you know, when an You could look at the process of
instrument sounds it sends out creating and capturing sound as
soundwaves, frequencies that an energy flow process, where the
ripple and resonate through the energy is the sound. Your whole
air. It is our job as engineers to system (your studio technique)
capture that movement of air and your task (as engineer) is to
using a microphone to reproduce help this energy flow freely and
Rooms: Control room, live room, booth and record its emitting patterns. passionately (yet controlled
Consoles: 50-channel SSL G Series Due to the way that we accurately by you) through your
Mics: AKG, B&K, Coles, STC, Lomo, Reslo, Telefunken, Schoeps interpret this movement of air entire recording, mixing and
Outboard: GML, API, Neve, Tube-Tech, Joe Meek, Urei, Valley People
into voltages and then often again monitoring process.
Monitoring: ATC, Genelec, Yamaha, Auratone, Carver, BGW, Quad, Turner
converted into binary figures, it
then tends to focus our mind very Just because we can’t
much onto a final precise value.
The Square, London We tend to forget about the
variants, the subtle movements
perceive all the sounds
between the sounds
that weren’t picked up or were lost we can hear, doesn’t
THE SQUARE is the original Milo including rarities from Altec, Ursa Major along the way.
recording studio, opened by Henry
Crallan and John Deacon in the early
and API. Analog fans will also be pleased
to know that they can record onto an
What I am trying to say is that mean they’re not there
1980s on London’s Hoxton Square, Otari MTR90 MkII two-inch machine. the sounds between the sounds and we should have
before the area became the buzzing With enough notice and a small charge, that we noticeably perceive are
place it is today. Miloco can add a 16-track headblock. arguably just as important. The respect for them.
In February this year, Miloco All this clearly makes for a top mix human ear usually picks up
announced that the studio had been the suite; however, the studio still provides frequencies from as low as 20Hz The recording space, the
recipient of a newly-installed SSL G- an excellent tracking room as well. The right up to 20kHz with perfect microphone, the preamp, the mix
Series console – one of the early G live space consists of a wooden floor hearing. Even with these figures, it bus, the converters, the processing
Series boards that once lived at Olympic and wooden ceiling, while the has been proven that humans can power, the editing, the effects, the
Studios. This pristine desk comes with surrounding walls are made up of a
‘feel’ frequencies outside the dynamics, and the monitors all
50 G-Series channels, each of which number of large mirrors interspersed
has been lovingly restored. Further with acoustic fabric. It is a well- realm of their hearing capabilities. play a part in how you can respect
upgrades include several pieces of controlled live space, but for engineers This means we must be very this flow of energy. Each element,
outboard by brands such as GML and that like things a touch brighter, it has a sensitive to different frequencies when explained in this way, can
Tube-Tech. This adds to a spec that stone floor at one end to add a little and even if we can’t easily pick help make sense of why these
already included ATC SCM200 monitors sparkle to recordings. There is a good them out in our hearing, we may separate considerations and
(set up by acoustician Nick Whitaker), size booth for isolation and a selection still be aware of their existence processes are important and what
and a 48-output Protools HD3 Accel of instruments such as a Hammond and possibly even rely on them to effect they could each have on the
rig. For nearfield monitoring there's a complete with Leslie and Korg CX3. make things sound ‘natural’. sound energy flow process.
choice of NS10s or Genelec 1031s. The Square has been going for over
In physics and astronomy, many Next time you begin to venture
The studio is accessed through a 25 years and has a client list that features
peaceful and secluded courtyard, the likes of Bloc Party, DJ Shadow, have discussed ‘dark matter’. into a fresh capture of moving air,
which leads visitors directly into the Richard X, Ash, Bjork, Beth Orton, Liberty Basically, it is the ‘stuff’ that isn’t or sit down to process your
400 square-foot day-lit and air- X, David Sylvian, Erlend Oye, Annie, there, the space between the captured energy, be mindful and
conditioned control room. There, to Howie B, Two Door Cinema Club, space that must exist – and helps respectful to allow it to flow with
the left of the G Series, can be found a Kasabian, Kathryn Williams, Rachel to explain the workings and the freedom and passion that
large selection of quality outboard. Stevens, Luke Haines, Razorlight, expansion of our universe. It is nature intended, yet help it with
Along with the recent upgrades, there Rodney P, Everything Everything, Little said that just because we can’t see your inspired and creative hand.
are a number of vintage pieces, Boots, Crystal Castles and many more.

It is a well-controlled live space, but for engineers that Sarah Yule is an experienced audio engineer and Liverpool
like things a touch brighter, it also has a stone floor at Institute for Performing Arts (LIPA) graduate. After graduation,
one end to add a little sparkle to recordings. Yule became one of the first sales staff for Dolphin Music. She
currently works for TL Audio where she was recently promoted to
the position of sales director, which is partially due to the success
Telephone: +44 (0) 20 7232 0008 Web: www.miloco.co.uk/square
of her conceptual design of the Fat Track Tube Production Suite.

www.audioprointernational.com audioPRO April 2010 39


> PRODUCT

NEW GEAR
>> Recent releases in audio technology

1 2 3 4

Proguard custom Earthworks PM40T Powersoft Armonia Pro Allen & Heath iLive v1.6
earplugs Touring PianoMic Audio Suite software
THEY SAY: Proguard uses acoustic THEY SAY: the new PM40T Touring THEY SAY: Armonía delivers a highly THEY SAY: iLive v1.6 introduces support
filters calibrated at various SNR levels PianoMic System delivers the sonic intuitive and comprehensive software for the new iLive-R72 Control Surface,
for accurate hearing and ear protection. performance of its sibling while offering solution for managing and controlling Dual-Rack input expansion and
SPECIFICATIONS: Proguard earplugs quick, simple, and easy setup, in a sound systems of any size or scope. SuperStrip user view in the Editor
are designed to safeguard the user’s compact airline friendly carry-on case. SPECIFICATIONS: Powersoft’s Armonía control software.
hearing from excessive sound levels, SPECIFICATIONS: PM40T features two Pro Audio Suite is an Ethernet-based, SPECIFICATIONS: iLive v1.6 software
which may lead to tinnitus, deafness Random Incidence, omnidirectional, auto-addressing software package, features the Dual-Rack system
and other noise related symptoms. 40kHz high definition microphones. which hosts AES3 audio on the same expansion, allowing up to 128 input
They come with a choice of filters to Featuring a frequency response ranging cable. It provides built-in redundancy channels to be used simultaneously.
suit the needs of general gigging and from 4Hz to 40kHz, these microphones and logging and alerting features and is Two MixRacks can now be linked
concerts and provide higher levels of exhibit no proximity effect regardless of designed to work with KDSP-equipped together via the Port B sockets to
protection for DJs, drummers and their distance from the piano strings or Powersoft K, Q, D, QTU and Duecanali provide 32 mix buses and control of
musicians in very loud bands. soundboard. series amplifiers. both racks on one surface.
The filter choices are 8dB (soft pad) The PM40T’s adjustable, telescoping The suite has a Live Impedance Its SuperStrip processing view
for low-level protection and optimised tube is supported by the sides of the measurement screen for constant visual combines live mixing parameters into a
dynamic response, 13dB (medium pad), piano case, facilitating flexible tracking of the system impedance curve, single window, enabling a more
which allows users to feel the musical placement of the microphones close to an Active DampingControl feature for comprehensive mix. Another key
sensation and 17dB (hard pad) for or away from the dampers, facing improved cone control and the feature is the ability to set the
efficient noise safeguarding that still toward, or away from the keyboard. TruePower Limiter feature for controlled redundancy socket on Allen & Heath’s
allows the full acoustic experience. > earthworksaudio.com operation and longer driver life. ACE option card as a breakout to split
> proguarduk.co.uk > powersoft.it to other iLive systems.
> ilive-digital.com

5 6 7 8

B&C DE850TN Audio-Technica BPHS-1 Focusrite OctoPre MkII


neodymium high broadcast headset Dynamic EAW KF740 Line Array
THEY SAY: This smooth and natural THEY SAY: BPHS-1 combines natural, THEY SAY: The OctoPre MkII features THEY SAY: EAW’s KF740 three-way full
sounding, high frequency driver is focused vocal reproduction with high eight channels of Focusrite's renowned range line array features symmetrical
aimed at the budget conscious builder. levels of background noise isolation mic preamplification. design, large horn and spaced woofers,
SPECIFICATIONS: The DE850TN is a from the closed-back earcups. SPECIFICATIONS: The OctoPre MkII is while EAW Focusing and Resolution
two-inch exit high frequency driver SPECIFICATIONS: The BPHS-1 is based an eight-channel mic preamp with new software enhances performance.
featuring the same three-inch voice coil on Audio-Technica’s M30 headphone single-dial, VCA-based compressors on SPECIFICATIONS: Each module contains
and titanium diaphragm as the with a dynamic cardioid microphone every channel derived from the two HF compression drivers with 2.5-
company’s DE950TN. attached to the left earcup. Focusrite Red 3. inch voice coils and two eight-inch MF
Featuring a Neodymium magnet It features user-replaceable cable Each channel has a VCA-based transducers with three-inch coils,
assembly with shorting copper cap, the and ear pads, an adjustable cushioned compressor. It's possible to transform integrated into a single horn that
driver provides 108dB sensitivity with a headband and a gooseneck-mounted the behavior of the VCA, doubling the occupies the entire face of the
frequency range of 0.5 - 18kHz, a microphone to allow positioning on ratio to deliver an invigorated effect enclosure. A 90-degree pattern control
Nominal Impedance of 8 Ohms, either left or right-hand side. A compressor by using the compressor’s is provided down to 160Hz, as the MF
Minimum Impedance of 8.5 Ohms, a neodymium magnet is found in the ‘More’ switch. frequencies are transitioned to a spaced
Nominal Power Handling (AES) of 110W headphone with a driver diameter of On-board digital converters, with array of four 10-inch LF transducers with
and Continuous Power Handling of 40mm. Its frequency response is 20- clocking and jitter-elimination 2.5-inch voice coils. Two of the LF
220W. 20,000Hz for the headphone and technology, enable eight channels of transducers are mounted within the
> bcspeakers.com 40-20,000Hz for the microphone with 24-bit/96kHz digital audio to and from horn, and two are side-mounted,
a headphone sensitivity of 100dB for an ADAT-equipped computer providing 18dB of off-axis rejection. All
headphones and -57dB (1.4 mV) re 1V at workstation or hard disk recorder. magnet structures within the KF740
1 Pa for the mic. The A-D and D-A converters can utilise neodymium magnets.
> audio-technica.com operate at sample rates of up to 96kHz, > eaw.com
> focusrite.com

40 audioPRO April 2010 www.audioprointernational.com


PRODUCT <

1 2

3 4

6 8

www.audioprointernational.com audioPRO April 2010 41


> PEOPLE

Sergio Castillo
IN BRIEF Studer appoints Tiamas joins NOA Audio
New sales engineer for Eastern European countries
Solutions
STUDER PROFESSIONAL has
BOSCH SECURITY Systems announced the appointment of Ex-Avid man to handle
has appointed John F. Anderson Tibor Tamas as its sales engineer for Latin American sales
to the role of product marketing Germany, Austria, Greece and the
manager, Intercom. Eastern European countries. NOA AUDIO Solutions has
Anderson will Tibor Tamas is a Studer veteran, appointed Sergio Castillo as its
support the having worked for the company for sales manager for Latin America.
Americas over 32 years. He started in 1977 as Castillo joins NOA after 12 years
region in his an apprentice to continue his in senior sales positions for Avid
new role, education as an electronics engineer Technology, and will coordinate
applying his with Studer and worked in the R&D NOA's sales operations
substantial department developing mixing throughout the region.
industry consoles. Subsequently, Tibor joined "I fell in love with NOA's
experience and the service department providing technology during a technical
strong marketing worldwide product session in Vienna and I feel that
background to develop support/engineering and more Latin American countries will
and implement marketing recently spent four-and-a-half years in truly benefit from this product
strategies for RTS and Telex North America, firstly at Studer line for preservation of cultural
intercom products. Acting as the Canada then JBL – Studer’s heritage, which may otherwise be
focal point for the voice of the Distributor in the USA – as a sales lost," said Castillo. "Each country
customer in this segment, engineer and technical service in the region has a complete
Anderson will report to Daniel manager for Studer. audio history in music, sounds,
Gundlach, VP marketing – Ian Staddon, VP sales at Studer and speech to archive and NOA's
Americas. commented: “Having Tibor in the approach to the process is
> bosch.com role of sales engineer allows Studer outstanding. It is a complete
to utilise his vast experience in both support them on an operational solution that can be tailored
FAIRLIGHT HAS taken on console and system architecture to level in production, TV and radio exactly to each client's needs."
Rachel Verity as its new provide our distributors and broadcast, as well as the many live NOA provides software and
financial controller. customers with in-depth knowledge sound applications that our Studer hardware tools for digitising and
Verity is a highly experienced and consultation on Studer system digital mixing systems are used for. managing archive essence
finance professional with a hardware and software. Additionally, He will be a great asset to Studer as material, with a particular focus
double degree in due to his past experience in training well our partners.” on audio archives.
Accounting/Finance and our customers, he will be able to > studer.ch > noa-audio.com
Economics and a
postgraduate
Diploma in
Corporate
Governance.
JBL Professional adds new sales VP
Prior to joining Ralph Quintero to look after worldwide sales planning and management
Fairlight, she
spent 17 years JBL PROFESSIONAL has added
with GEA Colby, a Ralph Quintero as its new vice
large international president of sales.
technology business with Quintero rejoins JBL Professional
a strong focus on product after more than six years with Global
development. Sales Management, an audio systems
> fairlightau.com consultancy he founded. During this
time, he helped businesses achieve
CLEAR-COM results in sales and brand


Communication Systems, a development in Latin America.
Vitec Group brand, has named
Edmund Song as its new
regional sales manager for JBL manufactures
Southeast Asia. the highest-
Song will lead the promotion
and sales activities of Clear- performing
Com's intercom product lines in loudspeakers in
the region, while developing the
company's relationships with its the industry.
customers, distributors and Ralph Quintero
systems integrators.
In his new role, Song will use
his background in the In his previous tenure with JBL JBL Professional,” Quintero said. “I In his new position, Quintero is
management and sale of Professional, Quintero served as look forward to helping drive responsible for sales planning and
professional broadcast and A/V director of sales, intercontinental. worldwide sales for JBL, which not management, including close
equipment to further establish “After successfully developing only manufactures the highest- collaboration with domestic regional
Clear-Com's presence in innovative strategies with a variety of performing loudspeakers in the sales managers and manufacturers’
Southeast Asia. prestigious clients with Global Sales industry, but also offers the world’s representatives, and international
> clearcom.com Management, I am eager to face new most varied range of professional distributors and sales directors.
challenges as vice president of sales for loudspeaker systems.” > jblpro.com

42 audioPRO April 2010 www.audioprointernational.com


DISTRIBUTION <

Red Square announces four new EMerging to


distribute MicW
Apex dealers for the UK and ROI Microphones in
New dealers to handle sales and distribution into live and installation markets the UK and Ireland
Chinese mic
RED SQUARE Audio has appointed the Apex range widely available
four new dealers to handle sales and throughout the UK and ROI, hence manufactuer signs
distribution of Apex’s range of live our decision to appoint a group of exclusive deal
sound and install products in the UK strategically positioned dealers that
and Republic of Ireland. will help us to sell this great brand EMERGING HAS announced
The agreement will see Adlib, into the live and installation markets. an exclusive distribution


Autograph Sales and The Warehouse Innovation, superb design, and sonic agreement for the full range from
excellence are the Apex trademarks Chinese recording microphone
and I believe that we will see a company MicW in the United
I believe we will proliferation of projects utilising these Kingdom and Ireland.
soon see a great audio tools in the coming A subsidiary of the
months and years. measurement microphone
proliferation of “Initially, our main focus will be on manufacturer BWSA, MicW was
projects using the unique SL noise control systems formed in 2008 to develop
(the Argos and Hera), the dB microphones designed for
Apex. distribution mixers, and the new broadcast, recording and live
Paul Nicholson dBDI-2 dual active DI box. All of applications. MicW launched its
these products are class leading and international sales activities in
they will undoubtedly become Europe in Spring 2009.
managing distribution in the UK and industry icons. We will also be "As the home of one of the
Sound Communications covering the promoting the Intelli series of digital dealers will be able to supply demo most active recording industries
Republic of Ireland. system controllers and the GX and PE stock and offer a comprehensive after- in the world, the UK is an
Paul Nicholson, managing director reference graphic and paragraphic eq sales service with the full back-up important market for us,"
of Red Square Audio, commented: units as alternatives to the current support of Red Square Audio.” commented MicW sales director
“We are fully committed to making industry standard choices. All our > redsquareaudio.co.uk Qunli Wu. "We need a strong
distributor in London with an
active track record in sales and
support, and with good
APG appoints Audio-Technica for Germany connections to the audio-visual
industries. The eMerging team
Distribution deal puts APG alongside A&H in exclusive German portfolio fits all of these criteria.
EMerging co-founder Richard
FRENCH LOUDSPEAKER Bowen stated: "MicW adds
manufacturer APG has announced another important dimension to
the appointment of Audio-Technica our activities as a distribution
Germany as its exclusive German company. As exclusive UK
distributor, effective March 1st 2010. distributors for Merging
According to APG’s Xavier Pion, Technologies, Smart AV, and
the move represents a significant step DAD we sell and support a lot of
forward for the brand in Germany: equipment for working with both
“Germany is one of the biggest and high-quality audio and video, but
most dynamic markets in Europe, so nothing to handle audio capture
it’s important that we have strong — until now. The eMerging team
representation here,” he noted. has a lot of combined past
“Audio-Technica is an internationally experience in mic retail and
recognised brand with a high-end support, and we will be drawing
product image which reflects our on that to deliver an aggressive
own. Furthermore, Audio-Technica UK and Ireland-based sales
Germany, as a subsidiary of Audio- channel for MicW."
Technica, has a well-established and > mic-w.com.
technically knowledgeable sales force
with excellent market penetration.”
“The only other brand it currently clear advance in the realisation of right brand for us. APG has exactly
represents is Allen & Heath, with our international development the profile that we were looking for –
which it has been extremely strategy and I’m looking forward to high quality, technically superior
successful so far,” continued Pion. working with the Audio-Technica products with a young, dynamic and
“Sales across the range have been team to establish the APG brand ambitious team behind them who
excellent, so that is very encouraging throughout Germany.” are keen to make a name for
for us, as we have most of our major Audio-Technica Germany’s MD, themselves on the international
markets in common. In fact, Audio- Jörg Rader, was equally enthusiastic: stage. These are the kind of people
Technica Germany is present in all of “We have been considering the idea and products that we like to work
the markets that are important to us; of expanding our range of with, and I am confident that we will
namely fixed installations (clubs, distributed brands for some months be able to take APG to the next level
theatres, multi-purpose performance now in the wake of the success we’ve in the German market. It’s both
venues) and the touring rental enjoyed with A&H, but we wanted good for them, and good for us.”
business. This new partnership is a to be sure that we were taking on the > apg.tm.fr

www.audioprointernational.com audioPRO April 2010 43


MARKETPLACE <

SUPPLIER SPOTLIGHT  MARKETPLACE ADVERTISERS INDEX 

Gasoline Media Adam Hall

Crown
01702 613922

+1574 294 8093 www.itechd.com


FORMED IN 2000, Gasoline Media
DBT 0800 239 2848 www.dbtechnologies.com
specialises in public relations for the AV,
entertainment technology and events Flightcase warehouse 01872 60009 www.flightcasewarehouse.co.uk
markets. Full Fat Audio www.fullfataudio.com
Owner and director, Sarah James, has
been working in the industry for 20 years, Gasoline www.gasoline.co.uk
initially at Disco International and Live! GHQ 0207 8749 5654 www.wesonator.co.uk
magazines, moving into PR in 1993 and
setting up Gasoline Media in 2000. Graphic Nature 01992 558800 www.graphicnature.co.uk
“When I started doing PR there were HME +1858 535 6060
very few companies around offering that
sort of service,” James said. “As the Leisuretec +44 (0) 1525 850085 sales@leisuretec.co.uk
industry has evolved, and people have Neutrik +44 (0) 1983 811 441 www.neutrik.com
become both more busy and more savvy
Sound Marketing 01296 621 052 www.soundmarketing.co.uk
about promoting their businesses, the
need to have someone permanently TL Audio 01234 772 244 www.larkingslist.com
looking after their publicity interests has
become an increasing necessity. And  
that’s where companies like Gasoline can Gasoline offers specialised PR

AUDIO
really help.”
Gasoline works with a variety of interesting to the magazines, plus
companies across the industry, which splitting a project between a number of
helps it to be creative in approach and budgets means that we can make
cost efficient. everyone’s PR fee go that much further.”
To ensure maximum effectiveness is
provided to its clients, James works
closely with freelance staff who have
extensive experience of both the
Gasoline’s aim is always to work
closely with its clients, making sure that
core messages are communicated with
each and every piece of material
produced and supplying a PR programme
MARKETPLACE
technical side of the industry and
media/PR. that builds brands and connects clients CLASSIFIED RATES: To advertise call
She stated:“We’re always looking for directly with their customers. Minimum 12 Months -
new angles and also for those where more Gasoline’s audio clients include
DiGiCo, Turbosound and Ampetronic. One Annual Charge
Darrell Carter
than one client is involved,” James
continued. “It can make a story more > www.gasolinemedia.com Quarter Page £1,495 on 01992 535647

DISTRIBUTION DISTRIBUTION

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> MARKETPLACE
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bringing brands together

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STUDIO

“ It’s great to know


that your mastering
job is in a really safe
pair of hands.”
API MARKETPLACE
When you hand your precious music project over to
Wes at the GHQ Sonic Cuisine you can relax, knowing
you have chosen an experienced and passionate sound
engineer who will care about getting it right for you.
GREAT ADVERTISING
With a tried and tested combination of classic production values and
contemporary technology, Wes will deliver a finished master you can be
proud of. You won’t have to pay double the price to attend the session
OPPORTUNITIES
either, nor will you be charged exorbitant prices for reference copies.
If you can’t attend the session, everything can be done on-line via Wes’s
website. If you do attend, you can expect a warm welcome, excellent
coffee and lashings of Belgian chocolate - well, he is Belgian after all.
Which means he speaks Dutch, German, French and English fluently.

Book your first mastering session quoting SAFEHANDS09


and get a 10% discount on the total cost of your job.
E-mail your name and address to info@wesonator.co.uk and enter
Wes’s monthly draw to win a box of the best chocolates in Belgium!
CONTACT
Wes Maebe
The GHQ Sonic Cuisine, West London
DARRELL CARTER
Freelance recording, mixing,
mastering and live engineer.
T: 020 8749 5654
+44 (0)1992 535647
M: 07875 401114
E: wes@wesonator.co.uk
www.wesonator.co.uk
Photo by Stefan Lubo. www.stefanlubo.com
The Audio Pro paparazzi is infiltrating all audio events, snapping away for our
monthly Mixdown, which features friendly faces of people in the business and
shots from industry events. If you have any pictures from an event that you
would like us to include, please send them to andrew.low@intentmedia.co.uk.

The last word in Audio Pro


PIC OF THE MONTH

A FISH LOOKING AT A HORSE


Audio Pro found this fish-eye image of Avast Recording’s control room
knocking about in the Mixdown archives. Weirdly, it’s never graced these
fair pages before, so here it is for you to cast your cod-like eye over. This
casually bored-looking bunch of dudes make up North Carolina-based
indie/southern rock group Band of Horses. (Okay, that’s enough fish.)

Toronto-based DJ and remixer Deadmau5, aka Joel Zimmerman, is AUDIO FISH OF THE MONTH
the latest clubland star to invest in Prism Sound’s Orpheus
FireWire recording interface. Here he is cradling it in his studio.
“I first heard about it at 2009's WMC, where I had a chat with
one of the reps at a booth at the National Hotel,” he says. “I did a
lot of online research about A/D D/A quality and Prism Sound
just kept coming up at the top of the list, so I finally pulled the
trigger on one last month.”
Zimmerman now plans to use the Orpheus in his live show setup.

JUMP!
The New Years Ski-
Jumping Competition in
Garmisch-Partenkirchen,
Germany is a highlight of
the world-famous Four
Hills Tournament.
This year, TC
Showtechnik was again
responsible for the sound
reinforcement and relied
on equipment from
Electro-Voice. XLD line
array elements were hung
near the jump, managed
by an N8000-1500 Mark Thomas, guitarist for the band Black Spiders, caught this
loudspeaker Baby Bluefin Tuna while sailing in the Mediterranean Sea, just
controller. south of Mallorca. Please no hate mail for this one – Thomas
This latest used the catch-and-release policy after reeling in this
(58th) edition
comprised four endangered leviathan. The Black Spiders are currently
competitions on recording their debut album at Axis Studio, Doncaster, UK. Send
four different pictures of your big catch to Andrew Low at:
slopes. andrew.low@intentmedia.co.uk (Really, enough fish, please.)
>>
www.audioprointernational.com audioPRO April 2010 49
>> EMPTY ROOM OF THE MONTH
DIGITAL DUO

The KME Auditorum, Klingenthal, Germany Soundcraft/Studer’s Dave Neal and Sam Cordell pose at
the Harman booth during Prolight + Sound. The Potters
Just look at the array of colours, never mind PA cabinets to be found in this room. Bar locals were at the show to promote the launch of the
Unfortunately, sound pressure levels in this beautiful space are so high, it’s too Vi1 digital mixing console.
dangerous for a human to enter.

FASHION B4 FUNKTION DEEP SEA JOE GOES A


DIGITAL BIT PRO
Legendary blues guitarist
Joe Bonamassa, who has
played with artists such as
Ray Charles, Eric Clapton
and BB King, bought his
producer Kevin Shirley a
Palmer Audio Tools
PDI-03 speaker simulator.
Funktion-One’s Tony Andrews “It gives the sound an
was spotted in a suit and tie at this immediate attack,”
year’s PL+S (insert sudden This Sound Devices 744T recorder is
disguised as an clam with tentacles, explained Bonamassa.
inhaling sound). Andrews actually “It’s really warm and
looked pretty dapper in his in order to capture audio underwater
for a dolphin preservation campaign. really inviting”
pinstripes and fish tie. (Seriously...)

To discuss advertising contact Darrell Carter on 01992 535647 darrell.carter@intentmedia.co.uk


For editorial enquiries email Andrew Low andrew.low@intentmedia.co.uk or call 01992 535646

Audio Pro International is published 11 times a year by Intent Media


~ Saxon House, 6A St. Andrew Street, Hertford SG14 1JA, England
SUBSCRIPTIONS
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A
A
audioPRO April 2010
If you would like to receive your own copy of Audio Pro International, please email our
subscriptions department on: audio.subscriptions@c-cms.com or call 01580 883848

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