AudioMediaInt012016 PDF

January 2016 www.audiomediainternational.
com
ON THE FRONT FOOT

We visit the new home of
Foley specialist Feet First
Sound in Essex, UK p27
FEATURE
Exploring four key areas of the
FINAL CUT
The Ardmore Sound team on
REVIEW
Nigel Palmer puts EVEs
commercial install market p18 telling the story of Room p23 SC3010 to the test p32
01 AMI Jan 2016 FC_Final.indd 1 06/01/2016 17:05

THE BEST SOUND, ALL AROUND
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X Series offers studio monitor sound quality, compact design, consistent tonal balance, no minimum listening distance and exceptional
feedback rejection. www.l-acoustics.com
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www.audiomediainternational.com WELCOME
EDITOR
Adam Savage
asavage@nbmedia.com
MANAGING EDITOR
Experts in the issue RARING TO GO First of all, weve got timely articles
Jo Ruddock
jruddock@nbmedia.com on The Laundry, a new Foley studio thats
STAFF WRITER Lonnie Bedell just opened its doors over in Essex,
Colby Ramsey
cramsey@nbmedia.com
is the owner of UK and a Final Cut piece on Room, the
AVLifesavers, a Golden Globe-nominated film from
ADVERTISING MANAGER manufacturer of
Ryan ODonnell Frank director Lenny Abrahamson, which
rodonnell@nbmedia.com
specialised gadgets
for the live sound hits cinemas right as this edition lands.
ACCOUNT MANAGER industry. Keeping the feelgood factor going
Rian Zoll-Khan
rzoll-khan@nbmedia.com is our newly expanded Geo Focus
HEAD OF DESIGN feature, which this month sees us turn
Oliver Sahm
Jat Garcha
is director of our attention to the USA, and reveals
jgarcha@nbmedia.com
W
marketing application how levels of optimism are seemingly
DESIGNER design at Bosch e may only be a few high across the audio industry there at
Tom Carpenter
Security Systems.
tcarpenter@nbmedia.com days into 2016 at present, but that doesnt make it free of
PRODUCTION ASSISTANT the time of me writing challenges and potential pitfalls.
Warren Kelly
wkelly@nbmedia.com this anyway but Youll also find us investigating the
I dont think I can current state of the commercial install
CONTENT DIRECTOR Ganesh Singaram
James McKeown recall seeing as much positivity from market on Page 18, where we pick four
jmckeown@nbmedia.com
has been engineering
and producing records my industry peers as what Ive been key categories of application, and quiz
Press releases to: for ten years, having witnessing since returning to my desk a number of companies about recent
ukpressreleases@nbmedia.com
moved to London from this week following a cracking Crimbo. developments and trends.
Sydney, Australia. He
NewBay Media 2016. I dont know if its just me, but the Oh, and in case you didnt see our web
No part of this publication may be has spent time as an
reproduced in any form or by any in-house/freelance New Year messages Ive been receiving story on the first day back, were marking
means without prior permission of
the copyright owners. engineer, tutor and have seemed that little bit cheerier than a year since the launch of Audio Media
Audio Media International is published
studio owner, working usual not that they were ever delivered International by rolling out a reader
by NewBay Media, 1st Floor, Suncourt with artists such as
House, 18-26 Essex Road, London drearily and I was encouraged to survey, allowing you to let us know your
N1 8LN, England. Pharrell Williams and
Kanye West. discover that I was far from the only one thoughts on our print and digital services.
Editorial tel: +44 (0)20 7354 6002
Sales tel: +44 (0)20 7354 6000 who, by the end of the festive period, Weve already had a great response so
actually found myself itching to get far, but if youd like to get involved and
Brad Watts
back into the hot seat here. I had a lovely be in with a chance of winning some
has been a freelance
Audio Media International writer for numerous Christmas break thank you, but there are Amazon vouchers then make sure you
ISSN number:
ISSN 2057-5165 (Print) audio magazines, has only so many leftover mince pies and TV take part before the closing date of 18
Circulation & Subscription enquiries
mastered and mixed boxsets one man can consume before January. Youll find details on our website.
Tel: +44 (0)1580 883848 various bands, and
email: the desire to actually use ones brain And finally, one more time: Happy
audiomedia.subscriptions@c-cms.com was deputy editor
1 Color - 100 White
of AudioTechnology again takes over. New Year!

Printed by Pensord Press Ltd
in Australia. He is So here we are then with brain re-
now digital content engaged and batteries charged, lets see Adam Savage
manager for Content
what our first issue of 2016 has in store Editor
and Technology.
for you, dear reader. Audio Media International
January 2016 3
03 AMI Jan 2016 Welcome_Final.indd 1 06/01/2016 17:09

CONTENTS www.audiomediainternational.com
6 6
PRODUCT NEWS
Merging and Genelec plan immersive showcase at ISE
23
14
FEATURES
GEO FOCUS: USA
Despite positivity across the pro-audio spectrum,
pressure on margins remains a cause for concern
7 New AIMS IP Alliance formed
18 INSTALLED SOUND:
PEOPLE David Davies assesses the situation in four
key sectors of the commercial install market
10 OPINION
Jerry Ibbotson mulls over what would make the 23 FINAL CUT:
perfect piece of radio gear Instead of an action-packed feast for the senses,
Room provides a unique opportunity to tell a
12 Ganesh Singaram of Blue Box Studios on the story using sound. We catch up with the
psychological side of music production team responsible
42 INTERVIEW 27 STUDIO PROFILE:

Colby Ramsey talks to engineer Drew Bang about Adam Savage takes a trip to Essex to visit
his MPG nomination, the allure of Strongroom a recently opened Foley studio
and what 2016 has in store for him
TECHNOLOGY
30 HOW TO
Lonnie Bedell of AVLifesavers offers his top tips
for dealing with people not used to working with
a sound guy
42 ALSO INSIDE
32
34
32
REVIEWS
EVE Audio SC3010
Audio-Technica BP40
36 Radial Trim-Two
8 NAMM PREVIEW: 38 Presonus Studio 192
We look at whats set to be hot in California 40 Sonnox Envolution
4 January 2016
04 AMI Jan 2016 Contents_Final.indd 1 13/01/2016 10:00

F1_evo_AMI_fullpage.pdf 1 06/07/2015 16:12
CM
MY
CY
CMY
Boom festival photo: esweb
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PRODUCT NEWS www.audiomediainternational.com
MERGING, GENELECS IMMERSIVE SHOWCASE

Merging Technologies and Genelec integrated 3D rendering engine, for use NEW DYNAMETER FROM
have announced they are joining forces
to deliver a groundbreaking immersive
audio experience at ISE 2016 in
with both replayed sounds and an almost
limitless number of live inputs.
Immersive audio and AoIP are the
METERPLUGS
MeterPlugs has announced its new
Amsterdam next month. spotlight and interest is really picking up
Dynameter tool. The plug-in shows
The companies are promising visitors among systems integrators, commented
a real-time display of the musics
to the Merging stand (7-C160) a unique Chris Hollebone, sales and marketing
dynamics, either beat by beat, or over a
opportunity to experience a solution manager for Merging Technologies. For
whole song or album.
that signals the future of audio in that reason weve created an installation
According to MeterPlugs, the plug-in
fixed installations. that demonstrates how these two
helps to achieve competitive dynamics
The setup will combine Mergings trends can combine in a powerful,
and consistent playback volume
recently released Ovation 6 with captivating way.
across online streaming services,
Genelecs pre-production Ravenna/ Were delighted to partner with
measuring dynamics using PSR (Peak
AES67 powered 4420 a new model Genelec on this, their reputation speaks
to Short-Term Loudness Ratio), which
designed to bring the benefits of for itself, and Id urge any integrator
is based on the ITU loudness standard,
Genelecs DSP system to the 4000 interested in the future of audio to visit
displaying it via a history graph and
Series of loudspeakers for fixed our stand at ISE.
allowing users to choose their own
installations, as well as AoIP capability www.merging.com
dynamics target for their music.
in an 18-speaker array. www.genelec.com
Dynameter was designed by
Ovation 6 grants the power of an www.iseurope.org
mastering engineer Ian Shepherd, who People are telling us they love
runs the Production Advice website Dynameter, added Ian Kerr of
and founded Dynamic Range Day. MeterPlugs. Its very easy to use.
Ive found over the years that PSR Just choose a PSR target and keep
is a really great way of assessing the the history graph from dipping below it.
dynamics of your music and helping You can compare your music to all
you find the perfect balance between of your favourites, and it becomes
loudness and dynamics, really addictive.
said Shepherd. www.meterplugs.com
CADAC CDC SIX NOW SHIPPING AKG UNVEILS K182 HEADPHONES

Cadac has announced details of a AKG has introduced the K182 the K182 is built to endure the
clutch of initial key sales of the new foldable, closed-back professional inevitable drops and bumps that
CDC six now that the console has monitor headphones, which are happen during use and transport.
started shipping to customers across designed to provide sonic clarity, The 3D-axis professional folding
Europe and Asia. comfort and portability for musicians mechanism makes it easy to pack the
Since its launch at Prolight + Sound and engineers all at an affordable headphones into compact spaces,
in April 2015, the CDC six has received price point. and the detachable cable with
interest from distributors in Benelux, The K182 drivers ensure high output 1/8in-1/4in screw-on adapter offers
Denmark, France, Italy, Spain, Sweden while the 10Hz-28kHz frequency easy connectivity with gear of all
and the UK, as well as several Asian range provides a truly balanced mix. kinds and, along with the replaceable
territories, including China. The K182s high-sensitivity 50mm earpads, extends the longevity of the
The latest development, however, transducers also ensure professional- customers investment.
is in Poland, where Cadacs Polish Cadac system provides a number quality sound even with mobile While the K182 headphones are
distributor Tommex has installed the of application possibilities for devices, the manufacturer says, while the result of careful listening to the
medium-format live sound console in productions and events, required by the closed-back, over-ear design needs of customers who work in
the Miejskie Centrum Kultury (MCK) in both the centres own technical staff provides great performance for every environments of all sizes and shapes,
Plonsk, as part of the modernisation of and visiting sound engineers. instrumentalist and comfort during we found a common thread in their
the towns cultural centre. The Tommex Due to the simple and transparent long sessions. criteria for a must-have pair of
installation the first in Poland is interface, operation of the console Providing long-lasting durability, headphones excellent sound quality,
in MCKs Kalejdoskop Cinema, a turned out to be trivially simple, said lasting comfort and built-to-last
multipurpose hall. Krzysztof Dembicki from MCK Plonsk. reliability, said Karam Kaul,
The CDC six and two MegaCOMMS Everything is logically arranged and Im marketing director at AKG.
connected CDC I/O 3216 stageboxes sure that none of the sound engineers With the K182 headphones, we
were chosen by the MCK Plonsk visiting our centre will have any enable musicians and engineers
in a tender, providing a system problem with its operation, and they to truly take control of
configuration that met the venues will also have the chance to listen to their sound.
objectives and exceeded the projects just how fantastic it sounds. www.akg.com
technical design specification. The www.cadac-sound.com
6 January 2016
06-07 AMI Jan 2016 News_Final.indd 1 06/01/2016 14:58

PRODUCT NEWS
PMC PREVIEWS IB1S-AIII MONITOR
GB
UK manufacturer PMC is using NAMM
to launch its IB1S-AIII activated Frankfurt am Main
reference monitor, a high-resolution
DU: 05.12.2015
three-way speaker that offers a flexible 7 10. 4. 2016
plug-and-play design.
Designed for small to medium-sized
control rooms, the IB1S-AIII is suited
to a wide range of applications, from
recording and mixing to broadcast,
post production and mastering. It
will be on show at NAMM 2016,
Booth 6598 (Hall A).
The IB1S-AIII delivers unparalleled
61508-001_MM_Allgemein_Audio_Media_International_95x270_GB CD-Rom ISO 39 CMYK yi: 07.12 .15

levels of audio transparency and identical dynamics and deep defined
accuracy, as well as a compression-free bass at all monitoring levels.
flat response at all levels to ensure that It also benefits from a precision,
even the longest session remains fatigue passive, hand-built, 24dB per octave
free and highly productive, PMC says. crossover network, which employs 31
Precision soft dome 27mm HF and components to divide the amplifiers
75mm MF drivers provide ultra-high output signal into three frequency bands
definition and an extremely wide, natural for the individual drivers.
dispersion creating a soundstage over a Power to the IB1S-AIII is supplied by
vast listening area. PMCs own 400W Class D amplification,
The low frequency is handled by PMCs which offers maximum fidelity, high
10in carbon fibre and Nomex LF piston damping and ultra-low distortion,
driver teamed with the companys ATL resulting in near-instantaneous
(Advanced Transmission Line) bass- stop/start control over the entire
loading technology, which provides an driver compliment.
unmatched response down to 25Hz with www.pmc-speakers.com
AIMS IP ALLIANCE FORMED Its my tune.

A group of broadcast and media compete with other content options
industry suppliers including such as over-the-top (OTT), open
Lawo, Grass Valley, Imagine standards are the key to protecting
Communications, Snell Advanced current investments and ensuring
Media and Nevion have come long-term interoperability.
together to form the Alliance for IP Specifically, AIMS will prioritise
Media Solutions (AIMS). three key strategies:
Make sure youre here and make Musikmesse
The new, independent trade Initiatives that facilitate the
associations mandate is to bring education and adoption of 2016 your own event. Immerse yourself fully
IP solutions to market that offer open standards in the world of music, forge new contacts and
complete interoperability, are based Facilitation of activities that meet the big names of the industry in person.
on open standards, and integrate accelerate the development of
Above all, enjoy a uniquely diverse musical
seamlessly into media workflow solutions that support these
environments to foster industry open standards experience!
innovation and efficiency. Nurturing the creation of new
Its efforts will be focused standards by supporting Find out more at:
on promoting the adoption, standards bodies with
musikmesse.com
standardisation, development and participation and testing in
refinement of open protocols for real-world environments info@uk.messefrankfurt.com
media over IP, with an initial emphasis AIMS provides specific guidance Tel. +44 (0) 14 83 48 39 83
on VSF TR-03 and TR-04, SMPTE in its bylaws to its members and
2022-6 and AES67. to the media industry via the AIMS
As broadcasters and other Roadmap. The organisation endorses
media companies look to use IP an IP transition plan that includes
workflows to speed and streamline support for SMPTE 2022-6, AES67
the movement and management of and VSF recommendations TR-03
increasingly complex content and and TR-04.
adapt their businesses to better www.aimsalliance.org
January 2016 7
06-07 AMI Jan 2016 News_Final.indd 2 06/01/2016 14:58

SHOW NEWS: NAMM www.audiomediainternational.com
FACING THE MUSIC

This years NAMM Show once again promises a global gathering of musical tribes, as
Information
well as a number of new developments.
What? NAMM Show 2016

Where? Anaheim Convention Center
When? 21-24 January
Distro, which combines a signal driver

and isolator to allow the user to feed
four guitar amps in either mono or
stereo, as well as two inputs with
a switching jack on input B to auto
configure for stereo use.
Then there is the DiNET-DNT
Network direct box, a high-resolution
24-bit/96kHz stereo analogue-
/////////////////////////////////////////////////////////////
to-digital converter with a Dante
connection, enabling direct interface
A
with networked audio systems via a
s many of us finish the most relevant topics for recording, performances, films, television, video standard Ethernet connector.
recovering from our live sound, DJ, lighting, music business games and other media. Allen & Heath will be presenting
respective festive and entertainment technology its flagship dLive digital mixing series,
blowouts, preparations professionals. As part of TEC Tracks, ON THE SHOWFLOOR including the new DX32 modular
for NAMMs annual A3E (Advanced Audio + Applications JBL Professional is showcasing I/O remote expansion rack. Also
winter trade show are well under way. Exchange) will produce and host the the EON618S, an 18in, 1,000W on display will be the Qu Chrome
Visitors have had plenty of time to Future of Audio, a full-day programme powered subwoofer that promises Edition compact digital range, which
prepare for their trip to California exploring the impact of new products to meet the demands of todays adds major new features including
on 21-24 January due to the earlier and technology. musicians and sound providers in automatic mic mixing, a spectrogram
registration opening, and NAMM 2016 Collaboration seems to be the the areas of flexibility, portability and additional monitor mixes. Also
is gearing up to be the biggest and buzzword for this years show, as and ease of use. Weighing in at 78 making their debut will be several
most dynamic show to date. NAMM has also teamed up with the pounds, the subs design maximises brand new models from the ZED range
On arrival at the Anaheim International Music Software Trade cabinet volume while maintaining designed for recording/gigging
Convention Center this year, Association (IMSTA), a non-profit a highly transportable form artists and AV rental and installation
attendees will notice some association that represents the factor. DSP parameters, including companies including the new ZEDi
construction work as part of a project interests of the music software presets for EON600, EON200 and hybrid mixers.
to expand the venue. The fruits of this industry and aims to integrate other manufacturers full-range New this year from Nugen Audio
labour will be visible at the January a community of music software loudspeakers can be controlled via a will be the SEQ-ST, a linear phase
2018 NAMM Show. providers into the event. Bluetooth app for iOS and Android, spline EQ with sonic sculpting and EQ
Back to this year and, in addition Software.NAMM, The Music while selectable crossover presets matching, stereo mid-side operation
to welcoming companies from over Software Community, presented by are available through the EON and automated spectrum analysis.
100 countries and territories eager to NAMM and IMSTA, will be staged Connect app. SEQ-ST was developed in response
showcase their latest products and adjacent to the TEC Tracks education Crown Audio is bringing along its to fast-growing demand from the
technology, attendees can once again area on the second floor. In addition XLS DriveCore 2 Series two-channel companys professional music
expect to see a number of special there will be international pavilions power amps to the show. These now production clients, and allows audio
events, educational sessions and featuring exhibitors from Argentina, offer a bandpass filter on each channel to be massaged and corrected with
endless live music, as well as over Brazil, China, Germany, South Korea, in addition to the previous low and very high resolution. Also on display at
5,000 pro-audio and MI brands. Spain and the UK with more to high pass filters to achieve what the NAMM will be a new filter-morphing
TEC Tracks, which debuted at be announced. company describes as, more precise feature that allows fluid morphing
Summer NAMM 2015, replaces The The highly anticipated NAMM TEC DSP crossover tuning, loudspeaker between two sets of filter curves
H.O.T Zone on the second floor of Awards will take place on 23 January, matching and system EQ capability. under full user control.
the Convention Center. TEC Tracks recognising the individuals, companies Radial Engineering will debut two
promises masterclasses, live and technical innovations behind of its products at NAMM 2016. The www.namm.org
interviews and panel discussions on todays top sound recordings, live first is the Shotgun 2x4 Guitar Signal
8 January 2016
08 AMI Jan 2016 NAMM Preview_Final.indd 1 06/01/2016 11:07

OPINION www.audiomediainternational.com
BUILDING THE PERFECT RADIO RECORDER

After an eventful two days reporting for the BBC on the recent floods in York, where he was faced with a number of
technical challenges, Jerry Ibbotson felt inspired to think up his own piece of kit that would excel in this environment.
JERRY IBBOTSON
I
f you live in the UK then in the lull
between Christmas and New Year,
where youre not entirely sure what
day it is, one news story will have
dominated all others. After heavy The Concept made up: after flooding the electrics machine iOS wouldnt be available to
rainfall (and a few issues with flood Lets start with a blank sheet of paper. of part of the citys flood defences, the me anyway.
defences) some parts of the UK found What do we want our machine to do? It waters then got into the citys telephone How would my machine work? Take
themselves with water in places where must be as comfortable recording as it is exchange. This took out communications the flood reporting as an example. Out in
H2O is not meant to be. My hometown of doing live broadcasting. It must be easy of various kinds for around 48 hours. It the field Id use it to record material using
York faced the worst flooding since 1982 to handle and move about and have a highlighted the need for having as many an external mic (though it would have a
and, take it from me, its a city thats used decent battery life. And it must be easily connectivity options as possible; I even built in capsule too). Using 4G Id send
to rivers overflowing. upgradeable and highly flexible. saw police officers and army personnel this back to base while I headed to my OB
Thats why I found myself dragged, The chassis first. At Silver Command throwing their mobiles down in disgust. point at the Command Centre. Id then
temporarily, back to the bosom of the I was using an iPad with an iRig cable to hook up with the studio via something like
BBC to help my local station (and former hook up an ENG mic and headphones. But For the record Luci Live on WiFi. This is where a strong
employer) with its flood updates. Over moving about with the iPad is a faff, both Recording capabilities? Of course, with battery life is needed, along with the
two days I spent 22 hours doing live from its shape and the long cable length. I WAV and compressed formats on offer. ability to hook up to external power. USB
broadcasts from Silver Command. always feel like Mr Bean, struggling not But getting material to base is critical power input perhaps?
Its not as grand as it sounds, just a to drop everything. so a full arsenal of uploading weapons is The touchscreen is vital here giving
room at Police HQ full of people with Conversely, I love the R-26 because of needed, not just Dropbox. Being able to access to apps and resources. And if
laptops co-ordinating the emergency its half brick shape. Its easy to hold, even save presets to filing straight into servers there isnt room for hardware dials on the
response. My task was to stand in a if Roland is ridiculously parsimonious is needed here uploading onto the BBCs chassis, the level controls would be front
corner and broadcast regular updates on in making you pay extra for a strap. Radioman system for example. Even and centre. With proper phantom power, I
street closures and evacuations and do Really, Roland? Really?? So Id begin with email would be useful. could hook up condenser mics if needed,
interviews with those in charge. something this shape but with a shoulder The recording facilities would tie in to make a mini-studio.
It also gave me a chance to mull over strap thrown in. (Bitter? Moi?) with the live broadcasting part of the kit: So there you go, all sketched out on a
what I think would make a perfect bit of Inputs next. I want two XLRs for audio quick access to manual levels as well as piece of A4 in between radio broadcasts.
radio gear. Ive written for Audio Media in and a dedicated headphone jack with a fallback Auto Gain. Id use these both Copyright: Me.
International on several occasions on its own volume knob. Then a decent when recording or when doing live inserts.
the new generation of mobile-journalism touchscreen that covers as much of the How about the operating system? It Jerry Ibbotson
practises, centred around phones and machines face as possible. would need to be upgradeable and able has worked in pro-audio for more than
tablets. But I still tend to use a proper Connectivity? It needs to have a to take in third-party software (such as 20 years, first as a BBC radio journalist
and then as a sound designer in the
recorder, a Roland R26, when Im reporting 3G/4G SIM and WiFi as a minimum, with Luci) so Id go with a tweaked Android
games industry. Hes now a freelance
because well Im like that. So how to Bluetooth as a bonus. What happened build. I have to admit to not being much audio producer and writer.
marry the two? with the York floods couldnt have been of an Apple fan boy but as this is my own
10 January 2016
10 AMI Jan 2016 Opinion 1_Final.indd 1 06/01/2016 14:06

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OPINION www.audiomediainternational.com
THE PSYCHOLOGICAL ASPECT OF RECORD MAKING

Ganesh Singaram, engineer at Blue Box Studios, on why music production is about more than just technical proficiency.
place in order for a performance to reach

GANESH SINGARAM its full potential.
These are areas that an experienced
producer/engineer can work with in
order to deliver what is needed. Quincy
discusses a scenario: Ive always tried
to create the right environment for the
artist to feel comfortable enough to give
his or her best performance. On Secret
Garden we had the lights almost all
the way off except for dim lights in the
control room just to create an ambience
that could match Barry Whites low, sexy
tone. I personally think this is key to any
session. I can be called to any session
and meet someone for the first time, yet
D
I need to make them feel like they are
uring the stages of record comfortable and in good hands. as music is so personal they may have they are not singing at their natural level,
making, the psychological I always do the following: mood been living with these songs for years. and vice versa. Singers tend to push
aspect of working with lighting, water, a music stand with a their pitch slightly higher to deal with
an artist/band aimed pencil, a stool for them to chill back Confidence is key volume compensation so they can hear
at capturing a great on when listening to takes, and having Once a singer finishes the take, get them themselves more in the headphones.
performance is key to success. all the technical elements on my side pumped for the next one. You have to be Another tip for vocalists having timing
This can be challenging at times, as sorted. Microphones and a headphone involved in the session, and make sure issues is to try increasing the hi-hat levels.
various circumstances require mix all need to be tested and ready to that they know you are there every step These count the sub beats, which help
different approaches. go, plus you need to look after them of the way. vocalists lock into timing more, rather
Its one thing to know how to press when they arrive have a laugh, make The first few takes are usually the then the straight kick and snare pattern.
Record and mastering the equipment, them feel settled and ask whether artist warming up to the situation being If tuning is an issue, try telling
but getting the best out of your they need anything. recorded, figuring you out, getting into the singer to take one ear off on the
musician/artist is a whole other ball The producer has to understand what the vibe and so forth but thats not to headphones. This will allow them to hear
game. Its the things you say, the things it takes to provide an atmosphere to say the first take isnt the best. So always their voice naturally within the room in
you dont say, as well as when and when get the most out of the artist. Another press Record, it is the golden rule! order to adjust. Try not to drown things
not to say them. It is also about creating iconic producer, Tim Palmer (Pearl Jam, Another thing you need to remember out with reverb, as this masks a lot of
environments that can be calm or Ozzy Osbourne, U2, Rancid and The Cure) is nailing a good headphone mix imperfections during the recording stage
stressful, while also paying attention to has discussed the many psychological the better the mix, the better the that causes issues later. Another tip for
what you do and what you dont do. All aspects of producing a record. They performance. If you give them a mix tuning troubles is slightly increasing
these are factors that can have an include being the confidant and best they love, feel and vibe to, the better the bass level. It is an element that
impact on capturing a performance, friend of the artist and resolving conflict the performance and emotion you can is consistent for them to tune to, as
which boils down to the raw nature of of interests to establish a creative capture. Its something thats taken for opposed to other elements that can
people and how to nurture an emotion environment. He states: If a band likes granted, but is the main component for confuse them, such as distorted electric
that can be captivating. to record underwater eating bananas, getting the best results. We all need to guitars, synths and so forth.
Quincy Jones makes a reference to the then thats probably your best plan. Dont be motivated and inspired, so giving These are just a few tricks Ive learnt
success of any good producer as having forget that being a producer is a bit like them a killer sound to sing/play to is along the way. The main concept of
a proficient understanding of music being a juggler. always going to bring out the best in what youre trying to do is to capture a
theory and the ability to communicate I need to give the artist the performance. performance, so lets try and capture
efficiently with numerous musicians encouragement to keep them going For example, if the headphone mix is that performance that will move millions.
while playing the role of a psychologist and realise that we will get there and it too loud for a singer then when they get
Ganesh Singaram
to reach the desired results from a will sound amazing. The artist who you to a big section they naturally get louder.
has been engineering and producing
performance. Quincy says: You need to record through the glass can be very What happens if they are too loud is records for ten years, having
be a psychologist in the studio so you timid, self conscious and reserved, which they naturally pull back as they are too moved to London from Sydney.
know when to tell the artist to take a can lead to a restricted performance. Its loud in the headphone mix. The result is He has spent time as an in-house/
freelance engineer, tutor and studio
break or to keep pushing through. The my job to get them to focus on the song, they come in slightly under in terms of
owner, working with artists such as
creative environment of a recording not on me. Positive re-enforcement is the pitch. When they want to sing louder, it Pharrell Williams and Kanye West.
studio is where inspiration needs to take best option. Its a very diplomatic game becomes too loud in the headphones so
12 January 2016
12 AMI Jan 2016 Opinion 2_Final.indd 1 13/01/2016 10:01

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AMI_PRO_AUDIO_THEJANE_AD_JAN16.indd 1 06/01/2016 16:33
GEO FOCUS: USA
STATE OF PLAY
As the deleterious shockwaves of the last recession dim into history
and market demands ebb and flow accordingly, competing in the
worlds largest national economy continues to present a number of
challenges for audio companies. Colby Ramsey investigates.
Population:
322 million
D
espite widely reported user demand and the introduction of has helped to level the technological as competitors offer extremely
downward pressure on new technologies. playing field in a lot of ways. aggressive pricing in an attempt to
margins across the board, In general the industry is doing a On the recording side, there may buy their way into the marketplace.
some markets in the US much better job communicating with have been a number of high- and Shadoan explains that while anyone
are clearly showing signs end users and educating them in whats low-profile studio closures in recent can buy the equipment, its the people,
of resurgence, signalling a return to possible with todays products, so it times, but John Storyk, architect and their skill set and the overall service,
strength for many American makes sense that market demands principal at Walters-Storyk Design that sets companies apart.
pro-audio businesses. have changed accordingly, he says. Group, believes there are still reasons He goes on to say that while
While increased competition from Dave Shadoan, president of rental for optimism in the studio and content manufacturers prices have increased,
European loudspeaker manufacturers firm Sound Image, concurs with this production market. the rental prices have not followed
remains fierce, Rik Kirby, VP sales sentiment, describing the same Studios are being created in many suit, and he fears that the long-term
and marketing at Renkus-Heinz, economic pressure and competitive new and varied locations, he says. damage competing companies are
believes this is indicative of the US environment with regard to the Virtually every project we see in doing to the industry is much greater
markets buoyancy compared to integration and touring markets in the recent times has an acoustic issue than anyone can imagine.
other regions, and suggests that US: Both markets appear to be that needs to be addressed either John Monitto, director of technical
persistent competition is resulting in strong, although in many ways concerning isolation or internal room solutions at Meyer Sound, has a
an exceptionally healthy market from a it feels as though we are still in acoustic performance, or both. Our similarly positive outlook to Storyk
domestic perspective. recovery mode, he explains. Audio expectation for high-quality sound in when considering the economic health
Kirby says the loudspeaker market manufacturing technology has constructed environments has risen to of the integration and touring markets,
has seen a huge shift in focus towards improved significantly in the past 20 new levels of excellence. with some integrators turning work
sound quality and intelligibility over years and therefore, over the past Meanwhile, manufacturers down or scheduling it out due to an
the last 5-10 years, driven both by end- decade, off-the-shelf technology continue to feel the pressure abundance of business.
14 January 2016
14-16 AMI Jan 2016 Geo Focus_Final.indd 1 06/01/2016 15:55

www.audiomediainternational.com GEO FOCUS: USA
How would you say the pro

Whats having the biggest negative effect on the
audio market in the US is
market at the moment?
currently faring?
Economic
uncertainty
n Good - possibly great.
n Very well. Not the glory days of old, Falling budgets
but getting stronger.
Slow payments
Goverment
legislation
Other
0 1 2 3 4 5 6 7 8 9 10
How do you expect your sector to perform

in 2016 compared with 2015?
Better
Worse
The same
10% 20% 30% 40% 50% 60% 70% 80%
Educating the market such challenges is to maintain a Storyk on the other hand is cautious small community and has few political
While some pro-audio businesses strong focus on educating partners of the webs boundless educational boundaries compared to other regions
in the United States expand and and end users, clearly demonstrating capabilities, and warns that separating and industries.
show solid growth against the and explaining differences between the important from the voodoo will Furthermore, Art Noxon, acoustical
backdrop of economic downturn, products to ensure that decisions are become more difficult as information engineer and president of Acoustic
maintaining margins remains a made based on performance, rather becomes more readily accessible. Sciences Corporation, is seeing a
universal challenge for all. than just price or marketing. Despite this caginess, there are significant shift in the home studio
Shadoan reflects on his earlier Were forever at the mercy positives to the internets influence space due to the breakthrough of
comments about companies trying of imitators, he says. However on the industry. Networked projects new technologies. He points out:
to buy market share. To provide sometimes it just isnt technically across the board are becoming The reluctance of engineers to make
modern equipment that is well possible to provide double the commonplace, as more well-equipped substantial investments into their own
maintained while we strive to offer features for less money while still pro-audio businesses look to integrate home recording studios continues
top shelf service, a margin is required. maintaining quality and results. some element of networking into to diminish while the interest and
We continue to improve efficiencies Education is also an ongoing their products, particularly in the opportunity for engineers to work and
where we can, but this is not a trade priority for the integration and touring loudspeaker market. make records at home instead of in
off for the imbalance that has markets, as Monitto explains: Finding Storyk is especially excited to downtown studios is on the increase.
emerged, he explains. The good technicians in the field and witness the emergence of improved The technique for high-end home
expectations are high and the budgets training them well to meet the growing DSP-controlled audio, along with recording studio environments has
are thin. It will not be sustainable over demand is important. Technicians better acoustic modelling and been in the wings for over 20 years but
the long run for our industry. benefit from apprenticeships to hone prediction software. He explains that only recently has the need for high-end
According to Kirby, the most crucial installation skills so they are working in terms of new technologies, the home recording environments begun
factor to consider when overcoming efficiently and accurately. audio/acoustic industry in the US is a to be felt in the industry, he adds.
January 2016 15

GEO FOCUS: USA
Meanwhile, other sectors have been a related legislative development in

attempting to streamline their offerings the integration and installation sectors.
in a number of ways. Shadoan asserts Within the loudspeaker arena,
the importance of vendors abilities Kirby describes updated legislation
to respond to development trends, as concerning public places. NFPA72
equipment packages become lighter, focuses on spoken word intelligibility,
smaller and more well-integrated with he explains. It aims to ensure that
personal devices. safety messages can actually be
When it comes to buying habits understood rather than simply be
around tailored loudspeaker systems, loud enough.
Kirby says that Renkus-Heinz has On the other hand, Storyk describes
witnessed a tremendous growth in stronger state legislation as having a
steerable technology, allowing many particularly positive outcome on the
applications to achieve results that just studio design and content production
werent possible ten years ago. market, and believes that it is creating a
Monitto observes that column arrays developing trend that will continue.
are being looked at more and more for We see more and more local building
airports, churches and other spaces codes adapting to sophisticated new
that are acoustically challenging with environmental noise regulations,
long reverberation times. He reveals: and more jurisdictions adapting
Designing systems with suitable frequency-based and time-sensitive
headroom to maintain linearity has been community noise codes, he says. This
discussed more and more. Audiences has led to improved acoustic isolation
and mixing engineers are looking to performance demands for new
systems that have lower distortion and projects (specifically with respect to
sufficient headroom so there is less noise and isolation).
fatigue when listening to music. Noxon adds that this may be a
Kirby backs up this testament, citing contributory factor to the increased
the scale of the worship market in investment into the wide gap between
particular as one of the unique aspects expensive designer built studios and
of the US region at the moment. economical DIY home built studios,
Certainly, there are similar projects a gap that is being filled by a new
worldwide, but we see the highest generation of high-end home
density of these high-technology recording suites.
projects in the US, he says. As While the US market still seems to
churches vie to attract new members, be a leader both at technical and design
their AV solution can be a big part of levels, which ties in with the countrys the summer where they receive strong audio sources and think that its the
the attraction. status at the top of the economic guarantees, carry less equipment and norm. He goes on to predict that the
pile, there may still be untapped maintain a smaller crew. From what we live industry will see more and more
The lie of the land opportunities in other regions. Storyk understand, the ticket sales at many designs implemented where systems
While the US pro-audio market as a says: Africa, China, the Middle East and of the European festivals are are providing good, clean audio with
whole remains generally stable, certain Latin America are starting to develop dwindling due to the saturation in the effortless gain, low distortion and
legislation and regulatory laws can their own robust market places and festival market. even venue coverage.
have ubiquitous effects on the industry, thus will begin to create their own Inevitably, technological So as businesses in the US remain
causing some businesses to rethink nations set of audio/acoustic advancements will continue to play optimistic across the board due to
their strategies or not, as the case consultants and manufacturers. a key role in the future of the robust exponential demand, it is difficult to
may be. The audio/acoustic community has US market as offerings become more imagine a time when the juggernaut will
Shadoan believes that there is a fewer political boundaries than other affordable, increasingly more capable begin to lose traction. While downward
growing awareness with regards to industries, probably because we all and easier to implement. pressure on margins seems to pose the
regulation in the US. He explains: Our share our love for music or at least Monitto is confident that we will see biggest test for small and large-sized
industry has managed to police and I hope so. more attention paid to good audio in players alike, it is a challenge that is
regulate itself in a fair way and we Additionally, from a touring the future: The industry will be looking arguably balanced out by the sheer
have managed to keep the regulatory perspective, the US market remains more carefully at incorporating good, scale and momentum of the market
commissions at bay. Organisations like healthy and busy compared with that low-distortion source material and as a whole.
The Event Safety Alliance are doing of Europe, which some believe has systems into venues to make sound www.acousticsciences.com
great things in this department and its taken a hit due to the quantity of large- reinforcement or playback less harsh www.meyersound.com
long overdue. He goes on to mention the scale festivals. As Shadoan explains: and fatiguing. www.renkus-heinz.com
requirement of the audio system to be a It has become the standard for bands So much of the listening public are www.sound-image.com
component of the life safety system as to simply book the festival circuit in hearing over-compressed playback www.wsdg.com
16 January 2016

KARAOKE
High Standing, Harding Road, Brinklow,

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T: 01908 584666 E: sales@easykaraoke.com
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EasyKaraokeFullPage_AMI.indd
new tvbe template remade.indd 1 1 A4_creative_20151215.indd 1
06/01/2016
06/01/2016 11:35
11:47:31
15/12/15 5:43 PM
FEATURE: INSTALLED SOUND
GRANDSTAND
SOUND
The recent Bosch installation at the

Allianz Riviera Stadium in Nice is
indicative of a healthy stadium sector
//////////////////////////////////////////////////////////////////////////////////////////////
As 2016 gets underway, AMI decided it was time to take the temperature of the commercial install market, looking at
the current challenges and opportunities in four key segments. David Davies spoke to leading vendors in each to see
how things stand at present and get an idea of their expectations for the year ahead.
M
ore fully integrated in some of the main install segments Large Concert Venues application, install at L-Acoustics,
control systems, as we enter 2016, and how are vendors With a decline in recording revenues highlights the fact that large concert
custom integrator- responding to them? forcing more acts out on to the road venues are working in a competitive
friendly amplifiers In a bid to more clearly define the for ever-longer tours, and concert halls market always looking to book the
and loudspeakers, and state of play in installed sound, Audio consequently having fewer and fewer best, most attractive shows into their
compact mixers are among the product Media International spoke to some gaps in their schedules, it stands to venues. More and more Im seeing
trends to have ensured that fixed leading manufacturers about their reason that all stakeholders must be that the venues are looking towards
installation has become an increasingly current activities in four key install increasingly cognisant of maintaining a high-quality sound system to make
important contributor to pro-audio markets: large concert venues, sports quality in order to encourage repeat them stand out from the crowd so the
manufacturers across the board. But stadiums/arenas, educational facilities visits by both acts and gig-goers. demand for higher and higher quality
what are the emerging requirements and bars/restaurants Cdric Montrezor, director of is out there.
18 January 2016
18-20 AMI Jan 2016 Feature_Final.indd 1 06/01/2016 11:14

www.audiomediainternational.com FEATURE: INSTALLED SOUND
Acoustics are becoming a bigger

consideration in concert venues
such as the Philharmonie de Paris
Picture: W Beaucardet
seen that in 2015, for example, with the systems and interaction with resulted in a steady stream of new
the opening of the new Philharmonie media distribution. work for pro-audio manufacturers
de Paris, where the room is treated Whatever system is eventually and installers.
to be able to handle the acoustics of chosen, it is evident that venue owners Sahm confirms the high-end
both orchestral performances and and operators are now highly exacting expectations of stadium clients, noting in
electric performances. when it comes to specifying the right particular their desire to acquire remote
Indeed, the ability to handle as broad system for the long term, taking the time control options from various locations
a cross-section of event types is now and trouble to tap suitable specialist throughout the stadium for different
highly prized. For example, in Asia, Im assistance. Unfortunately, it seems they users. This includes a comprehensive
seeing a lot of large concert halls that dont always optimise the project during approach and interfacing with life safety
are built to be multipurpose, Montrezor its final stages, suggests Montrezor. relevant PA/VA systems.
continues. In Singapore we installed K2 In my experience, I see venue Accordingly, Sahm highlights the
in the Star Performing Arts Center, which management taking the time to really gradual shift towards combined
hosts theatre and music during the week evaluate their needs, to find the right pro-audio and EVAC systems: Having
and on the weekend serves as a mega- integrator to help them assess, choose separate ProSound and EVAC systems
//////////////////////////// church. In Europe and the US, the halls

are more dedicated to entertainment,
and install the system that is best for
them, he says. And then, at the end of
is only the second best solution; it
complicates handling and increases
even if they host a diverse line-up of the project, they dont always take the the incidence of errors. Additionally,
But this goes beyond the specification entertainment acts. In some of the time to calibrate the system once its venues such as stadiums and arenas
of suitable speaker systems, which in bigger cities like New York or London, hung. The systems these days are of have long reverberation times and
L-Acoustics case includes the K2 line concert halls are diversifying out to host such quality that they sound great out of challenging room acoustic conditions.
array, with Panflex directivity control, weddings or corporate events. In all of the box but taking the time to To achieve the speech intelligibility
and the 2015-released X Series coaxial these cases, the venues are looking for calibrate ensures that the venue is values required by safety standards and
products that include a reference stage a system that can handle everything getting the absolute best out of their to prevent non-uniform sound quality,
monitor, a live FOH monitor and coaxial from spoken voice through to the most system. Its a too often overlooked step, installations require the use of ProSound
speakers that can be used in distributed dynamic music. in my experience. components. For this reason, a combined
systems or as fills. Oliver Sahm, director marketing ProSound and EVAC system the best
In addition to installing quality, application design at Bosch Security Sports Stadiums/Arenas of both worlds is the solution for which
rider-friendly sound systems, venues Systems, concurs about the heightened The permanent calendar of major global customers have long been waiting.
are looking beyond the speakers and expectations of high-quality audio for sports events such as the Olympics and In terms of stadium design and
working with acousticians to ensure that speech and music. This is accompanied, the FIFA World Cup, as well as a busy acoustics, Sahm remarks: To provide
the acoustics of their venue are the best he says, by increased requirements for repeating programme of international flawless sound reinforcement the
they can be, says Montrezor. Weve detailed supervision and monitoring of athletics events, has traditionally loudspeakers need to be exactly aligned
January 2016 19

FEATURE: INSTALLED SOUND
Funktion-One flying high in Beirut

and need to radiate freely. To be able
to achieve this, all roof fittings need to
be included in the construction plans High-quality audio and the need
to avoid later problems with acoustic to respect the proximity of
shadows and reflections. local residents were among the
Highlighting a product range that primary factors that informed
includes the 180-model Electro-Voice the installation of Funktion-One
EV Innovation range (designed with speaker systems at two new
the contractor in mind), and notable rooftop restaurant/bars in Beirut,
named Iris and Caprice.
recent installations such as the Allianz
Installation at the venues both
Riviera Stadium in Nice, France, Sahm
of which are owned and operated
underlines the continuing buoyant health
by Addmind was carried out
of this market sector. by Funktion-Ones distributor in
Stadiums are a more or less constant Lebanon, Audiotec Group.
portion of the business as there are The ability to deliver low level
always some national or international background during the day, live
events in the pipeline during the coming performances in the early evening high intensity in the middle due to too far, again helping us to localise
years, he states. At the same time, and louder club levels into the the general close proximity of the the sound.
some older venues will undergo night were priority considerations speakers. Despite there being 25 Located on the Jal El Dib seaside
modernisation and renovation. Each for the installation at Iris, which speakers, weve kept the number of road, the Caprice venue also utilises
is located on top of the iconic al- source locations to six. a host of different Funktion-One
individual project has a timeline of
Nahar building and incorporates an The pair of F81s facing the products, including Resolution 2
several years and individual projects
outdoor deck and wooden bar. stage and the F101s either side are speakers, F101s, F88s and BR218s.
will overlap. We see regional variations
We also had to be conscious of on separate processing channels Audiotec Group managing partner
depending on the location of events. neighbours, says Funktion-One so that the F81s can be turned Ralph Choueiri comments: Both
Globally, however, we are experiencing design engineer Mike Igglesden, off or used for monitors and the of these venues are excellent
a positive trend and contribution who worked with Audiotec Group to F101s level can be raised for references for Audiotec and for
to the business because of [the design the systems for both venues. live performances. For the low Funktion-One. They show what can
aforementioned] quality requirements. To deal with this, we designed a frequencies, we used BR218s in be achieved with the compact range
twin four-point system of F101s the central area and BR118s for of loudspeakers, together with a
Educational Facilities for the central area and stereo the surrounding area. These are creative approach designing the
In distinct contrast to stadiums, where F81s for the surrounding areas. By ideal as they produce strong, deep best sound reinforcement for the
doing this we were able to create a nearfield bass that doesnt travel space in question.
budgets are generally substantial and
there is little difficulty scaling a high bar
for audio quality, educational facilities digital audio with IP-based video and hardware) and a 128 multi-track quality sound delivered by Funktion-One
will often have to contend with very control. Co-existing on the same network player (software). systems easily achieves this.
limited funds. Nonetheless, it is generally reduces costs based around the network Harris anticipates continued growth In terms of new products geared
felt that they are increasingly astute cable infrastructure as there is no need for QSC in the educational market, not towards these space-conscious
when it comes to the specification of to run separate LAN. Our latest solutions least due to the arrival of new products environments, Andrews points to the
new systems calling upon specialist such as the Q-Sys Core 110f DSP MB210 low-profile bass [enclosure], while
consultants and integrators whenever appliance. A total of 128 x 128 network with the rise in the number of outdoor
possible to help ensure that they get audio channels, 16 x 16 USB audio installations for beach bars we have had
the best value for money. channels, 24 channels of analogue I/O, to introduce products with weather-
Its no surprise to discover that, in
Stadiums are a more or less eight configurable flex channels, 16 x 16 resistant qualities. But more generally,
many cases, these systems must constant portion of the business as GPIO Logic Ports and 16 channels of she remarks that all of Funktion-Ones
be able to handle a wide variety of there are always some national or routable AEC are among the features small systems sell particularly well into
activities from school meetings international events in the pipeline of the new appliance. this market with the associated low-
to live performances and more. But during the coming years. frequency products.
increasingly there is a call for more Oliver Sahm, Bars/Restaurants Taking stock geographically, Andrews
extensive integration with other AV Bosch Security Systems Sound reinforcement pioneer Funktion- cites particular growth in the Middle
equipment, as QSCs director of One has been synonymous with high-end East and Ibiza, and in beach bars
sales EAME systems group, leisure and entertainment installations generally, while foremost expectations
Glen Harris, observes. for nearly 25 years now, and director for 2016 include steady growth, along
There is a need for sound systems to Ann Andrews confirms the growing with increasing awareness of the
fully integrate with video and control, are both hardware and software feature- expectations of quality throughout the importance of sound quality.
he explains. Being of a true Layer 3 based, but all residing in a single DSP bar and restaurant sectors.
design [QSCs networked audio and Q-Sys processor; such as the media These days people expect more than www.boschsecurity.com
control platform] Q-Sys can co-exist stream receiver (software), built-in background music, and yet at the same www.funktion-one.com
www.l-acoustics.com
on a converged network and therefore media drive storage of up to 1,200 hours time they still wish to be comfortable
www.qsc.com
offers the client the ability to integrate of WAV, MP3 audio storage (internal and able to converse, she says. The high-
20 January 2016

Alike for ease. Distinct to suit.
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truly independent channels. Each provides extensive DSP capabilities for comprehensive
loudspeaker management, switchable filter functions, two 16-band equalizers and up to
10 seconds of delay. Two amplifiers, alike in form and functionality but distinct in power
output: D20 for small to mid sized applications, D80 for up to large scale needs.
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D20_04_PSNE_220x290_191115.indd
Full Page Template.indd 1 1 19/11/2015
11/19/2015 10:30
10:44:52 AM
sponsored by FEATURE: FINAL CUT
ROOM
SERVICE
//////////////////////////////////////////////////////////////////////////////////////////
This month sees the UK and Ireland cinema release of Room, which has already been drawing praise in the US for the
quality of acting on show. Adam Savage discovers why the work of the sound team also deserves recognition.
W
hen seeking out the stimulating as possible for her son, but experiential version of this story as would was the generous timeframe.
next subject for one yearns for the chance to escape and at possible. Thats what we talked about a Whereas a lot of projects these days
of our regular film last introduce him to the outside world. lot, says Fanagan. One thing that was can end up stretching sound experts
sound pieces, Im sure A heartwrenching and emotional tale, really important is that youre always to the limit due to increasingly tight
you can understand with some stellar performances from experiencing the story through Jack turnovers, Fanagan and Brady didnt
our tendency to be drawn towards the two leads, there was clearly no need and so its his POV of the world, firstly suffer from this problem with Room.
the latest big budget action-packed for booming effects or a thunderous his experience of the room and then the For me it was the longest schedule
blockbuster, sci-fi epic or disaster score here quite the opposite, in fact outside world in the latter point of the Ive ever been part of, recalls Fanagan.
thriller, requiring a sound design to keep but for sound designer and re-recording movie. We had a very loose rule, which Between March and August there
audiences on the edge of their seats, but mixer Steve Fanagan and supervising was whats Jacks point of view at this were maybe two weeks where I wasnt
this time weve gone for something a bit sound editor and dialogue/ADR editor point, and are we reflecting that in terms on the job. Because weve worked with
different, and youll see why. Niall Brady, both based at Irelands of what were doing with the sound? Lenny [Abrahamson, director] and the
Already nominated for a whole host Ardmore Sound, the film provided ample That was our acid test for everything as producers before and built up this
of awards including three Golden opportunity for the pair to do what we were working through it. relationship it meant they could see
Globes despite only just arriving in professionals in this area of the industry A large part of it was being conscious the value in what we were doing, and
UK cinemas this month, Room tells often list as their favourite part of the of the subjectivity and whose eyes how important sound was to the story,
the story of Jack, a five-year-old boy job storytelling through sound. were seeing the world through so it was so they gave us the resources that we
who has spent his entire life confined Ultimately the story was the most important to have full control over all needed, which was amazing.
to a small, windowless, soundproofed important thing for us so we were the elements in the mix at any one time, We started while they were still
room along with his loving mother, always thinking about what we could adds Brady. cutting picture. They asked us to start
who does everything she can to make do with the sound to aid the story What enabled the team to have more slightly earlier so they could deliver
the environment as comfortable and and help the audience have the most control than perhaps they normally some temp mixes, but we wanted to
January 2016 23

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sponsored by FEATURE: FINAL CUT
Niall Brady Steve Fanagan
keep anything we did for those temp we had begun to start playing around crew also then used, for bassy stuff, an of that story. It became very much about
mixes live throughout the sound edit with reverbs and other acoustical AKG D112 bass drum microphone. tonality and the characteristics of those
process so we werent spending a week ideas for the final mix and just trying things that were in the space.
doing work on something, dumping it to find something that was true to From time to time
and moving along. the spaces and the reality of the film, Even though much of the film takes Team players
One thing that was new for us explains Fanagan. place in just one setting with no aural Its not the first time that Fanagan and
was this goal of keeping everything As usual on the dialogue side there or visual indication of whats going Brady have partnered with Abrahamson
live throughout. They gave us our was EdiCue [software for ADR cueing] on externally, making it perceptually they were all involved in the making
first turnover for a temp mix in the and the other thing weve been using a difficult for the characters and audience of Frank, starring Michael Fassbender
middle of March and essentially we lot more for a few projects has been the to recognise the passage of time, part while the pair have collaborated on
kept iterations of that live all the way FabFilter Pro-Q 2 [Equalizer Plug-In), of the storytelling brief was to bring around a dozen projects in total. How
through until we delivered the mix in comments Brady. in subtle audible changes as the tale then does Room relate to their previous
August. So one of the main objectives For the most part Ken and I worked develops chronologically, particularly jobs, if at all?
was to nail the workflow and make it with Altiverb for reverb and one of when the narrative moves between Weve done about 12 features over
work for the film and not get in the way. the reasons for that was quite early day and night. the past four or five years together, but
As we were working in conjunction with on we decided that wed try to record Obviously youre in the space the over the last year and a half theres
the cutting room it was very important and create our own impulse responses whole time but you have to tell the been a feature animation, a futuristic
that they felt the results of that. because were in this soundproofed audience that theres a time code sci-fi and a horror story, so its very hard
Moving on to that workflow then, room and it just wasnt going to sound and a change in experience as time to compare those things, explains
its hardly surprising that for a film like anything else, Fanagan continues. passes. With Nathan Nugent the film Brady. I think what we have now is a
like this, clear dialogue was crucial, What about for the effects and music editor we figured out rules such as very good shorthand between each
but what presented the mixing team mixing? What gear proved most useful nighttime sounding different to daytime, other, which helps.
also including re-recording mixer for that? so nighttime tended to be heavier One final advantage the crew did have
Ken Galvin with one of their biggest EQ-wise I was using a combination of ambiences, we worked with more low with Room and not to say this wasnt
challenges was how to use sound to FabFilter and Flux Epure v3, we were all frequency and just a really subtle neutral the case with the other films theyve
amplify the intensely distressing feeling working on Pro Tools 11 and I dont tend room tone. From Jacks point of view worked on was that the performances
of confinement within a soundproofed to use a huge amount of compression Ma is his whole universe but at night were top drawer, which undoubtedly
space. It was a lot more complicated but occasionally we were doing some its a much darker place and the sound increased the enjoyment factor from
than having just virtual silence behind light limiting here and there for the hopefully on some subconscious level their perspective and proved to be an
the main dialogue; the scenario was louder moments, reveals Fanagan. is helping to tell that story. The reverbs efficient motivator.
instead seen as a chance to really get And so to complete the equipment we were choosing and how we made and We were in a brilliant position we had
creative, and there were a number of overview, what were the main used those impulse responses was very this great cast and story and the film
tools that helped them along the way. microphones deployed? much informing that idea. had been brilliantly realised. Everything
The majority of the ambient The room is also a little bit rundown we did was in response to the great
Tools of the trade recording was done using DPA 4060s and you can imagine that all the work that had already been done,
Niall spent a huge amount of time in his and that was something I picked up from facilities in there like the fridge, the air concludes Fanagan. Theres nothing
edit exploring all the multitracks that doing a workshop with [sound recordist] conditioning, the lights have all degraded quite as inspiring as getting to work
had been recorded on set and making Chris Watson a few years ago, and over time and the character of a rattling on a film thats been so beautifully
all the right microphone choices in his that gave me a really nice atmospheric fan or a cistern overfilling became this acted and directed.
dialogue edit, using tools like [iZotope] spread. The spot effects and the great texture for the storytelling within Room is released in the UK and Ireland
RX to do some clean-up of any editorial main part of the Foley wouldve been those four walls. The outside world on 16 January 2016 via Studio Canal.
work that he was doing and because we recorded on a Sennheiser MKH-60 and doesnt get in so the absence of birds
www.ardmoresound.ie
were in that perpetual temp mix mode a variety of ambient mics, but our Foley singing outside, for example, is also part
January 2016 25

ES Series
Renowned for clarity,
output and versatile
capabilities that
has amazed audio
professionals around
the globe.
www.kv2audio.com/es
Full Page Template.indd 1 12/15/2015 2:06:35 PM

www.audiomediainternational.com STUDIO PROFILE
THE FOLEY
WAY IS ESSEX
//////////////////////////////////////////////////////////////////////////////////////////
Its not often we hear about the opening of a new dedicated Foley studio, but when Adam Savage discovered one
had popped up just a short drive away from AMI HQ, he had to go and take a look.
T
here comes a point in many Feet First Sound and now owner of The my own thing, Smyth explains. comes to soundproofing, plus it would
peoples lives whereby, after Laundry, a new dedicated Foley studio I was at Videosonics [Cinema Sound] probably be listed and therefore a bit of
years spent gaining located not in London or another major for years and enjoyed being part of a money pit, Smyth continues.
valuable expertise as an city, but the rather quaint setting of a company, but as you grow more The good thing about this is that
employee of a company, Coggeshall, Essex. experienced you want to gain more its outside London, so its quiet, rent
setting up a new business from scratch Upon meeting Smyth known for his control over the output of your work is cheap and when youre looking for
and playing by your own rules becomes work on major films including Tinker, and build a room where you have something industrial youve either got
a pretty attractive option if the Tailor, Soldier, Spy and We Need To Talk control over the acoustics, the surfaces farm buildings where theres loads
opportunity arises. About Kevin, as well as TV shows such and the equipment. of low-end noise going on or a unit on
It might not be a possibility for as Downton Abbey at the facility, it So why take on an ex-industrial an industrial estate where you might
everyone whether due to financial became clear that this had been a plan laundry building hence the name in have someone with a compressor
restrictions or simply the fact that, of his for some time. an old market town? It seems the choice move in next door, but this had a good
lets be honest, it takes a fair amount Its always been a dream of mine. of location was made after a great deal warehouse space and a solid structure,
of bravery to take the plunge and go it My Dad used to have a studio in our of deliberation, too. plus its quiet because they sealed all the
alone but one man who has this house he was a musician and inspired I was looking down in Kent for a long weak spots before the actual build.
month decided to do just that after me to get into sound and so Id had a bit time and had a romantic image of it
years of faithful service with a firm is of experience with home studios. Ive being an old timber-clad barn but then Fully loaded
Barnaby Smyth, Foley artist, founder of always thought it would be great to do you realise the ramifications when it One of the first things youll notice when
January 2016 27
27-29 AMI Jan 2016 Studio Profile_Final.indd 1 06/01/2016 14:11

Studio Sound Engineer
WARNER MUSIC
We are looking for a highly experienced and dynamic studio sound engineer to join us at a
very exciting time as we build an in house recording studio.
You will play an integral role in the design, initial set up and coordination of the studio as we
get it off the ground and have a key role in the studio going forwards.
The ideal candidate will encompass the And show the following competencies to a high level:
following skills and experience: Personable with excellent communication and time keeping skills
Proven track record of working on commercial releases with Highly developed critical listening skills
familiarity of and experience in contemporary music production Ability to multi-task under pressure whilst working to tight deadlines
techniques and practice
Excellent organisational skills
Experience of solo running recording, overdubbing and
mix-down sessions Enthusiasm for working in a team
Have an understanding of the acoustics of musical instruments A desire to help build and sustain a positive, supportive, constructive
and recording spaces and dynamic internal culture
High level of proficiency in pro tools software
Knowledge of a wide range of microphones and Permanent role located in Kensington (W8), London
microphone techniques
Strong familiarity with analogue and digital audio hardware

and studio signal flow

Application Email:
Experience of operating large format audio consoles
Kelly.stone@warnermusic.com
Solid understanding of music pitch, tuning, melody, rhythm Application Address:
and timing
27 Wrights Lane,
An ability to play a musical instrument to a good standard and
an understanding of musical theory Kensington, London
Highly literate with Social Media, IT and other media W8 5SW
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Page 28_AMI.indd 1 06/01/2016 12:56

www.audiomediainternational.com STUDIO PROFILE
you enter The Laundry is that its not

a bad place to be at all. Foley studios
arent always treated with as much
seriousness as perhaps they should,
especially those based in large facilities
that provide a variety of other services,
but Smyth has everything he could
possibly need on hand here, including
an impressive gear list featuring a new
Audient ASP4816 console and speakers
from JBL (3678 stereo pair and 4641
sub under the projector) and Genelec, as
well as Crown DSI 4000 and 1000 amps
to drive the JBLs.
We were looking for something
quiet that didnt need automation, just
a good analogue desk. We came across
the Audient, heard good things about it,
investigated and found it to have very
nice mic pres on it, a musical four-band
EQ and they sent us one to test at
the studio we were working at and it
sounded good. Were looking forward to
getting to grips with it, reports Smyth.
There are also six large 1.2sqm
[Foley] pits and as you come in youre As for the aesthetics, being in there is it as a profession; many often see it as Partridge adds: The Musketeers
walking on the original warehouse floor so nice compared to some other places a temporary part of their career path, was the most challenging for me. Its
the rest of it is raised. Its completely Foley studios tend to be a bit rundown, but not Smyth, who worked through probably the busiest thing Ive ever
solid concrete so I wanted to utilise a bit dirty. his fair share of other roles too before seen before in my life non-stop
that, as its completely dead. Ive left The finished article is pretty discovering that the Foley world was fighting, there was four of them and
that open so you can use that as a breathtaking for a Foley studio we where he wanted to be. theyre all dressed in leather and cloth
concrete surface, but you can lay other think. The size was one of the biggest When I started I did everything with swords.
surfaces on top. things really because there is a from recording ADR to working as an Youd finish it, sigh and say OK
All the immediately important stuff tendency to cram a Foley studio into an assistant dubbing mixer and assistant weve done that now, but then the next
is located in one area the console, old ADR booth so to have a room that editor, he recalls. I came across Foley one would come along and you have to
monitors, pits, surfaces and, as its is done in that size and shape for a later on and realised I really liked it a start it all over again. I found it really
a Foley studio, a larger footwear reason, with pits in a particular place, lot of people saw it as a stepping stone satisfying when we finally got through it.
collection than Victoria Beckham while is brilliant, really. towards doing sound effects, so people They were mental, but really good fun.
outside the main shell is the rest of the Having been in the industry for quite would do it for a year or so, get quite And despite the fact that the team
warehouse, which houses the machine some time, Smyth was able to build an good at it and move on but you really from Miloco Builds have only just
room, amplifiers and more than enough image in his head of exactly what he was need to dedicate your life to it as it is packed up their tools and left, the pair
space for the vast array of props Smyth after, and a lot of it came down to his a real art. have got no difficult opening period
is sure to accumulate over time. experience of other facilities. to deal with, where business is slow
Having it all in a nice homely Barnaby created his own studio with Looking Back due to reluctant clients waiting to see
atmosphere is certainly an added bonus, all the things that he liked and disliked Having done just that committing whether things are running smoothly
too. According to Foley engineer and about other studios in his mind, like that to a career in Foley to such an extent first before passing the work their way,
Smyths colleague Keith Partridge, surface wasnt big enough so well make that hes built his own base to carry it and thats largely because of the close
formerly of Hackenbacker, making the it bigger here etc, says Partridge. out how does Smyth evaluate his time relationships theyve developed over
space comfortable as well as There are also fundamental things in the industry so far? Does he have a the years with clients who are confident
technically and acoustically sound was like its just the one room rather than a favourite past project and which one theyll hit the ground running.
important, which makes even more split one, which is quite a big deal, down was the toughest? January and February are pretty
sense when you consider the degree of to little things like the surfaces. Tinker, Tailor, Soldier, Spy was a much booked up. Weve got an ITV series
effort and man hours required to get really good one that we did. It was very called Dr. Thorne, which weve just done
the job done properly. Sticking with it naturalistic and had a great look to it. one episode of and a BBC series called
Foley is a case of shutting all the In the same way that there arent a great The Foley just had to sit there and wasnt Undercover, says Smyth. Keith and I
doors and spending most of the day in number of specialist Foley studios out in your face. Sometimes the best Foley have got a reputation now so they trust
there, so its a bit of a weird environment there at the moment at least in the is like that you dont even notice it. I that we know what were doing. Its
and just the two of us rather than a UK its not often that you come across think thats what we got good at in TV, mostly TV, but I bring in a couple of films
studio full of people, reveals Partridge. people who have chosen to stick with Smyth comments. each year, so its a nice balance.
January 2016 29
27-29 AMI Jan 2016 Studio Profile_Final.indd 2 06/01/2016 14:11

TECHNOLOGY: HOW TO www.audiomediainternational.com
INTERFACING WITH
INEXPERIENCED CLIENTS
Lonnie Bedell of AVLifesavers reveals how best to deal with people not used to working with a sound guy.
I
t must be nice to have started in a by turning it on, when they are in fact The end result of this is they will show
huge FOH company with organised turning it off. People asking questions up last minute and start barking at you
job functions, learning the ropes will turn it off when they are done with for a feed. Most will not know what an
before moving up into the A1 their question. The vast majority will XLR is or know the difference between
position. For me, however, it was forget to turn it on at all, and even if they mic and line levels. Just be patient and
a mixture of gospel music clients and do, the delay in it coming on will cause do your best.
corporate events. you to lose half of their first sentence.
What they share in common is they Everybody looks silly if this happens. Be prepared
are both made up of regular people. Power Distribution Unless a known Smartphone DJ Its entirely likely
Even though they may have the best of fact, its safe to assume every AC outlet someone will suddenly want to play DJ
intentions, these people tend to make in the room is on the same 20-amp with their phone before, during, or
last minute requests, unaware of the breaker. Churches are notorious for after the event. Having a 1/8in stereo
nightmare they have just dropped in your doing this. Sourcing from multiple rooms mini connection that you can get up
lap. Survival is the name of the game. may become a necessity, only increasing and running fairly quickly is always a
Lonnie Bedell
They cant teach this stuff in school, its the possibility of a ground loop. Bring a good idea.
school of hard knocks all the way. gyrations I had to go through to avoid voltmeter and keep an eye on it during House Sound Systems Systems
Handheld Mics Unless instructed massive feedback that he realised why I the show. Ideally do an AC box tie-in and in hotels are designed to be used in
they will: hold it around their navel, hold made that request. have everybody on the same AC power. situations without a tech, so they usually
it against their tonsils or cup the back Lav Mics You put the mic on them Video Guys Not a client, but hired by have a feedback eliminator in the circuit,
of the grille (turning it into an omni). The without exception or they will end up the same person writing your cheque, and it will be impossible to turn off. If
entire concept of closer = louder is lost anywhere from the top of their head to so best to try to keep them happy. The you use this system and try to ring out
on the general public, even though they their belt buckle probably under a layer contempt video guys have for audio is the room, the silly thing will work against
see examples of it on TV all the time. of clothing and upside down as well. remarkably consistent across every you, so dont even bother. Just set the
They will also be attracted to stand right Nobody wants to go to the bathroom area of audio Ive ever worked in for 30 EQ by ear.
in front of a speaker. For this reason I with a wireless mic on because theyve years. On one job, after setting up and Everyone will be late so you cant
insist on doing jobs like this in stereo, seen that movie, so make sure they waiting for hours while the film guys be. Be well prepared with everybodys
despite grumbling from the company I are ready first. tweaked I asked for a 15-minute sound phone number so you can start calling
am working for. It wasnt until one of that Lock Wireless Mics On No check. They thought I was being difficult when you have to. Be an advocate for
companys main employees saw the pan exceptions. People will try to be helpful to work with. your own sanity.
Stairs Ideally do a site visit,
because nobody will think that stairs
are a problem.
A solid gear bag is the key to survival.
Consider bringing: Multitool, tweaker,
flashlight, basic adapters (1/4in to
RCA, RCA barrels, 1/4in barrels, XLR
barrels, XLR phase reverse adapter),
extra cables (stereo 1/8in mini to RCA
[computer audio/MP3 players], 1/4in to
1/4in, Y cables [of all kinds]), AC cube tap,
AC ground lifter, XLR audio pads, 1/8in
to 1/4in headphone adapter, XLR ground
lift adapter, multimeter, direct box.
Lonnie Bedell
is the owner of AVLifesavers,
a manufacturer of specialised
gadgets for the live sound industry.
30 January 2016
30 AMI Jan 2016 How To_Final.indd 1 06/01/2016 12:48

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ISE2016_Ad_MIC2_EN_220x290_.indd 1 17.11.15 13:13
TECHNOLOGY REVIEW
EVE AUDIO SC3010

STUDIO MONITORS
Nigel Palmer gets to

grips with these massive
monitors from the
German firm.
L
oudspeaker design at any level
involves negotiating a set
of compromises and Roland
Stenz, EVE Audios founder
and chief designer, is skilled
at getting the best performance from a
given specification while also offering
value for money. Hes successfully
pursued this since the company started
in 2011, and for me there were signs of
things to come when I reviewed the
then flagship SC408 in 2014 (quoted
here where features are identical),
indicating what could be achieved on a
less restricted budget. It was around
that time I first heard of plans to release
two high-end additions to the top of the
range, the SC3010 and SC3012, aimed
at mastering suites and larger studios.
Although less audio gear than you might
think is truly mastering grade, EVEs
customary avoidance of hype suggested
they could deliver on that promise, and
I wanted to find out what this designer
might do when given a relatively free
hand at a higher price point.
Overview
Manufactured in the Far East with
final assembly and test in Germany,
the EVE Audio SC3010 is a three-way
main monitor measuring 17.13in (W) x
25.59in (H) x 19.29in (D) and weighing a
substantial 37kg/81.6lb, so its a good
idea to have a friend on hand to help with
placement. The low frequency driver is
a 10in unit with a glass fibre diaphragm,
the equivalent being 12in in the larger
SC3012, which otherwise has similar
components and performance but 4dB
more headroom. The SC3010s midrange
is handled by a newly developed 5in
32 January 2016
32-33 AMI Jan 2016 Lead Review_Final.indd 1 06/01/2016 10:45

www.audiomediainternational.com TECHNOLOGY REVIEW
lift at 80Hz to punch up the lower setting interesting to me as I find remarkable was the sheer bandwidth
Key Features frequencies. At first sight the on-board

EQ doesnt appear to offer correction
many speakers natural treble response
a touch bright for my taste and I dont
and power available with 29Hz to 21kHz
-3dB points (25-21 for the SC3012) and no
in the midrange, however raising or believe Im the only one. To my ears the sign of the system running out of steam
lowering both shelves together can help EVEs tweeter had a rightness about at any level I would want to work at.
Air Motion Transformer (AMT) tweeter
n in this important area. it without harshness or splashiness, In music with no extreme lows, for
for ultra-low frequencies
Three amplifiers: 800W (woofer), 250W
n A look around the back of the presenting voices with great clarity and example older rock material by bands
(mid), 250W (tweeter) loudspeaker reveals a set of DIP integrating into the whole so recordings such as AC/DC (I auditioned Back In
Both balanced XLR and unbalanced RCA inputs
n switches to lock volume and EQ were effortlessly revealed with their Black) and ZZ Top (La Grange), none
Can be set up vertically or horizontally
n settings if required a sensible feature, flaws as well as good points. Examples were reproduced yet the songs energy
DSP engine supported by a Burr-Brown
n
A/D converter especially in a facility with multiple of this would be the forward sound remained fully intact. This may seem
users and also set the overall operating on the 1977 Heavy Weather album obvious, but its not uncommon to come
RRP: (Per Pair) 5,499 (SC3010); 6,999 (SC3012) level. Audio inputs consist of analogue by Weather Report, also the (for me) across large monitors with phantom
balanced XLR and unbalanced RCA slightly overcooked top end of The LF due to design shortcomings. On the
www.eve-audio.com
phono connectors. The SC3010 is DSP- other hand, where low bass did exist, as
driver employing glass fibre and foam controlled and converts incoming signals in electronic dance music, the system
construction for its diaphragm, and to digits via a Burr-Brown analogue to made it clear when 808-style kick drums
rounding off the transducer complement digital converter for precision control of and bass synths meshed effectively
is an Air Motion Transformer tweeter the crossovers and EQ, so the omission Uncolored and accurate and when not; and on other material
(manufactured by EVE Audio in Berlin), of AES and/or SPDIF digital inputs they may be, but theyre also such as Donald Fagens Morph The
a new unit unique to the EVE main is at first a little surprising as their Cat with its tastefully extended
immensely involving and
monitors and considerably larger than presence could allow the user to sound mastered by Darcy Proper,
musical
those the company has previously effectively remove a layer of signal the lowest octaves were faithfully
used. This gives the advantage of being processing. That said, experience of
Nigel Palmer and pleasingly conveyed along with
able to work at lower frequencies than running speakers both ways tells me the rest of the music. Overall, the audio
before, resulting in an unusually low there isnt a great deal of difference, so clarity and effortlessness where mono
crossover frequency of 1,800Hz (mid to this wasnt a problem in practice. sources appeared locked in place, stereo
low is 240Hz) allowing the tweeter to The loudspeaker has three amplifiers, imaging was among the best Ive heard
handle more of the ears most sensitive one per driver: an 800W unit for low Mavericks track Dance The Night Away, and there was no evidence of crossover
frequency area. frequencies, 250W for the midrange combined with its well-balanced bumps, indicating a smooth phase and
The mid and high drivers are mounted and another 250W for the tweeter sub thump. frequency response combined with
in a silver-coloured plate that can be all are Class D, an efficient design Ahead of delivery the distributor told negligible distortion.
rotated 90 by undoing four screws, generating relatively little heat, in this me that the presentation of the SC3010
so the monitor can be set up either case protected by a limiter. Across the was neutral, so I half-expected the aural Conclusion
vertically or horizontally. Although during rear of the cabinet opposite the tweeter equivalent of fluorescent lighting, as I enjoyed my time with the EVE Audio
the review period I used the vertical is a large reflex port helping to extend heard in an older speaker brand still SC3010 listening to a wide range
option to put the tweeter at ear height, the lows, with a rounded edge to reduce popular in mastering studios of which a of material, and would go so far as
frequency and polar plots supplied by port noise. Its worth noting that both the user once said I turn the controls until to say that, because at this level of
the manufacturer suggest there is little SC3010 and SC3012 are suitable for use the pain goes away! However, not a bit performance were talking personal
difference in performance when placing either on stands or wall mounted, and in of that was present with these EVEs preference rather than any relative
the monitor on its side. A feature of the latter case foam inserts are available uncolored and accurate they may be, technical deficiency, the EVE could
the mounting plate is a push-and-turn to block the port and help optimise the but theyre also immensely involving probably go head-to-head with monitors
rotary encoder that performs a number systems low frequency response. and musical. Proof of this was shown by of double the cost and more. I suggest
of functions: the default is as a volume a first listening session lasting several an early audition whenever the goal
control with an 80dB range level In Use hours, and I havent done that in a while is resolution, accurate low frequency
selection being indicated by a series of Having been supplied with a pair of I felt I wanted to hear as much material extension and listenability, and would
LEDs around the encoder and a number SC3010s for review, I mounted them as possible via this fresh presentation, find it hard to overstate the serious
of filters are also available. First is a low on stands at a distance of about two and relished the speakers wide and bang-per-buck this new monitor
shelf affecting frequencies below 300Hz metres (the closest recommended), and natural sound. I could hear deeply into represents. Highly recommended.
in 0.5dB steps, with up to 3dB boost started listening to my usual blend of anything I played, and discovered noises
and 5dB attenuation; this is partnered
by a 3kHz high shelf, also +3 and -5dB. In
reference material and work in progress.
The best monitor location in my room is
and musical parts in recordings I know
well that I hadnt noticed before, such as
The Reviewer
addition there is a bell EQ, which behaves fairly close to the rear wall, and although the single-note guitar in the side channel
differently depending on whether youre the rooms design compensates to an during the second verse of Michael
Nigel Palmer
cutting or boosting for the former it extent for the bass lift you find in such a Jacksons The Way You Make Me Feel; has been a freelance sound engineer
acts as a narrow-band filter at 160Hz to half space, a 3dB cut with the SC3010s also the sustained bass notes in the and producer for over 20 years. He
mitigate the effect of reflections from built-in low shelf EQ brought the bass Steely Dan song Cousin Dupree low- runs his CD mastering business
Lowland Masters from rural Essex.
consoles or other hard nearby surfaces, frequencies into correct perspective. I end resolution and timing of the system
www.lowlandmasters.com
and in the latter case it offers a broader left the high adjustment at the factory are exemplary. One of the things I found
January 2016 33
32-33 AMI Jan 2016 Lead Review_Final.indd 2 06/01/2016 10:45

TECHNOLOGY REVIEW www.audiomediainternational.com
AUDIO-TECHNICA Key Features
BP40
Large-diameter diaphragm with
n
MICROPHONE floating-edge construction
Humbucking coil
n
Switchable 100Hz high-pass filter
n
Multistage windscreen for superior
n
internal pop filtering
Optimised capsule placement for
n
Stephen Bennett pits the new broadcast mic against commanding vocal presence
some of the usual suspects in his chosen application
RRP: 290
to see how it performs.
www.audio-technica.com
M
The BP40 comes in a cardboard box, In Use BP40s shape, size and weight arent
ost microphones are but Audio-Technica supplies a soft pouch As luck would have it, The University of really ideal for this type of use. Some
designed as general- for storage. As this type of microphone East Anglia is building a new radio studio of the BP40s competitors have also
purpose devices, will spend the majority of its life on the and I have been involved in specifying gained a decent reputation as vocal
although many have end of a boom in the studio, I dont see the technical equipment to be installed. microphones for singers, so I was keen
found a particular niche the lack of a case as a problem. The I was therefore able to compare the new to try the A-T in this application. On
as they have been discovered to excel at BP40 is a dynamic transducer with BP40 against two of the usual suspects male vocals, the results were promising,
certain tasks, such as the humble Shure a 37mm diaphragm that features a used for this application. The first thing with the Audio-Technica coming across
SM57 over a snare or the not-so-humble patented floating-edge construction that became obvious is that the BP40 as a kind of super SM58 a more
Neumann U47 FET outside a bass drum. with no flange where the membrane is has excellently low noise levels the airy sound than Shures venerable
Other microphones are designed for glued. Audio-Technica says this reduces university campus is a nightmare for microphone, but with something of
use in specific applications although strain on the membrane, which can lead RF interference and the microphone the heft and weight that suits some
with engineers being what they are, this to distortion and I have no doubt that performed impeccably in this respect. singers voices.
sometimes ends up not being the one it is an effective construction the The BP40 worked perfectly as the main In the radio studio and voiceover
the manufacturers expect! In a radio or microphone taking a whisper to a presenters mic and handled both male applications its designed for, the BP40
voice-over studio, youre obviously likely scream in its stride. and female voices with ease, while is an excellent performer, however, like
to encounter microphones designed The microphones hypercardioid off-axis suppression was particularly all good transducers, engineers will
specifically to capture the human voice. polar pattern is the most practical for effective when multiple microphones find other uses for this microphone and
These usually feature fittings along screening out other voices in a busy were in use. Mounted in a vocal booth I can see it taking tom-tom and snare
their mid-length for easy attachment studio environment and the 100Hz high- alongside my usual AKG 414 to provide a duties in its stride. You can never have
to floating boom stands, a construction pass filter should help control booming voice-over for a short animated film, the too much microphone choice and Ill
rugged enough to survive being abused voices and reduce the effect of passing BP40 was noticeably and predictably definitely be adding the BP40 to my list
by members of a DJs posse, resistance traffic. A multistage windscreen is less open in the upper frequencies of recommendations in the future.
to plosives and a frequency response designed to provide protection against than the condenser. However, the
suitable for recording and broadcasting
voices. The new Audio-Technica BP40
plosives while a humbucking coil is
fitted to help against radio frequency
client preferred the recording from the
Audio-Technica microphone, claiming The Reviewer
joins this relatively short list of interference. Frequency response is a it sounded more like Radio 4, which, I
specialist microphones. useful 50-16,000Hz, so youre unlikely to think, is something of an accolade!
Designed in conjunction with French have sibilance issues, while sensitivity Finally, I pressed the BP40 into the Stephen Bennett
design agency Arro, the BP40 appears is rated at 48dB (3.9 mV) re 1V at 1 Pa. eager hands of a student who wanted to has been involved in music
production for over 30 years.
extremely well put together. At 632g Audio-Technica helpfully provides polar record some interviews for a podcast. Based in Norwich he splits his time
its just weighty enough to feel like it will and frequency response graphs in its Plugged directly into a Tascam DR100, between writing books and articles
survive the travails of studio life without documentation and the microphone the mic produced audibly superior on music technology, recording
being so porky that it will be continuously generated a healthy output level in results to the internal microphones of and touring, and lecturing at the
University of East Anglia.
drooping on a boom. typical recording situations. the portable recorder although the
34 January 2016
34 AMI Jan 2016 Review 1_Final.indd 1 06/01/2016 10:47

RADIAL TRIM-TWO
Designed to simplify the use of laptops in live settings by providing a ready access volume control for on-the-fly
adjustments, this looks like a handy gadget on paper, but whats it like in the flesh? Over to Alistair McGhee
DI BOX Key Features

Two Eclipse transformers to isolate and
S
n
balance the signal
ometimes a new product is Ultra linear response from 30Hz to 20kHz
n
really new and sometimes Capable of handling up to +15dB signal levels
n
its a refinement or an Easy access front panel volume control
n
Choice of RCA, 0.25in and 3.5mm connectors
n
extension of an existing
line. Both are new but the RRP: $175
second group tends to generate a little
www.radialeng.com
less hullabaloo. Radials Trim-Two is
definitely in that slightly less glamorous
category as Radial already has a switch. Sorry Radial, its just because
spectrum of DIs that cover just about I think its clearer from a distance that
every imaginable situation. the mono function is engaged and it
The Trim-Two is delivered in Radials is less likely to be bumped. I have no
classic and hugely effective wraparound reservations about the gain trim feature
book-style casing and would stop a the pot is positive in action, clearly
bullet for you without batting an eyelid. labelled and isnt going to be easily
But dont try it at home. The grey livery nudged. And the flexibilty of setting the
is a little dull, it has to be said, but its a DI levels at the input means you can get
not a fashion item. In the world of DIs the can set the input levels exactly where full fat audio output keyboards, drum your active gain structure just right
transformer is king and so I have Radials you need them. Also, the Trim-Two machines or tablets and laptops then to minimise noise.
with Jensen transformers and Cable has a mono option to turn your stereo the Trim-Two is the way to go. If you
Factory DIs with Lundahl transformers. source into a mono output and finally might want to chuck a guitar into the mix In Use
Radial designates products that feature and most importantly the Trim-Two then the PRO AV2 will be a better choice. I plugged everything to hand into the
Jensen transformers with a J hence the is a unity gain device (give or take the And so on to the trim function of the Trim-Two, from keyboards, laptops
JDI however not all Radials have Jensen inevitable insertion losses of life!) This is Trim-Two. Having a pot to alter the signal and sound cards through SQN mixers,
transformers. I have a Radial PRO a function of the choice of transformers gain works with higher output devices ShortCuts and anything else lying
AV2 and the AV2 comes with Eclipse used in each device. The PRO AV2 as these usually have buffered outputs. around. Everything was interfaced
transformers, which Radial started features 12:1 transformers in mu-metal This is important because changing without a problem. I dont think theres
using when Jensen supply couldnt keep cans and inserting it into your circuit the gain with a pot also changes the a secret to Radials success they make
up with demand. Eclipse and Jensen are will reduce your signal level by about impedance not a problem with a really good products for people happy
now both part of the Radial family and 20dB. The Faraday screening provided buffered output, but with instrument to pay a little more for exactly the right
Radial has invested in boosting Jensens by the mu-metal enclosures is required levels the change in impedance can tool. And the Trim-Two is another chip
output. In any case the PRO AV2 is very because we might be dealing with small result in a significant change in tone. off the Radial block.
definitely in the Trim-Twos genealogy, signal levels. The final feature to consider is
or at least at first sight.
They are both stereo devices; they
The transformers in the PRO AV2 are
designed to handle signal levels from
the mono switch the instruction
manual shows a recessed switch that
The Reviewer
both offer inputs on quarter inch jack, -30dB up to negative ten or zero level requires a screwdriver to operate. I was
phonos and mini jack; they both have at a push and they are described as looking forward to niggling about this
Alistair McGhee
Eclipse transformers; they both have input transformers. The Trim-Two on inconvenience. Sadly Radial has beaten began audio life in Hi-Fi before
ground lift on the output and they both the other hand is designed to deal with me to it and the production Trim-Two joining the BBC as an audio engineer.
have a way of altering the gain at the higher signal levels from the get-go. The has the same standard switch for mono After 10 years in radio and TV,
input. So what is new? transformers are not enclosed and with as it does for ground lift. Nice to see a he moved to production. When
BBC Choice started, he pioneered
a 1:1 ratio the Trim-Two expects higher product where real-world factors are personal digital production in
Youre in control signal levels and is capable of accepting taken into account in design. Having television. Most recently, Alistair
Well, while the PRO AV2 has a fixed 15dB a whopping +15dB at the input. The Trim- a mono switch is jolly handy when you was assistant editor, BBC Radio
pad option at the input the new Trim-Two Two features output transformers. need to save channels but at the risk Wales and has been helping the UN
with broadcast operations in Juba.
has a continuously variable pot. Now you If your rig is stuffed with kit producing of being picky Id rather have a sliding
36 January 2016

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PRESONUS STUDIO 192 Brad Watts test-drives this new USB 3.0 offering from the US manufacturer
AUDIO INTERFACE to see what all the fuss is about
I
m generally a fan of PreSonus power to each preamp input, along providing mono, stereo, filtered and ping-
audio offerings. I keep a set of the
companys preamps on hand the
with talkback, mono monitoring and
output dimming/muting. The dim/
pong delays. If your DAW of choice is
PreSonus Studio One, this is accessible
Key Features
now-discontinued DigiMax FS, simply mute button provides dual operations. via the DAW itself. PreSonus provides
because I like the XMAX preamps. Its Off to the right are two headphone Studio One Artist with the Studio 192, so
Ultra low latency, 24-bit, 192kHz USB 3.0
n
true PreSonus leans towards the budget outputs with individual volume control you can kick off from square one with the audio interface
end of the audio world with equipment pots. To the left of the front panel are Studio 192 package. 8 XMAX remote controllable mic preamps
n
punching well above its weight in terms the first two XLR mic inputs. Being The Fat Channel is a hybrid plug-in that Fat Channel processing on every analogue
n
input and the first ADAT inputs
of reproduction and capture, but this is combo connectors these can accept runs on both Studio One for playback
Total integration with Studio One; comes
n
exactly the PreSonus ethos: top-shelf high impedance signals from guitars. and the Studio 192 DSP for recording and bundled with Studio One Artist
results made affordable. Out the back are the remaining six XLR monitoring. So when youre recording, Flawless analogue signal path with 118dB
n
This philosophy continues with the mic inputs, eight TRS balanced outputs, youre using up to 16 instances of the digital conversion
Studio 192 recording system. The Studio BNC wordclock in and out, coaxial S/ plug-in on the S192 DSP; when you play
RRP: $1,199.95
192 will cater to sample rates of 192kHz PDIF I/O, the four ADAT ports and the back, the system seamlessly switches to
via the analogue inputs, and the unit USB 3.0 connector. running up to 16 instances of the plug-in www.presonus.com
can be expanded using S/MUX-enabled in Studio One. The sound is identical I indulged myself by going through and
ADAT optical connections. I/O amounts DRIVE BY WIRE because the plug-ins are identical, just micing up additional sections of the kit
to 26 inputs and 32 outs, and the unit Supplied alongside the Studio 192 is running on different processors. hats, kick in, snare bottom, toms and
achieves this via USB 3.0. a software control panel and mixer. Its difficult to fault modern audio a room mic (another ribbon) covering
Dubbed UC Surface, the software is also interface fidelity, and the Studio 192 it with nine mics. Having my PreSonus
ALL IN ONE available as a free iPad application or as wont disappoint on this front. PreSonus DigiMax FS on hand allowed me to open
Nowadays, it seems standard practice a touch-responsive app for Windows 8 has utilised a Burr-Brown chipset for an additional eight mic inputs, and again,
to incorporate control room-style and Windows 10 touchscreen computers. audio conversion. The dynamic range tracking proceeded happily at both
monitoring into most interfaces. The Like most mixer control panels, UC of both the A-D and D-A processing is 44.1 and 88.2kHz all via good old USB.
Studio 192 offers such features, including Surface is designed for configuring 118dB (A-weighted) comparable with Suffice to mention, the onboard DSP
the ability to switch between three sets multiple mixes via the Studio 192s interfaces costing four times the price. came in handy for this task, with the gate
of monitors. Additional speakers must additional outputs. Up to eight separate THD+N figures dont stack up nearly processing proving invaluable.
be connected via the eight balanced TRS stereo mixes can be configured. This is as well, however. At <0.005 across Would I own one? Yes indeedy sir,
output jacks. These can also be used for rudimentary to any native DSP-based all I/O, this doesnt come close to the I would. Not only does the unit sound
monitor mixes, alongside the dedicated interface, and historically has been <0.000X figures touted by the big boys very good, its expandable to 24 inputs.
TRS main monitor outputs. The front supplied to provide direct monitoring in analogue conversion, such as the Should you find yourself in this market,
panel provides a large main output level from the interface, thus avoiding the flagship Apogee devices, RME and Prism the Studio 192 has a lot on offer at an
control pot, and a single gain level control round trip time-lag associated with Sounds of this world. As things stand, exceptional price.
flanked by left/right buttons. These native-based DAW applications. the Studio 192 competes favourably with
The Reviewer
scroll through the eight preamp inputs. A The UC Surface software gives access units such as the Apogee Ensemble and
ninth C setting adjusts gain for the built- to the 192s DSP. The first 16 inputs of the UAD Apollo units.
in talkback mic. The internal mic can be the 192 offer PreSonus Fat Channel
forfeited for a standard mic connected processing. This DSP includes phase IN USE
via any of the mic preamps. The preamp reverse, a gate, a compressor, output In order to take the Studio 192 through a
Brad Watts
levels and individual 48V power for each limiter, a full parametric four-band bit of an audition I recorded a number of has been a freelance writer for
mic pre can be set from within your DAW equaliser and high-pass filter. This can live drum kit takes. Initially I kicked off numerous audio mags, has mastered
using MIDI controller information. be printed to your DAW by flicking each with my variation of a Glyn Johns-style and mixed various bands, and was
channel to post-send. There are also two micing method with a couple of ribbon deputy editor of AudioTechnology in
Australia. He is now digital content
HANDS ON THE WHEEL master effects: a reverb processor with mics on overheads. Everything tracked manager for Content and Technology.
Four backlit buttons address 48V nine algorithms, along with delay effects perfectly at 44.1kHz and 88.2kHz. Then
38 January 2016

SONNOX ENVOLUTION
PLUG-IN
Rich Tozzoli tells us why

he now calls this new
envelope shaping plug-in
the ass kicker.
S
onnox has just released a
brand new plug-in called
Oxford Envolution, which
is a frequency-dependent
envelope shaper. With full
disclosure, I was on the beta team for
this. Regardless, I use it on just about
every session not because of that,
but because its just such a useful
piece of software.
Ive certainly used other envelope
shapers before, including Sonnoxs own
Transient Modulator. But what makes
Envolution different is that there
are separate Transient and Sustain The Scope display can also be frozen each note (the kick in this instance), and
sections with creative control over
each element. The Transient section
by clicking inside the box, where a
blue border will be drawn around the
more ambience and sustain from the
rest (hi-hats, snares and cymbals). In
Key Features
features independent control over window. Simply click again to let it go. doing so, it also made the loop louder, so
Attack, Hold, Release and Sensitivity By selecting the FREQ buttons, the I pulled the Master fader down, but also
Frequency-dependent control of Transients
n
along with the large Transient level Spectral Shaping of each section is experimented with the Mix Dry/Wet. and Sustain
control. It doesnt get much easier to shown, where EQ curves can be tilted Another cool thing: cutting sustain Tilt/parametric targeting of frequencies
n
use to enhance the transients of the to alter the high and low frequencies and ambience to the point where it to process
waveform, turn the Transient knob up; of effects. becomes an incredibly smooth gate. DIFF button to solo the effect
n
Use in parallel without phase cancellation
n
to reduce them, turn the knob down. The Output section features a I had a bunch of audio brothers Numerous presets to get the user started
n
With the Sustain section, the same Master Fader and stereo meters, as around me when I was doing it,
approach applies turn the big Sustain well as a Wet/Dry Mix control and and we all gathered by the screen to RRP: $270 (Native) & $435 (AAX DSP)
knob up to increase; turn it down to Warmth control (0 to 100%). When hear how powerful this tool is for www.sonnoxplugins.com
decrease the amount. The Sustain pressed, the Diff button allows users loop productions.
section also features Hold, Attack and to hear the difference between the Then to really experiment, we left the large Transient and Sustain knobs
Release controls, and both Sustain and original and processed signal, and the DIFF button pressed and just to increase and decrease as the music
Transient sections have independent the Bypass button bypasses the started turning knobs. This whole new flows, which lets you turn static loops
Bypass buttons to turn the effect on entire plug-in. sonic palette came out of the loop, into something more musical and
and off as it is added per section. which not only lets you hear the special. I highly recommend taking this
The Center Panel can be assigned In Use process of Envolution, but when you plug-in for a spin.
three different views. Envelope Scope The first time I put this thing up (while leave that DIFF knob in, its like sound
shows the real-time amplitude of
the waveform in grey, the Transient
still in beta), I jokingly referred to it as
the ass kicker a name I still call it. As
design meets transient creativity. A
useful detail in Envolution is that you
The Reviewer
envelope in yellow and the Sustain I often use a wide variety of loops in my can roll over any of the knobs, and a
envelope in purple; use this to see the TV productions, Im always looking for a small explanation box pops up telling
Rich Tozzoli
sensitivity and shape of gain envelopes. way to do something unique with them. what it does. is a producer, mixer, engineer and
It operates in default as Scroll mode I placed Envolution across a standard Without question, Envolution is a musician/composer with TV credits
(Slow/Medium or Fast), but can be drum loop, turned up the Transients and highly creative tool. I use it primarily including Duck Dynasty, History
viewed as Sync with one or two bars Sustain knobs, and heard, well, more on loops, but also on percussion, snare Channels Pawn Stars, Harpo Studios
21-Day Meditation Challenge and more.
when working in mapped tempo mode. more attack on the initial transients of drums and so on. I will often automate
40 January 2016

From the publisher of Installation,
AV Technology and SCN, a new launch
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12/11/2015 17:22
INTERVIEW www.audiomediainternational.com
BANG TIDY
With an MPG nomination for Breakthrough Engineer now firmly under his belt, 2015 was a landmark year for
London-based Drew Bang. Colby Ramsey quizzes the pro-audio up-and-comer about his work with garage punk
duo Slaves and life at Strongroom Studios.
Youve also had some experience
working with the BBC. Do you feel your
wider knowledge of audio has helped
you become more accomplished in the
field of recording?
Yeah, I think this is great. Perspective is
a fantastic tool to have and complacency
can be a huge detriment to productivity;
knowing how others work can really
aid you in making the right decision for
you. That being said, none of that really
matters does it? Introspection also
breeds self-doubt and thats the real killer
when it comes to just getting on with it.
Could you tell us a little about

Strongroom, your base of operations
at present?
Sure. Ive been freelancing at Strongroom
for just over three years now. Its like no
other studio Ive been to. Its a 30-year-old
institution, has Jamie Reid (Sex Pistols)
You initially started out in music as a whom I freelance for, to work on the news. I was completely dumbfounded, artwork in every room, its own craft
singer to what extent did that set you album. I guess I was the studios best-fit burst into a happy cry and spent the next beer bar and a beautiful congregation
up for a career in audio engineering in-house guy for the job, and the rest is 15 minutes with my head in my hands, of resident producers working out of
and recording? history. Since the album, weve stayed in trying to style my reaction to the room its studios a real creative hub. Phil and
Haha! Yeah that was such a long time touch but are all seeing other people. full of people staring my way! As you can Emma who manage the studio have been
ago now. I guess with hindsight (which imagine, I wasnt expecting to get great in supporting my career, sending
is a beautiful thing I might add) Id say How did you approach the recording through to the final three. Im so very work my way which they know Ill love,
that being able to remember how it felt and was there anything you feel you did humbled by that. which is fantastic as Im unmanaged. Of
to be a performer and attempting to particularly differently? the three commercial rooms, Ill always
translate something from within into a From day one we all seemed to click, it Could you tell us a little about your opt for Studio 1: the Neve VR room where
tangible musical entity. That creative might have had something to do with us method of working in general? Do you we tracked Slaves. If I could take that
drive for me was always what dictated starting and ending each day with bro- have any particularly unique or unusual console home, I would.
my personality on and off stage, my ego hugs massively important! From that methods/habits?
and my aspirations. Being able to directly point it was four guys in a room for three Im pretty methodical I guess. Ill have Whats next for you? Have you got any
empathise with those traits in others weeks lets put it down and try and make prepped my session ahead of time big projects lined up that you could tell
makes working with artists from an something great. Thats like the dream usually, and given enough information had us about?
engineers perspective so much in the studio everyone doing their job. some time to work on pre-production etc. Im working on an EP for a band called
more manageable. In that sense it was different, as I wasnt All that stuff is just for me though I have Three Girl Rhumba on [record label] Im
having to do someone elses job for them, a pretty short attention span, so if Im Not From London, which Im having to do
You worked with punk duo Slaves on just my own mics, acoustics, outboard, not organised, Ill get myself all confused. in my spare time a labour of love really.
their debut album last year. How did desk, a cheeky half and home to bed. Theres a clear signal flow in engineering. And yeah, I have a few potentially massive
that come about? I try to take the shortest route, but I think sessions coming up in the New Year but
Just another day, another client booking What was your reaction to being good engineering is knowing the long Im on NDA so I couldnt possibly hint at
at the studio! All credit for that hook-up shortlisted for an MPG Award? ways round, just in case. Once Im in the what, or who. Im super excited about
goes to the producer Jolyon Thomas; I was sat with my girlfriend in a tap room zone, its just about letting things happen 2016, really wanting to get that diary
hed worked with Isaac (Holman, drums/ in Bermondsey, on an all-day session in a way that brings out performances. filled out with good energy sessions.
vocals) and Laurie (Vincent, guitar/ wed had a few double IPAs by this point All of this is subject to a client that allows Still working on that bucket list though
vocals) on a couple of singles already, and when the email came in, I was half you to work freely of course; otherwise I dont suppose you know the guys
and brought the band to Strongroom, listening to her, and half taking in the do as Im told! from DFA1979?
42 January 2016
42 AMI Jan 2016 Back Page_Final.indd 1 06/01/2016 14:15


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January 2016 www.audiomediainternational.

ON THE FRONT FOOT

01 AMI Jan 2016 FC_Final.indd 1 06/01/2016 17:05

X12, MULTI-PURPOSE ENCLOSURE - L-ACOUSTICS X SERIES

of AudioTechnology again takes over. New Year!

03 AMI Jan 2016 Welcome_Final.indd 1 06/01/2016 17:09

42 INTERVIEW 27 STUDIO PROFILE:

04 AMI Jan 2016 Contents_Final.indd 1 13/01/2016 10:00

Boom festival photo: esweb

new tvbe template remade.indd 1 02/12/2015 15:02:28

MERGING, GENELECS IMMERSIVE SHOWCASE

CADAC CDC SIX NOW SHIPPING AKG UNVEILS K182 HEADPHONES

06-07 AMI Jan 2016 News_Final.indd 1 06/01/2016 14:58

PMC PREVIEWS IB1S-AIII MONITOR

61508-001_MM_Allgemein_Audio_Media_International_95x270_GB CD-Rom ISO 39 CMYK yi: 07.12 .15

AIMS IP ALLIANCE FORMED Its my tune.

06-07 AMI Jan 2016 News_Final.indd 2 06/01/2016 14:58

FACING THE MUSIC

well as a number of new developments.

What? NAMM Show 2016

Distro, which combines a signal driver

08 AMI Jan 2016 NAMM Preview_Final.indd 1 06/01/2016 11:07

BUILDING THE PERFECT RADIO RECORDER

10 AMI Jan 2016 Opinion 1_Final.indd 1 06/01/2016 14:06

THE PSYCHOLOGICAL ASPECT OF RECORD MAKING

place in order for a performance to reach

12 AMI Jan 2016 Opinion 2_Final.indd 1 13/01/2016 10:01

The Jane & Upper Room Bar | antwerp | belgium Pioneerproaudio

new tvbe template remade.indd 1 06/01/2016 17:33:24

14-16 AMI Jan 2016 Geo Focus_Final.indd 1 06/01/2016 15:55

How would you say the pro

How do you expect your sector to perform

10% 20% 30% 40% 50% 60% 70% 80%

14-16 AMI Jan 2016 Geo Focus_Final.indd 2 06/01/2016 15:56

Meanwhile, other sectors have been a related legislative development in

14-16 AMI Jan 2016 Geo Focus_Final.indd 3 06/01/2016 15:56

High Standing, Harding Road, Brinklow,

The recent Bosch installation at the

18-20 AMI Jan 2016 Feature_Final.indd 1 06/01/2016 11:14

Acoustics are becoming a bigger

//////////////////////////// church. In Europe and the US, the halls

18-20 AMI Jan 2016 Feature_Final.indd 2 06/01/2016 11:14

Funktion-One flying high in Beirut

18-20 AMI Jan 2016 Feature_Final.indd 3 06/01/2016 11:14

23-25 AMI Jan 2016 Feature_Final.indd 1 06/01/2016 17:32

RoomMatch Utility loudspeakers

LIKE US ON FOLLOW US ON TO LEARN MORE

Full Page Template.indd 1 8/21/2015 10:06:01 AM

Niall Brady Steve Fanagan

23-25 AMI Jan 2016 Feature_Final.indd 2 06/01/2016 17:33

Full Page Template.indd 1 12/15/2015 2:06:35 PM

27-29 AMI Jan 2016 Studio Profile_Final.indd 1 06/01/2016 14:11

and studio signal flow

Warner Music Ad 210x145mm.indd 1 04/12/2015 17:02

The SA-2 Dialog Processor is based on hardware originally conceived by

Page 28_AMI.indd 1 06/01/2016 12:56

you enter The Laundry is that its not

27-29 AMI Jan 2016 Studio Profile_Final.indd 2 06/01/2016 14:11

30 AMI Jan 2016 How To_Final.indd 1 06/01/2016 12:48