Mix 2007 #08

EC AWARDS
2007 T
See Voters
Guide Pag
e 69
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�
Nineteen-time Grammy Award Winning Engineer
Al Schmitt
Photograph by Chris Schmitt

www.chrisschmittphotography.com
"When it comes to a ribbon mic,

there's nothing like a Royer."
- Al Schmitt
(Engineer: Diana Krall, Natalie Cole, Ray Charles,
Chris Botti, Barbra Streisand, Steely Dan)
Royer Ribbons - Hears Like Your Ears

R-121 R-122V Vacuum SF-24 Active
Handcrafted in Burbank, CA w www.royerlabs.com w 818.847.0121 Ribbon Mic Tube Ribbon Mic Stereo Ribbon Mic
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d708MIX911.pdf 7/16/07 10:57:32 AM
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StudioPatch Ad_MixMag 12/27/06 4:49 PM Page 1
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Kunkel_Mix_MayIssue_032707.qxd 3/27/07 2:14 PM Page 1
NATHANIEL KUNKEL
Emmy ® Award, multi - GRAMMY ® Award - Winning
Engineer, Producer whose credits include projects with:
B.B. King
The Crystal Method
Fuel
Good Charlotte
Graham Nash
James Taylor
John Mayer
Lyle Lovett
Maroon 5
Morrissey
Sting
Nathaniel Kunkel’s Studio Without Walls is as much an approach to making records, as it is the actual physical studio.
“I move around all the time and I take my studio with me. More often than not I find myself working in smaller, irregular
rooms, such as a guest house, office, or hotel room. When I am working in a smaller room like that, the first
thing that gets sacrificed is the monitoring environment – and there is almost always some kind of low frequency
problem. The LSRs allow me to know exactly what is going on with the bottom end, and create
mixes that translate impeccably outside of the studio. The RMC system makes a tremendous difference.
I’ve been working on the JBLs exclusively and I’m really, really happy with them.”
Hear why award-winning engineer, producer, Nathaniel Kunkel relies on the

LSR series studio monitors. Visit JBLPRO.com/LSR
The use of the artists’ names above is a factual statement and does not
constitute an endorsement or sponsorship of JBL Professional or any of its products.
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contents
sections technology columns

S o u n d f o r pi ct u r e 102 Tools of the Trade 24 Insider Audio: Thanks for the Memoirs
58 Foley Action in The Bourne by Paul D. Lehrman
Ultimatum by Blair Jackson 106 Field Test: Yamaha EMX5016CF
Portable Powered Mixer
li v e mi x
78 Live Mix News
82 All Access: Feist by Steve Jennings
84 Tour Profile: The Police
by Sarah Benzuly
PAGE 48
PAGE 106 48 Mix Interview: Roger D’Arcy

by David Weiss
108 Field Test: Rupert Neve Designs
Portico 5014 Stereo Field Editor 56 Project Studio: Tim Larkin
by Blair Jackson
PAGE 82 110 Field Test: Heil PR30, PR40 Dynamic
Microphones
90 Local Crew: Velvet Thunder
by Sarah Benzuly 112 Field Test: Drawmer S3 Stereo
Vacuum Tube Compressor
R e c o r d in g N ot e s
120 Tori Amos by Paul Tingen
PAGE 64
64 AudioNext: Soundelux DMG

by Alexander Brandon
98 Tech’s Files: Dare to Compare

by Eddie Ciletti
PAGE 120
121 Nick Lowe and Richard Thompson

by Barbara Schultz
PAGE 116 departments
122 Classic Tracks: Tears for Fears’
“Everybody Wants to Rule the World” 10 From the Editor
by Heather Johnson 116 Field Test: Josephson C700A
134 Cool Spins Condenser Microphone 14 Feedback
COA S T TO COA S T 118 Field Test: Audiofile Engineering 16 Current

136 L.A. Grapevine by Bud Scoppa voXover Voice-Over Software
136 Nashville Skyline by Rick Clark 143 Mix Marketplace
137 N.Y. Metro Report by David Weiss 160 Power Tools:
138 Sessions & Studio News Solid State Logic AWS900 151 Classifieds
by Barbara Schultz by Matt Marrin
MIX, August 2007 • www.mixonline.com
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From The Editor www.mixonline.com
MIX
®
GROUP EDITORIAL DIRECTOR Tom Kenny tkenny@mixonline.com

EDITOR Sarah Jones sjones@mixonline.com
EXECUTIVE EDITOR George Petersen gpetersen@mixonline.com
SENIOR EDITOR Blair Jackson blair@blairjackson.com
Technology and Production TECHNICAL EDITOR Kevin Becka kbecka@earthlink.net
GROUP MANAGING EDITOR Sarah Benzuly sbenzuly@mixonline.com
ASSISTANT EDITORS Barbara Schultz bschultz@mixonline.com
Matt Gallagher mgallagher@mixonline.com
LOS ANGELES EDITOR Bud Scoppa bs7777@aol.com
O
NEW YORK EDITOR David Weiss david@dwords.com
ne Sunday morning a month, a group of individuals can be observed in a park- Nashville EDITOR Rick Clark mrblurge@mac.com
ing lot not far from the Mix offices moving items in and out of car trunks and FILM SOUND EDITOR Larry Blake swelltone@aol.com
SOUND REINFORCEMENT EDITOR Steve La Cerra
exchanging money. Drug dealers? Gun runners? Fences moving hot merchandise? CONSULTING EDITOR Paul D. Lehrman lehrman@pan.com
Hardly: They’re 78 rpm record collectors who meet to swap century-old technology. CONTRIBUTING EDITORS Michael Cooper Heather Johnson
Eddie Ciletti Gary Eskow Barry Rudolph
So, 100 years in the future will there be similar meetings of enthusiasts trading vin-
tage MP3s or WMA files? Probably not. Technology is constantly evolving, although SENIOR ART DIRECTOR Dmitry Panich dmitry.panich@penton.com
there is something inherently cool about hearing a 75-year-old jazz performance on ART DIRECTOR Kay Marshall kay.marshall@penton.com
ASSOCIATE ART DIRECTOR Lizabeth Heavern
a wind-up gramophone.
PHOTOGRAPHY Steve Jennings
I’m not proposing we go back to the days of 78 rpm records, but technology has Informational GRAPHICS Chuck Dahmer
made an enormous impact on audio workflows. The arrival of multitrack recording
EXECUTIVE VICE PRESIDENT Darrell Denny darrell.denny@penton.com
enabled works that were impossible to create in real time, where one player could
VICE PRESIDENT Jonathan Chalon jonathan.chalon@penton.com
perform several—or all—of the parts. But more importantly, multitrack opened the ASSOCIATE PUBLISHER Erika Lopez erika.lopez@penton.com
door for experimentation with multiple overdubs of different vocal or instrumental
DIRECTOR OF AUDIENCE AND BUSINESS DEVELOPMENT
tracks. Its arrival also marked a point where the production phase became much lon-
Dave Reik dave.reik@penton.com
ger, moving from a simple “record the band in the studio” process to becoming the DIRECTOR OF INTERACTIVE AND LIVE MEDIA
center for creativity. And rather than just a few days, artists were suddenly spending Joanne Zola joanne.zola@penton.com
Online audience development manager Tami Needham
months in the studio. tami.needham@penton.com
Traditionally, pre-production meant a lot of pre-session work—writing/choosing
material, working out arrangements and rehearsing. True, nothing can match the NORTHEAST ADVERTISING DIRECTOR Michele Kanatous
michele.kanatous@penton.com
excitement of working with a group of great players, but with a lot of today’s music, NORTHWEST ADVERTISING MANAGER Greg Sutton
there is no “band.” In many cases, the producer assumes that role, writing beats, greg.sutton@penton.com
grooves and riffs, and often collaborating with the artist to work out the lyrics in the SOUTHWESTERN ADVERTISING MANAGER Albert Margolis
albert.margolis@penton.com
studio. Here, the DAW goes far beyond acting as an editable multitrack. Loaded with SOUTHEAST/EUROPE ADVERTISING MANAGER Jeff Donnenwerth
looping/beat-construction tools, virtual instruments and DSP plug-ins, the workstation jeff.donnenwerth@penton.com
becomes the studio itself and is capable of creating nearly any genre of music.
CLASSIFIEDS/MARKETPLACE ADVERTISING DIRECTOR
Just as playing a grand piano or fine acoustic guitar can help inspire the creation Robin Boyce-Trubitt robin.boyce@penton.com
process, so can a collection of cool grooves. Technology serves art. Art serves tech- Classifieds/Specialty Sales Manager
nology. And the circle is complete, especially with digital tools shattering the barriers Kevin Blackford kevin.blackford@penton.com
of affordability. Need a (virtual) 1928 Steinway “B,” LA-2A or a rack of Pultecs? No MARKETING DIRECTOR Kirby Asplund kirby.asplund@penton.com
problemo. Technology has definitely changed the way we work, but whether rehears- SALES & MARKETING COORDINATOR Clarina Raydmanov
clarina.raydmanov@penton.com
ing a band before tracking or knocking out beats, there’s still a creative human touch
SALES & EVENTS COORDINATOR Jennifer Smith
that makes the difference. And that song remains the same. jennifer.smith@penton.com
Speaking of creativity and technology, this issue includes our annual Technical Ex-
DIRECTOR, SPECIAL PROJECTS Hillel Resner hillel.resner@penton.com
cellence and Creativity (TEC) Awards voter’s guide. This year, we’ve instituted a fast,
online means that simplifies the process where subscribers can help select pro audio’s VICE PRESIDENT, PRODUCTION Lisa Parks lisa.parks@penton.com
best people, products and facilities. (For more details, see page 69 or visit www. SR PRODUCTION DIRECTOR Curt Pordes curt.pordes@penton.com
PRODUCTION MANAGER Liz Turner liz.turner@penton.com
mixfoundation.org.) Another change this year is a new category that recognizes the CLASSIFIED PRODUCTION COORDINATOR Jamie Coe
increasing importance of Interactive Entertainment Sound Production. The online bal- jamie.coe@penton.com
loting begins August 1. It’s your industry, so take a few minutes and cast your votes.
VICE PRESIDENT, AUDIENCE MARKETING Jerry Okabe jerry.okabe@
We’re counting on you. penton.com
OFFICE MANAGER Lara Duchnick lara.duchnick@penton.com
COPYRIGHT 2007
Penton Media Inc.
ALL RIGHTS RESERVED.
George Petersen Founded in 1977 by D av i d S c h wa r t z and Penny Riker

Executive Editor
magazine is affiliated with
10 MIX, August 2007 • www.mixonline.com
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��1
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1:27:35 PM
www.mixonline.com
Chief Excutive Officer John French john.french@penton.com

Chief Financial Officer/Executive Vice President Eric Lundberg
eric.lundberg@penton.com
Sr. Vice President, Administration Eric Jacobson eric.jacobson@

penton.com
#
Vice President, Human Resources Kurt Nelson kurt.nelson@penton.com
-
Chief Operating Officer Andrea Persily andrea.persily@penton.com
Chief Technology Officer Cindi Reding cindi.reding@penton.com
9
Vice President, General Counsel Robert Feinberg robert.feinberg@penton.com
#-
Vice President, New Media Group Prescott Shibles prescott.shibles@penton.com
Vice President, Corporate Controller Steve Martin steve.martin@penton.com
-9
#9
SUBSCRIBER CUSTOMER SERVICE: To subscribe, change your address or check
on your current account status, go to www.mixonline.com and click on “Customer
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707mix59.indd 1 6/12/2007 3:09:35 PM
FEEDBACK
Letters to Mix
opportunity to lead and to teach? If only audio I created the Transient Electronic Audi-
engineers had a Hippocratic Oath pledging to tory Stimulation (TEAS) program for the Institutes
“Do no harm.” around 1993. The next year, I decided to bring
Eric Conn the technology to parents who might not be
Independent Mastering, Nashville able to participate in an Institutes program, in
the form of the Electronic Auditory Stimulation
SO YOU’RE PAYING ATTENTION Effect (EASE) CD. Since 1994, tens of thousands
The caption for the picture of Caleb Followill on of parents, therapists, treatment centers and non-
page 117 (“Recording Notes,” June 2007) in- profit organizations have used EASE CDs to help
dicates that he sang into a Shure SM57. While autistic children and ADD, ADHD, Cerebral Palsy
the picture there is of a Shure microphone, it is and Downs Syndrome–afflicted kids. You can see
an SM7, not an SM57 more about the EASE CDs at www.easecd.com.
Rick Chinn I loved reading the quotes from Tom
Uneeda Audio McGurk. I have fought for these principles
for so many years—against such incredible
time to save the kids odds—that to see a parent so well-versed and
It was with great interest that I read Paul articulate express them with such clarity was a
Lehrman’s “Insider Audio” article, “The Heal- real joy. I would like to end this with an offer of
NOT QUITE RIGHT ing Power of Music” in the May 2007 issue. a set of 11 free EASE CDs to Tom and his wife.
In the article “It’s Your Life, Dammit!” in the May I have been an audio engineer since 1970. I Many parents use them for auditory tune-ups
2007 issue, there is a factual error: The “Super was the chief engineer/VP of Sheffield Audio after AIT, and they could be extremely helpful
Beatle” amplifier was made by Vox, not Univox. Video productions from 1975 to 2000. I have to their son.
These were different companies. I believe there been nominated for a Grammy for Best Engi- Bill Mueller
was a “Super Beatle” made by the English Vox neer and have recorded more than 150 major Vision Audio Inc.
company, but the only ones I ever saw in the artists, mostly live broadcast. I taught audio
U.S. were the solid-state versions made by the engineering for 25 years, created the Shef- TALKBACK
Thomas Organ company under a Vox license. field Institute for the Recording Arts, wrote We asked you, our readers, to tell us about
They were a loud, but terrible-sounding am- the majority of its curriculum and ushered it your pre-production style. Here’s a sample of
plifier that sounded nothing like the English, through the very difficult approval process of what you are doing out in the field; to listen
mostly Class-A, tube-type Vox amps. the Maryland Higher Education commission. to the track, visit mixonline.com/ TalkBack:
The Thomas Organ Vox amps had some More importantly, for the past 18 years,
contributions (I think mostly speakers) from I have served on the board of directors of an This cut was pre-produced and finished in a room
Gene Cerwinski, of Cerwin-Vega fame. I used international organization that treats brain-in- that is 10x10, which includes the control area and
to visit him in the ‘60s in his North Hollywood jured children. As the vice chairman of The Insti- the recording area. The original rhythm tracks
facility. He was quite a guy when it came to tutes for the Achievement of Human Potential and horns were recorded to a PC and transferred
speaker designs. This was the first company in Philadelphia, I learned a tremendous amount to ADATs. The bass and drums were triggered
I knew of that made a musical instrument about hurt kids and their parents. I had the ad- by a Korg Triton Pro 76 through a Roland BD
speaker that would actually reproduce a 40Hz vantage of studying with some of the greatest sound module. Horns were courtesy of a Roland
note (low E) without doubling the pitch. minds in the field of child brain development Sound Canvas PC card. Vocals and additional
Neil Lindsay and had the opportunity to help them with my effects were through a Helicon vocal processor
The Tracking Station understanding of audio and video technology. and BBE Aural enhancer. All tracks were through
Around 1990, I began to study sensory a Tascam 32/8 board onto linked Alesis ADATs
AN ENGINEERING MOTTO stimulation as applied to brain injury and helped (Blackface). Limiter/compressors by dbx. An Alesis
The new Paul McCartney disc sounds horrible. the Institutes expand their mechanical auditory- unit provided the delay and reverb. The project
The recording speaks so poorly to the craft of stimulation program to include Berard auditory was mastered on a Sony PCM-R300 DAT. Moni-
audio engineering that when asked what I do integration therapy. However, I was not satisfied tor speakers were JBLs, and the vocal microphone
for a living, I will be tempted to say that I hang with the fit between the office-based Berard was an AKG C 460 B. The project was used as an
drywall. program and the parent/home-based methods. album for a children’s ministry in Atlanta.
McCartney will sell millions of units because That is when I decided to do some in-studio FFT Barney Conway
of who he is, and because the songs he writes analysis of the Berard Audiokinetron to deter-
are accessible and well crafted. Starbucks, mine whether or not the output signal could be Get more trade secrets on pre-production on
in what I consider a brilliant new vehicle for contained in the 44.1/16-bit CD format. What I page 32.—Eds.
music, has the opportunity to help heal an in- found was that a 96dB dynamic range and lack
dustry plagued with anger, fear and confusion of saturation at the highest frequencies was an
on both the corporate and consumer level. advantage that the CD had, which would make Send Feedback to Mix
What better opportunity does the audio engi- it an acceptable platform for a portable, home- mixeditorial@mixonline.com
neering community have to shine, what better based AIT program.
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listen…play >
<read…watch
Go beyond the printed page and log on to www.
ENTCURRENTCURRENTCURR
mixonline.com to get extra photos, text and
sounds on these select articles—plus much
notes from the P&E Wing

more online:
WATCH:
“All Access: Feist”
Fair Pay for Airplay

As always, there are
more photos from the
show than we have
room to print. Peruse By Daryl Friedman
photo: steve jennings

the Feist photo gal-
lery. As a member services division of The Recording Academy®, the Producers & Engineers Wing is
involved in numerous advocacy initiatives aimed at improving the lives of those who create
LISTEN: music. An issue that’s currently heading to centerstage is the matter of terrestrial radio per-
“Production Construction” formance royalties, with pending legislation that is of great significance to music producers.
This past June saw the launch of one of the most important fight for music creators’ rights in a gener-
ation. Ironically, this fight actually began a generation ago—50 years ago, as the first Grammys were
just taking shape, Frank Sinatra and other artists raised the issue of royalties for the airplay of their
recordings on radio. The fight was continually suppressed by the powerful broadcast industry, which
was in no mood to pay artists for the sound recordings that formed the basis of their business.
Let’s start with the basics. Every piece of recorded music contains two copyrights: the musi-
cal work (words and music), which is created by the songwriter, and the sound recording—the
recorded performance created by the artist. In the U.S., on over-the-air “terrestrial” radio, the
musical work enjoys a performance right paid by the broadcaster; the sound recording doesn’t.
For example, when “Respect” is played on terrestrial radio, the songwriter (Otis Redding Jr.) is
compensated, while singer Aretha Franklin is not. Redding (and his estate) should receive a sig-
You’ve read about how these producer/beat-mak- nificant royalty from radio for creating this classic, but so should Franklin, who brought the song
er create music before the artist steps foot in the to life and created the second copyright. There’s room in terrestrial radio’s profitable $20 billion
studio, but what does it sound like? Check out annual revenue to pay both. Broadcasters claim, “This is the way it’s always been; there’s no point
these audio clips. in changing now.” This brings us back to the question of “Why now?”
The United States is one of few countries that lacks this basic intellectual-property protec-
tion. In other developed countries, terrestrial radio broadcasters compensate performers and
recording owners when they play their music. In fact, in the past decade, the United States has
become the only member of the Organization of Economic Cooperation and Development without
the performance right. Further justification for action is payment from other platforms. Satellite
radio, Internet radio and music delivered over cable all compensate songwriters and artists with
royalties. It is hard for terrestrial broadcasters to claim that they cannot afford to pay artists when
their newer (and less-capitalized) competitors pay. And with this new right, producers are finally
getting paid for the performance of the sound recordings.
Finally, sound recordings remain the only performable copyrighted work in our copyright law
that is not protected with a performance right. Literary works, choreography, audio/visual works
all are protected with a performance right. Sound recordings are the only ones not protected.
So with these three inexplicable anomalies (the United States is the only country; terrestrial
the only platform; and sound recordings the only copyright where the performance right is unpro-
LISTEN: “Recording Notes” tected), radio’s quest for business as usual can no longer be justified.
Tune in to audio clips from Nick Lowe, Richard What about promotion? Radio’s other argument is that airplay promotes record sales. Well,
Thompson, Tori Amos, Tears for Fears’ “Everybody studies show in many formats that radio actually serves as a substitution for purchasing music.
Wants to Rule the World” and Cool Spins. Regardless, promotion should never replace compensation. If a book is turned into a movie, then
it promotes the sale of that book, but the author still gets paid for the movie rights. Whether
PLAY: 30 Years of promotional or substitutional, creators should always be paid for the use of their work.
Memories This year, a group of organizations, including The Recording Academy, has come together to
Mix turns 30 this year, address this longstanding inequity that costs artists and producers hundreds of millions of dollars.
and we want to celebrate The musicFIRST Coalition asks only for what is fundamentally fair and what will bring us in step
with you. Tell us your with the rest of the world. We’re asking for “Fairness in Radio Starting Today,” and we’re hoping
favorite audio record- you’ll look seriously at this issue and add your voice to this movement to help music creators. It’s
ing/live/post/tradeshow good for artists, it’s good for music producers, it’s good for consumers and it’s good for the music
moment from the past industry. To find out more about this initiative, please visit www.musicfirstcoalition.org. To find
30 years. Let us know by out more about the Producers & Engineers Wing, please visit www.producersandengineers.com. n
e-mailing mixeditorial@
mixonline.com. Daryl Friedman is the Recording Academy’s VP of advocacy and government relations.

38.7final_sweetwater_MIXEM_TEC.eps 7/12/2007 3:30:40 PM
CM
MY
CY
CMY
www.mixfoundation.org
K
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For the power user, it provides the most I/O connectivity, and to my ears,
the best-sounding preamps and converters of any device in its class.”
-- Mix Magazine
For 20 years Focusrite has enjoyed a pre-eminent reputation for world class
mic pre-amps. Whatever your choice of DAW software, the Saffire Pro 26 i/o
will provide the best sound and most flexibility to record multiple sound
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acoustic instruments equally benefit from the excellent fidelity.
708mix21.indd 1 7/12/2007 6:21:53 PM

On the cover Santa Monica, Calif.
Yahoo! Originals Studios
By Harrison Surtees
L
ike Spinal Tap, whose amps go to 11, brenner wrote a lengthy
Yahoo! is cool-plus-one. It’s part of e-mail to Peter Gabriel
the company culture, and it’s a philos- (co-owner of SSL since
ophy that has been embraced over the years 2005) outlining Yahoo!’s
by Ian Dittbrenner, newly named director, cool-plus-one credo. “I
studio and content operations, at Yahoo!’s explained we have auto-
production facility in Santa Monica, Calif. graphed guitars from John
Photo: Edward Colver

Dittbrenner, formerly director of audio for Paul Jones, Fifty Cent and
Yahoo! Originals, continues to work out of a other things that set us
modest studio tucked away at the rear of the apart from everybody else
35,000-square-foot, two-story office build- in what we do. Regardless
ing in a high-tech, corporate neighborhood of what we do, we do the
where Apple, MTV and Red Bull are just a best production in our me- Yahoo! Originals’ newly named director of studio and content
stone’s throw away. The cool-plus-one fac- dium and we’re trying to operations, Ian Dittbrenner, at the Solid State Logic AWS900Plus
tor in the studio—which Dittbrenner helped take that a step up.” The
implement 10 years ago and in which he result? Indelibly scrawled across the C200’s Cox Studio Systems, provided the room’s
has worked ever since—extended, until a meterbridge is a handwritten message from technical upgrade and is being retained for
few weeks ago, to the sort of rock ’n’ roll Gabriel: “Boo to Yahoo! and thank you, too. the larger technical install, which allowed
ephemera more frequently associated with Happy music making, Peter Gabriel.” him to design the room for easy integration
the Hard Rock Café. “Over a period of 10 With Dittbrenner’s change in job title has into the future facility.
years, living in this room I’d accumulated all come an extension of his responsibilities. His Cox elaborates on his role re-commis-
these guitars and stuff,” he says. “I had gui- purview is no longer just music, but also all sioning the room: “Everything is new for this
tars signed by Madonna and Rick James—all Originals at Yahoo!, and the entire building console; I just like putting rooms together
sorts of people.” But, he acknowledges, the has now been handed over to him to be that are really tidy. I don’t think there’s any
clutter of instruments and racks of outboard transformed into a multipurpose production reason why you should ever need a cord
gear were a smoke screen: “I was subtract- center. Preliminary plans have been drawn across the floor. When it’s clean and reliable,
ing from the room; I needed something to up for a facility—which will be designed by you can’t beat it. There’s nothing like a fresh
distract people.” George Newburn and Studio 440—that will console in a fresh room and a fresh comple-
Dittbrenner typically records, mixes and include a substantial music stage, a news and ment of new outboard gear.” That equip-
masters live performances by A-list artists sports studio, dedicated mix and tracking ment includes a new GML 9500 EQ and an
in the studio, as well as produces and post- rooms, central ingest and machine rooms, API rack filled with A-Design and Shadow
produces dozens of music-related lifestyle edit suites and office space. Hills preamps, and other outboard units.
pieces every month for the Webcasting giant. Dittbrenner’s current corner of the build- Media convergence played a part in the
Yahoo! Originals is one of the most visited ing already houses a small Digidesign ICON decision to purchase the C200, as did SSL’s
online music destination and creates a broad that was supplemented very recently by an strong broadcast background, according to
variety of programming, including “Pepsi SSL AWS 900Plus system. Before the larger Dittbrenner, who hints that a global live
SMASH” and “Who’s Next.” Then there is plans were approved, he says, he pushed for program from the facility next year might
“Nissan Live Sets,” a mini-concert and audi- a “technical lobotomy” in his audio room, be a possibility. “The broadcast aspect was
ence Q&A show filmed on the 20th Century which will operate as an insert stage under factored in; it was an important piece of the
Fox lot that Dittbrenner both mixes live and the new plan. puzzle,” he confirms. Indeed, Dittbrenner
post-produces, and which is the most popular “Right now, [the C200] is specifically to believes that his nimble and flexible staff
music program on the Internet, he says. give us a leg up on our future endeavors,” he and facility are archetypes for the broadcast
The studio’s analog Euphonix CS3000 says. “It’s also to track and record on a better and Webcasting landscape going forward,
console had served the company well, but scale the artists that we bring into the stu- especially in Santa Monica, where many
it was time for it to be retired. Chosen after dio.” Although, he admits, “before, forcing a Hollywood facilities have found new homes
intensive test-driving of all the alternatives, band like Coldplay to have only 16 inputs and in recent years. “We’re able to move really
its replacement, a Solid State Logic C200, four monitor mixes created a situation where quickly. The marketplace is moving closer to
“is cool-plus-nine,” he enthuses. “My excite- we got something much more unique; that where we’ve been for the last 10 years. And
ment about the console now that I have it is was our secret for a long time.” through lucky timing, we were able to get the
tenfold compared to before we bought it.” As for the next stage: “How will this first C200 on the Westside.” ■
That’s due in no small part to this being a integrate into everything? Paul Cox!” Ditt-
one-of-a-kind “signature series” C200. Ditt- brenner says with a laugh. Cox, of Paul J. Harrison Surtees is an L.A.-based writer.
708Mix22_On-The_Cover!.indd 22 7/16/07 10:12:31 AM

Project3 7/2/07 10:20 AM Page 1
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insider audio
Vee and even Pat Boone, and wrote “This politics that predicated and followed his
Diamond Ring,” which became a hit for Jerry The crowd wasn’t booing departure. He became a staff producer at
Lewis’ “thoroughly inoffensive white son,” Columbia Records, and in that capacity
Gary. One day, he convinced a friend, pro- because [Bob] Dylan had thought up the idea of getting “a bunch of
ducer Tom Wilson, to let him watch a studio proven rock players into the studio and just
session for Highway 61 Revisited. It was, as gone electric; they were jam in a relaxed atmosphere.” Thus was born
he puts it, “like getting backstage passes to the Super Session album, with guitarist Mike
the fourth day of creation.” During one song, “going bonkers for an Bloomfield. (The two had met at the Dylan
Kooper noticed the Hammond organ stool sessions.) “Bloomers” was supposed to be
was empty, so he sat down at the instru- encore, as we had only on the whole album, but after the first day of
ment, which he had never played before, recording in Los Angeles, he just checked out
and fumbled through a six-minute take. On played 15 minutes!” of his hotel room and flew back to Chicago.
the playback, although Wilson tried to tell After a frantic day calling every guitarist he
Dylan the organ track was no good, Dylan knew, Kooper connected with Stephen Stills,
said, “Just turn it up.” The track was “Like a Blues Project, an all-Jewish New York band and yet another legend was created.
Rolling Stone.” that combined folk, rock, blues and jazz, Meanwhile, he got to play on albums
Kooper retells that story and many and had a major influence on pop music. by the Rolling Stones (French horn on the
others—honestly and hilariously—in his His book answers the question of why the long version of “You Can’t Always Get What
Backstage Passes & Backstabbing Bastards: Live at Town Hall album doesn’t sound like You Want”) and Jimi Hendrix; he discovered
Memoirs of a Rock ’n’ Roll Survivor (Watson- the concert at Town Hall that I remember at- Lynyrd Skynyrd and The Tubes; and he
Guptill). Like Boyd, he was onstage at the tending: It was actually recorded at a college produced records by Don Ellis, Nils Lofgren,
1965 Newport Folk Festival, playing behind on Long Island, Kooper writes, “but ‘Town B.B. King and Dylan. He was music direc-
Dylan, and has a similar story: The crowd Hall’ sounded much better than ‘SUNY at tor for Ray Charles’ 50th-anniversary TV
wasn’t booing because Dylan had gone Stony Brook.’” special and relates what happened when
electric; they were “going bonkers for an His next creation was Blood, Sweat & the producers asked the star to perform the
encore, as we had only played 15 minutes!” Tears, an even more influential group, and “Uh-Huh” song from his Pepsi commercial
The band had met for the first time the night he made a brilliant first album with them on the program. “‘I get paid to do that
before and three songs was all they had had but was ousted from the group before they song,’” he quotes Charles. “‘Pepsi pays me
a chance to rehearse. went on to huge pop fame; his book pulls to go all over the world and do that song.
In the mid-’60s, Kooper founded the no punches in retelling the nasty personal Why in the f*** would I just want to do that
708Mix24Insider.indd 26 7/11/07 4:22:04 PM

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© 2007, Apogee Electronics Corp. All Rights Reserved. Macintosh and Logic Pro are registered trademarks of Apple Computer.
708mix27.indd 1 7/12/2007 2:20:28 PM

insider audio
song for nuthin’?’” College of Music, but has since retired from says—it will be re-issued, complete with
Kooper writes candidly about his strug- teaching because he is suffering from vi- a live-performance DVD. It will celebrate
gles with domestic and professional relation- sion problems. He can still play great, and the 50th anniversary of his first gig, an all-
ships, with corporate types and with drugs, I heard him not long ago kick butt with his nighter at an upstate hotel, from which he
and many of his stories are real eye-openers, band The Rekooperators, which he calls returned just as his father was leaving for
even to those of us who think we’ve seen “probably the best band I’ve ever been a work. He describes the look on his father’s
everything, from when his bandmate Steve member of.” face as: “Your son has been lobotomized by
Katz slammed a car door on Clapton’s hand, Backstage Passes & Backstabbing Bas- Martians carrying electric guitars. He’ll never
to when he comped together (pre-Pro Tools) tards was published in 1998—it was actually be the same again.” Amen.
a great B.B. King vocal to King’s amaze- an update of Kooper’s original Backstage My last suggestion is not from anyone
ment, who said, “How did you do that? I Passes, written in 1977—but, sadly, it is famous, but the author’s stories—and she is
don’t even know this song yet!” currently out of print and copies of it are a wonderful storyteller—will strike close to
Today, Kooper lives a couple of miles going for $100 and up online. However, home for anyone who’s ever played a gig. It’s
from me in Somerville, Mass. He moved you can find it in a lot of local libraries, a completely different perspective on how
to the area when he took a job at Berklee and next year—“if all goes well,” Kooper one can make a living from music, and as
it’s too late for the majority of us to become
1960s rock ’n’ roll producers, it’s certainly a
more realistic one.
Omni or Cardioid, Robin Meloy Goldsby’s career started

with the kind of “Eureka!” moment many
You’ve Got It Covered. of us have had: As an 18-year-old aspiring

actress and pianist from Pittsburgh working
on her summer break as a waitress on Nan-
tucket Island, she discovered she could earn
more money and be much happier playing
background music in a cocktail lounge. The
fact that she’s been able to do so for 30-plus
Forget tapes, discs, cards and cables. years is the subject of her 2005 memoir,
Just pick up a FlashMic and go. Piano Girl (Backbeat Books).
After she finished college, she went off
Combining a broadcast-quality Flash recorder with a to New York City to try out for the stage
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interviewing, journalism and any type of voice recording. and her experiences read like a bad novel:
“Why don’t they just say, ‘Thank you, Miss,
One button press is all it takes to start recording in either lin- but you suck.’ We know that’s what they’re
ear or MPEG 2 formats. 1GB of built-in memory stores a mas-
sive 18 hours/999 tracks of recordings and it’s easy and quick thinking,” she said to herself after a string of
to transfer files for editing or onward painful auditions.
transmission via FlashMic’s built-in USB interface. She finally got a break in a touring bur-
Power comes from standard AA lesque show, but with one complication: In
batteries and the included FlashMic Boston (actually, suburban Framingham at an
Manager software makes it easy for
individual users or news organizations upholstered toilet called the Château de Ville
to configure single or multiple FlashMics where I once had the misfortune of perform-
for particular applications and file ing), she was expected to strip while playing.
naming protocols. Worse still, she discovered on opening night
Available with cardioid or omni capsules, that there were two large policemen with
FlashMic is all you need for broadcast-quality recording. dogs in the wings—ready to arrest everyone
So just pick up a FlashMic and go. onstage if the lighting technician didn’t black
out at exactly the moment she played a glis-
sando and whipped off her bra.
Eventually, she worked her way up to
high-class New York hotels like the Grand
Hyatt, where she entertained regulars like
The Booger Lady, “who blows her nose so
hard I think one of the trains from Grand
FlashMic
Central is pulling into the lounge,” and the
Park Central, where she picked up a stalker
THE WORLD’S FIRST DIGITAL RECORDING MICROPHONE who scared the hell out of her before the
security team beat the crap out of him.
Goldsby, who describes the unreal
www.flashmic.info ambience inside the Midtown Manhattan
hotel with stunning accuracy, was affected
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HHB_FlashMicWithCardioidHALF.ind1 1 6/22/07 2:10:10 PM

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Digi_RMS_Refresh.indd 1 6/29/07 3:05:05 PM

708mix29.indd 1 7/12/2007 2:21:55 PM
insider audio
thousands of dollars apiece, to form a green

umbrella over the Atrium Lounge” where
the piano was located. “Two weeks after
we open, they begin shedding leaves. Au-
tumn in New York. The falling leaves drift
by my piano, and they aren’t red and gold.
They’re brown and dusty, and they land in
the piano and crunch when they bounce
on the strings.” Eventually, they were re-
placed with artificial plants. “Another ficus
crisis averted.”
One day, she showed up at work and
noticed part of the lobby was blocked off.
Her manager hustled her to the piano and
told her to start quickly, “so that the guests
don’t notice the dead body behind the black
curtains. A traumatized waitress tells me that
some poor soul has thrown himself from
one of the sky-high balconies into the pit of
shedding ficus.”
Along the way, she accompanied fist-
fights, heart attacks, a priest going into
diabetic shock and a patron choking on a
pancake—and she was the only one around
who knew the Heimlich Maneuver and thus
saved his life. She met a man with no arms
who showed her how beautifully he played
the piano—with his feet.
She never wanted a concert career—she
had a panic attack during a recital in col-
lege—but was always perfectly comfortable
playing behind conversation and clinking
glasses. But she has played in public far
more than most concert pianists, and she got
to travel, too: Hawaii, Brazil and Germany,
where she now makes her home.
The book is peppered with some won-
derful interior dialogs, usually between
what she calls her “Voice of Reason” and
her “Voice of Doom.” She also recounts
valuable advice that her father, a profes-
sional drummer, gave her like, “Always car-
ry a roll of duct tape and an extension cord
with you because with those two items,
you can solve virtually any problem.” And,
“Remember, you’ll get fired from every job
you have. Don’t take it personally.”
Piano Girl doesn’t have the celebrity
dirt or rock ’n’ roll attitude of Kooper and
Boyd’s books, but it’s a charming look into
the real life of a performer who has done
quite well in one oft-ignored corner of the
music world, and has enjoyed herself all the
way. As long as you don’t crave worldwide
fame and the mindless adulation of millions
of screaming teenagers, what more can you
ask for from a career? n
Paul D. Lehrman is a musician, producer,

filmmaker, writer and the coordinator of
music technology at Tufts University. His
book, The Insider Audio Bathroom Reader,
also makes good beach reading.

708mix31.indd 1 7/12/2007 2:22:46 PM
708MIX32_preprod_p+c.indd 32 7/13/07 11:31:37 AM
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Virtual Reality
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Chandler Limited and www.chandlerlimited.com, TG1 Abbey Road Special-Edition Limiter/ TDM HD Accel, TDM HD, RTAS, AudioSuite, TDM (MAP, $500; list, $560),
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Universal Audio www.uaudio.com Roland RE-201 Space Echo Audio Units, VST, RTAS (Mac/Win) $249
Universal Audio www.uaudio.com BOSS CE-1 Chorus Ensemble Audio Units, VST, RTAS (Mac/Win) $99
Universal Audio www.uaudio.com Helios Type 69 EQ Audio Units, VST, RTAS (Mac/Win) $199
Universal Audio www.uaudio.com Neve 1073 EQ Audio Units, VST, RTAS (Mac/Win) $249
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Universal Audio www.uaudio.com Pultec Pro Audio Units, VST, RTAS (Mac/Win) $79
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Universal Audio www.uaudio.com Plate 140 Audio Units, VST, RTAS (Mac/Win) $149
Universal Audio www.uaudio.com Neve 88RS Audio Units, VST, RTAS (Mac/Win) $299
Universal Audio www.uaudio.com LA-2A Audio Units, VST, RTAS (Mac/Win) $149
Waves www.waves.com SSL 4000 Collection (G-Master Bus Compressor, E TDM HD Accel, TDM HD, RTAS, AudioSuite, TDM, $1,600; Native, $800
Channel, G Equalizer) VST, Audio Units, DirectX
Waves www.waves.com V Series (V-Comp, V-EQ3, V-EQ4) TDM HD Accel, TDM HD, RTAS, AudioSuite, TDM, $2,000; Native, $1,000
VST, Audio Units, DirectX
Waves www.waves.com API Collection: 550A 3-band EQ, 550B 4-band EQ, TDM HD Accel, TDM HD, RTAS, AudioSuite, TDM, $2,000; Native, $1,000
560 graphic EQ, and the 2500 stereo compressor VST, Audio Units, DirectX

Virtual Reality
Agnello, referring to emulations of such Once we’re satisfied internally, we take contest. “It’s a lot of research and statistics,
Eventide boxes as the Omnipressor, Instant a beta group of trusted users under NDA talking to engineers and producers to
Phaser, H910 and H949. “We have light shin- who get to beat on the products in their figure out what piece of hardware people
ing on the black anodized knobs, there’s own environment, and they’ll give us real- want to start using in the digital domain,”
glare on the glass of the VU meter and we world feedback. Then release candidates Fradis states. “If we come up with three
took care to make the ballistics as close as are tested one last time by the group, and top hardware units, we may just do one
possible to the real world. If people are if the plug-in is good, we’ll release it to immediately, but in the future we’ll defi-
looking for re-creation, our feeling is to give the Web.” nitely do the other two. The more linear
them what they had, one-to-one.” Sometimes, however, the approval pro- a device is, like an EQ, the easier it is to
“A lot of our clients are old-school engi- cess is a little less formal. When Sonnox model. The more nonlinear and distorted
neers, and they’re used to placing knobs in (www.sonnoxplugins.com, formerly Sony it is, like a compressor, the harder it is to
a certain position to get a certain sound,” Oxford) created its emulation of the GML model, and solid-state is harder to model
Fradis adds. “We want them to be able to 8200 EQ, the company’s focus group com- than tubes.”
do the same in the plug-in.” prised solely Oxford Digital co-founder For Universal Audio, the near-future
Paul Frindle and the ultimate authority on prospect of adding re-created vintage
Putting Plug-Ins to the Test the box, Massenburg. “George flew out to synths and stomp boxes to its offerings
Once the emulation is completed, it be- Oxford [England], he and Paul locked them- just adds to a body of work that makes
comes time to open it up, cautiously, to a selves together in a room for three days and the act of emulating worth all the hard
wider circle for evaluation. “As soon as it listened to it,” recalls Sonnox managing di- work. “[Universal Audio founder] Bill
has passed all the blind tests where it can’t rector Rod Densham. “George would make Putnam Sr.’s motivation was to build
be picked out as being different from the suggestions such as, ‘This sounds a little too products that were solutions to studio
hardware, we know we’ve achieved our harsh, let’s change the algorithm,’ and at the problems,” Barnes says. “We want to con-
goal,” says Universal Audio’s Barnes. “We end of three days they had it.” tinue that philosophy. Just because some
have two tiers of internal testing. One is While virtual replicas of many of the of these products are 30 years old doesn’t
internal QA, where we have our own team most beloved hardware boxes are now mean that they’re not ideal for a particular
of Mac and PC guys looking for reliability on the market, many more still remain to task—the classic design is sometimes still
and OS/DAW compatibility, and the other be converted. In deciding which products the best thing for the job.” n
is a separate group that is monitoring the to tackle, software developers reveal that
sonic authenticity against the original. the process is a highly scientific popularity David Weiss is Mix’s New York editor.

In early 1983, on the French Island of Montserrat, a charismatic
British singer/bassist, inventive guitarist, and explosive American
drummer united for their fifth and final album. It is still recognized
as one of the best rock albums of all time.
The Neve Air Montserrat mic preamp was there from the first synth
to the final hand clap.
The Art of Sound Since 1961.

www.ams-neve.com
Neve outboard range available at Cutting Edge, GC Pro, RSPE, Sonic Circus, Studio Economik (Canada), Vintage King, West LA Music, Westlake Pro.
Distributed in the Americas by Audio Agent LLC. Copyright © 2007 AMS Neve Ltd. All Rights Reserved.
708mix47.indd 1 7/12/2007 3:30:59 PM

mix interview
B y da v i d w e i s s
Roger D’Arcy
Studio Design With European Flair
M
eet Roger D’Arcy, international man
of studio design. The founder of the
UK-based firm Recording Architec-
ture (www.aaa-design.com), which is celebrat-
ing its 20th anniversary this year, and Black
Box Acoustic Conditioning Systems (www.
blackbox-design.com), D’Arcy has built up an
impressive list of credits since building his first
studio, London’s Turnkey Two, in 1984.
While he is still an emerging presence on
the U.S. scene, D’Arcy has established himself
as one of the most in-demand designers over
much of the rest of the globe. Thanks to his
Photos: mojo working ©2007

sharp ears, flexible acoustic approach and riv-
eting visual sense, he has created high-impact
private and commercial spaces for recording,
mixing, mastering, post and education in all
sorts of locales, from Spain to Saudi Arabia;
he also has a quickly growing fan base in the
heavy production center of India’s Bollywood. Roger D’Arcy (left) with his Mumbai, India–based architect Vishal Shah
His notable clients include the likes of Abbey
Road, EMI Music, Crystalphonic, Optimum
Mastering, Annie Lennox, The Cure, David Gray and You’re almost better off having a uniformly live ambient
Lenny Kravitz. characteristic than you are having one that is dispropor-
tionately dead in the upper-register.
With the move to smaller rooms such as producer-owned We’ve been dealing with smaller rooms since the
studios, music is being produced differently. As a designer, outset, often [rooms] for artists. Unfortunately, the areas
how do you advise your clients when planning these of cancellation are more pronounced and difficult to get
rooms? What do you need to know about the music that away from in a small room; you’re almost invariably sitting
will be produced there? near the middle, and sitting in the middle of any parallel
In the control room, the only thing we need to know or square shape is no good, so the monitoring position be-
about the music being produced is whether they’re prin- comes the position of maximum cancellation. Therefore,
cipally recording for CD music in stereo or discrete 5.1 the smaller the room, the more careful you have to be
formats. Whether it’s rock, drum ’n’ bass—doesn’t matter; with your acoustic design. That doesn’t necessarily mean
what matters is the provision of a live area. Do we provide it’s more expensive, but you probably do have to spend
any live area whatsoever for use of live microphones in more per square foot. People who can do small rooms
the space? One example is Annie Lennox: She’s perfectly are the skilled acousticians.
content to sing in the control room with a directional mic. Do you think these types of rooms are getting better?
But there are also producers who want to record a big, What advice can you offer to a producer reading this
expansive drum set, in which case we have to provide who wants to improve the acoustics, ergonomics or over-
a much higher level of sound isolation and more diffuse all quality of his room?
open sound. It calls for an in-depth understanding of different tech-
The biggest misconception people make in vocal niques. The other thing with small rooms is that the af-
booths is to make them far too absorptive at high fre- fordability of equipment means that people’s budgets are
quencies. You can’t achieve what you want just by stick- eaten up. They can buy the equipment, but they haven’t
ing acoustic foam on the walls—you have to pay more thought of the room acoustics. People are not properly
attention to lower and high-mids. Sound is fundamentally funded to get into the industry in the first place. They’re
a pressure wave that is frequency- and wavelength-de- encouraged to get in when they can afford the equip-
pendent. At 100 Hz, the wavelength is more than 11 feet ment, but at the end of the day, if you can’t properly
long, so sticking a piece of carpet on the wall isn’t going hear what you’re doing, then you may as well work on
to affect 100 Hz. The danger is that by adding that, you’re headphones.
disproportionately affecting mid- and high frequencies. I mix on headphones! I know I shouldn’t, but I also
708MIX48-MixInterview.indd 48 7/11/07 4:23:01 PM

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707mix53.indd 1 6/14/2007 9:01:46 AM

mix interview
know that even if I have a pair of Genelecs

in the room I have to work in, it would
still be almost impossible for me to make
it accurate.
Purists scoff at headphones, but headphones
are better than a bad room, and by “bad
room” I include 90 percent of today’s com-
mercial studios. This goes back to trends in
room design: Many other designers try to
apply one theory as if it’s the sole solution.
We’ve seen live-end rooms, dead-end rooms,
reflection-free rooms bordering on anechoic
and the more current trends, where more
particular types of diffusion are used to solve
all problems. No one of them on its own
will solve all problems across the board on
frequency range. It’s a mixture of certain
principles: of live- and dead-end, diffusion,
some absorption, some reflection-free area.
Your studios definitely have a distinctive
look. How does a designer develop his own D’Arcy is seeing much work in Mumbai, India, including this private studio for film music composer Amar Mohile.
look, and how does that look impact the
environment? acoustics; we try to develop a unified solu- The membranes or absorptive elements that
My principle background is as an architect tion that is one expressing the other. Where can be developed and expressed, how does
and designer, so to me the aesthetics are we started making inroads on that to my a designer develop those? Over years and
crucial. They’re important both psycho- satisfaction was UB40’s studio in the late time, you get different materials and ways
acoustically and from the point of view that 1980s [see Mix, May 1995 issue], the expres- of tackling the solution.
you need a good creative working environ- sion of the acoustics rather than hiding it. How would you describe your aesthetic
ment. We don’t just dress up ugly looking So what we try to avoid is just a fabric box. style?

The Art of Analog
mp
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UA Founder M.T. “Bill”
Universal Audio: Making Music Sound Better Since 1957

1945: Milton T. "Bill" Putnam establishes Universal Recording in Chicago,
installing a prototype "610" console.
1947: The first million-selling record, "Peg O' My Heart" by The Harmonicats
appears on Bill's Vitacoustic ("Living Sound") Label in 1947.
1948 - 56: Bill engineers and/or produces Bing Crosby, Frank Sinatra, Nat King
Cole and countless others, pioneering innovations including the
control room, vocal booth, console, sends /returns, echo, artificial
reverberation... even stereo recording and half-speed mastering.
1957: Bill Sr. founds United Recording, and later United Western Studios
on Sunset Boulevard in Hollywood which are now the world famous
Ocean Way and Cello.
1957: Bill founds Universal Audio who's legendary products such as the
1176LN, LA-2A and LA-3A became synonymous with sound quality
and hit records.
1983: Bill retires and sells UA (now UREI) to Harman International. His original
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1999: Universal Audio brand is revived by Bill's sons "Bill Jr."
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better" with its world class hardware and software, designed with
passion in Santa Cruz, California under its company motto
"Analog Ears, Digital Minds".
Become part of this unique and illustrious recording heritage. Live,
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“Analog Ears, Digital Minds” 866-UAD-1176
©2007 Universal Audio, Inc. All rights reserved. All trademarks property of their respective holders
707mix63.indd 1 6/14/2007 9:10:39 AM

708mix53.indd 1 7/12/2007 3:46:30 PM
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708mix54.indd 1 7/12/2007 3:49:25 PM

mix interview
from anywhere else—the film Why do you enjoy being a studio architect?
and music industries are all one. I hate it! I’d rather own a bar in Key Largo.
Indie record companies re- [Laughs] It’s a constant challenge. Especially
quiring their own facilities, artists working internationally, we get the oppor-
just wanting their own facili- tunity to solve different design problems
ties—we’ll have them forever. every day. The nature of the business is
Mastering rooms—the more that the turnover is very rapid, and we get
product that’s needed, they have to see the results of our design labors very
to be quality-controlled some- quickly. We don’t have to wait years; we get
where. That’s going to be more to visit spaces we create usually in a matter
and more needed as more music of months. That’s very satisfying: Fly to the
is produced by people on com- other side of the world, walk into a room and
puters in bedrooms. If you need know what color it’s going to be and what’s
quality control, mastering rooms behind the door. It’s a weird feeling. n
are actually very accurately de-
Sound City, Mumbai’s premier film mix facility signed control rooms. David Weiss is Mix’s New York editor.
caused by floor reflections that you can’t do Orpheus_MIX_verticalIsland.qxd 02/04/2007 5:38 PM Page 1
anything about. But the desired result is to
hear the sound of the speaker predominantly
over the room, in as natural an environment
as possible.
What do you bring to working in so many
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intelligence and thinking about the problem Two mic / line / instrument inputs
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in the environment. Eight line outputs
In India, wood is expensive, whereas MS matrix processing on mic channels
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708MIX48-MixInterview.indd 55 7/12/07 10:56:06 AM

project Studio B y bl a i r j a c k s o n
Tim Larkin
Jumping Feet First Into Dynamic World of Audio for Videogames
T
im Larkin is very much the picture of the mod-
ern-day studio multitasker. As the music and au-
dio director for Cyan World in Spokane, Wash.,
the company behind the popular Myst videogame series,
he’s kept busy devising sonic worlds for Cyan’s episodic
Myst Online: Uru Live. And outside this life, Larkin al-
ways has several irons in the fire: sound design and/or
music work for a host of videogame titles, including
Half-Life 2 (Episode 1 and 2), The Incredibles, Prince of
Persia, Splinter Cell 4 and the much-hyped Lair; sessions
as a trumpeter, contributing to a variety of game, album
and film/TV projects (he created the sound design for Tim Larkin works at ease in his Spokane, Wash.–based studio.
the 2002 Academy Award–winning best animated short
film, The Chubbchubbs); and on the day in early June months. The industry was exploding at the time.”
when we spoke, he’s finishing up some Asian-themed Larkin worked on music for numerous games at Marin
music cues for a popular reality TV series. County–based Broderbund, including Carmen San Diego
“I have two studios that I work in,” Larkin says. “One and the Playroom/Treehouse Series, but he soon latched
is here at Cyan—it’s a Pro Tools HD3, Mac-based system onto Cyan’s Riven game (which was distributed by Bro-
running Digital Performer. I also have a Pro Tools studio derbund), and eventually went to work full-time for
at home [in nearby Colbert], but instead of an HD system Cyan in Washington. Through the years, Larkin has also
I have a MIX 3, also Mac-based. My setup at home is branched into sound design work, and today he relishes
surround: I’m using the M-Audio BX8As for surrounds, his ability to go back and forth between music and effects
a BX10s for the sub and the Blue Sky–based manage- work. It helps that audio in games has taken on a more
ment system. Here [at Cyan] I have a stereo setup. These important role as new formats are developed.
days, I mostly use soft synths: Spectrasonics’ Atmosphere “Before, we were starting out at 8-bit and we were
quite extensively, not only for music but sound design, always complaining that everything sounded bad,” he
[and] Stylus RMX, Sonic Implants’ Symphonic Strings and says. “I don’t think we can complain about that anymore.
various other GigaStudio libraries. I have a Korg Triton I just worked on a title for PS3 called Lair, and I was for-
Extreme controller. tunate that what I worked on was the cut scenes, which
“I have an iso booth at Cyan that’s probably about [were] full-blown 5.1 dedicated, which we did 24/48. It
10x8 [feet]; in my home studio, I’m in a rather large was a lot like working on a movie. That’s where game
room—probably 25x30—and I do all of my trumpet re- audio has been going.”
cording at home,” he continues. “There’s no need for And whereas in years past, many game sound de-
isolation or anything; I just stand in front of the com- signers relied heavily on library material, Larkin notes. “I
puter, set up my microphone and I’m ready to go be- record original material every chance I get. I have a little
cause I’m usually doing a single trumpet part. I work M-Audio MicroTrack handheld recorder that records at
with a lot of other composers down in L.A. and other 24/96, and it’s got a stereo mic on it and it’s awesome. I
places, and sometimes they’ll send me Digital Performer had it next to my nightstand the other night and I got a
sessions and I just put the trumpet part down and send recording of a screech owl at two in the morning. I used
it back time-stamped and it works great. It allows me to those recordings in Myst Online about two months ago
work up here and still be connected.” for a creature, pitched down. I have a lot of original re-
Larkin has been in Washington for about eight years cordings and I end up going to those quite often. Some-
now, after getting his start as a keyboardist and trum- times I’ll record something for a specific purpose, but
peter in bands and orchestras in his native San Francisco often it’s just a sound I want—like the owl or this sound
Bay Area. Later, he says, “I started a music production [that] my truck’s brakes make. I had my wife turn the
company with a friend, and our main focus at the time truck engine off and then she coasted down the drive-
was to do jingles. Then, around 1993, when the CD-ROM way [applying the brakes] and I was underneath it with
market started to heat up and games like Myst first came the MicroTrack recording it. I ended up using some of
onto the scene, we decided to tap into that market, so that in Lair and Half-Life. You never know where you’re
we looked in the phone book and the first company we going to find a cool sound!” n
saw under ‘B’ was Broderbund. We called them out of
the blue and we were both hired within three or four Blair Jackson is Mix’s senior editor.
708MIX56_ProjStud.indd 56 7/9/07 3:35:17 PM

708mix57.indd 1 7/12/2007 3:51:01 PM
Fights, Footsteps and Thrills
Foley Adds Real-Life Drama to The Bourne Ultimatum
By Blair Jackson
I
n our September 2005 issue, we ran Baker Landers were supervising sound edi- and watch the movie together if we can and
an in-depth story about the often-mis- tors; Craig Jaeger was Foley supervisor; and talk during it and bounce ideas off of each
understood and under-appreciated art Kelly Oxford, Foley editor. The Foley record- other. A lot of ideas come from our group
of Foley recording—the post-production ing team came from Burbank, Calif.’s One spotting sessions.”
process that adds everything from footsteps Step Up, which also handled the first (but “Karen and Per will also usually have
to door slams to tea cup clinks to clothes not the second) film in the series, with Dan special notes they’ll hand me,” Jaeger adds,
rustles, and a zillion other big and small O’Connell and John Cucci the Foley artists, “and it might include things the director re-
sounds to make movies sound as true to life and James Ashwill the mixer. The re-record- ally wants, as well as other things we need
ing mixers at Todd-AO West to cover that might not be so obvious.
were Scott Millan—a veteran “Then I go through it and program in Pro
of all three films—and “new- Tools,” he continues. “For years, we used to
comer” to this series, David make what was called a ‘shopping list.’ I’d
Parker. go through and do a footstep pass, for in-
Hallberg and Baker Land- stance, and handwrite it. I’d make a list of
ers have been working to- footage in and footage out: ‘Okay, I want
gether for nearly 20 years Jason’s footsteps on wood here,’ and where
now on dozens of excellent it would change I’d write, ‘Carpet at 55 feet.’
films, including Braveheart, It was a lot of work, a lot of typing and I
Gladiator, The Patriot, Black wasn’t a very good speller or typist. [Laughs]
Hawk Down, Seabiscuit, Ray, “Now I’ll create and build a session [in
The Island and many more. Pro Tools]. I’ll put in a ‘record’ file, and when
According to Baker Landers, I see something I want to cover, I tag it and
the first step in the Foley pro- give it a name. Then when it goes to the Fol-
cess is, “Per and I will spot the ey stage, they pull up that session, and they
film together—we’ll go over say, ‘Okay, here are Jason’s footsteps all the
it and make a game plan for way through. We need this prop for this char-
Foley artist Dan O’Connell amid the props in the main room at the effects and the Foley and acter here,’ and everything is laid out clearly.
One Step Up, a leading Foley facility he operates with John Cucci. all the other elements. One of It can be very, very specific: ‘This “grab” is
my favorite things to do is to only this number of frames.’ Dan [O’Connell]
as they are. To revisit the topic, we chose to cover the Foley stage; I’m a big fan of Foley. will look through it and know exactly what
zero-in on one particular film and discuss When we go through it, there are obvious they need to do or need to find.”
specific issues related to Foley. Foley things we know we’re going to be “Craig lays out the session for us to fol-
In this case, we looked at The Bourne doing. Other things we’ll discuss and figure low,” O’Connell says. “From having worked
Ultimatum, the third installment in the out what’s going to come from effects and with them so much, though, we also know
popular series of action films starring Matt what will be Foley.” the kinds of things that Karen and Per really
Damon and based on Robert Ludlum’s best- At this point, Foley supervisor Craig like, and Karen also gives us the notes not
selling spy novels. The first two films—The Jaeger and Foley editor Kelly Oxford come just from the director, but from the picture
Bourne Identity (2002) and The Bourne Su- into the picture, so to speak. Jaeger was editor. Knowing what the picture editor [in
premacy (2004)—have earned more than born into the business—his father, Donald, this case, Christopher Rouse] wants is as
half-a-billion dollars worldwide, and the was an effects editor—and he worked as important as knowing what the director is
promise of more fast-paced thrills in exotic assistant effects editor beginning in the late looking for because they have a vision of
locales (Russia, France, Spain, Morocco) ’70s before becoming a Foley artist in the how the cut film is all going to tie together.
and some measure of resolution of the late ’80s, then a Foley editor and, with Air So we get all these notes and get a sense
complicated story of agent Jason Bourne’s Force One in 1997, a supervising Foley edi- of what everybody is thinking about. Then
mysterious past will likely translate to an- tor. It is Jaeger, in consultation with Baker we head off and try to fulfill that: hitting
other box-office smash. Landers and Hallberg, who is primarily re- everybody’s mark and adding our own spe-
Paul Greengrass, who directed Suprem- sponsible for laying out the specifics of the cial touches along the way.”
acy (and, more recently, the exceptional Foley sessions for the group handling the “Every movie is different,” Jaeger com-
United 93) is back at the helm. So is much of actual Foley recording—in this case, One ments, “and that’s part of the challenge:
the same post sound team that helped make Step Up. “The way Per and I like to do it ‘Okay, what are we going to do better than
the first two films so compelling. Working is get everybody in a room and run reels,” we did on the last two [Bourne films]?’ Which
out of Soundelux, Per Hallberg and Karen Baker Landers says. “I like everybody to sit is hard because I think we did a pretty good
708MIX58_SFP.indd 58 7/11/07 4:24:31 PM

sound for picture
photo: Jasin Boland/Universal Pictures
job on both of them! What can we do dif- sound right and that the
ferently? Let’s get into it and find out.” mood of the scene reflects
Adds Baker Landers: “We know what the unpredictability and the
we wanted Bourne to sound like in the spontaneity of the situation
past, but we also say, ‘Let’s try to change he’s in.”
it up a bit.’ You can’t make it too different One Step Up has been a
because you have an audience that’s in top L.A.-area Foley company
love not only visually, but also sonically, for the past 13 years, though
with certain aspects of Bourne. The most O’Connell’s career stretches
important thing about Jason Bourne’s back much farther. Their
character is he’s very solid and fast and new facility in Burbank is
deliberate. He’s not real high tech-y; he’s state-of-the-art, with multiple
not flashy. He’s down and dirty—he gets walking/running surfaces
it done and he’s precise; he’s a machine. (of course), two different
So the Foley movement has to reflect dirt pits—“your Western dirt,
that. It’s not just the surface he’s on or which is hard-packed, and
the shoes he’s wearing; it’s his attitude, forest dirt, which has a softer,
his confidence. And that’s something we moister quality”—an area for
try to follow all the way through with water Foley, a Pro Tools rig,
his movement. There’s nothing messy or a large complement of micro-
sloppy.” phones with different char-
I ask how Bourne’s confidence and acters—including Neumann
purposefulness is conveyed by Foley. and Sennheiser shotguns (in-
“The movements are precise and solid,” dustry-wide favorites)—and
Baker Landers answers. “They don’t a huge storage facility down
sound wimpy or tentative. Remember, at the other end of the block Matt Damon reprises his role as Jason Bourne in The Bourne Ultimatum.
Foley artists are actors. So a lot of the filled floor to ceiling with
attitude is coming through Dan and John every prop/noise-generating
[Cucci]. The art of really capturing a char- object imaginable. Their prop assistant, ent things is much easier now, but what
acter is amazing, and when it’s good you Gabriel Elliott, “is a really important part the guys actually do on the stage hasn’t
don’t even notice. When it’s bad, though, of all this,” O’Connell says. “He’ll set up changed that much. It’s still a process that
it’s distracting and maybe you don’t feel in the morning, and all through the day takes a lot of time to get it right, though
the presence of the character, or his size, he’ll be getting us special things. I’ll give hopefully [the technology] gives you the
or his speed, or his dexterity.” him the weirdest request and somehow luxury of being able to do a few more
In O’Connell’s view, “Jason is not ten- he’ll find it.” takes if you need to.”
tative at all. He’s a highly trained indi- In the early days of One Step Up, O’Connell says that when possible,
vidual and he doesn’t stop to think. It’s they recorded to 24-track tape. That was they’ll try to match the feeling of existing
always a go. It’s all bam-bam-bam! So I followed by DA-88s, then MMR-8s and production tracks: “If we can fall into that
have to be sure that what I do [in Foley] now, of course, most Foley sounds are area sonically, it helps the dubbing mixers
is going to sound like that. He’s climb- shot from multiple angles directly to Pro in the long run because if they have to
ing up sides of buildings and going from Tools, which is now an integral part of match something we’re doing into a scene
rooftop to rooftop and jumping through every facet of the post sound chain in that exists, it’s an easier time for them.”
glass windows, running down hallways, nearly all film productions. “Pro Tools Adds Baker Landers, “The art of great Fol-
down stairs. Then there are the hand-to- has made it more efficient in terms of ey is that it sounds like it was recorded on
hand combat fight sequences—because getting tracks from the Foley stage to the the day [the visuals were shot].”
of his training, he is able to fight with editing room and laying things out and Foley runs the gamut from subtle cloth-
almost anything in a room; anything cutting them,” Baker Landers says. “Even ing movements to augmenting ear-splitting
becomes a weapon. It may be a book on the Foley stage itself, you say, ‘Well, FX, and all agreed that each is as important
or it may be a candelabra or something can we move that a couple of frames?’ as the other. “Sometimes the subtle move-
just sitting on a table, but it is weapon and you can do that very quickly now. ment is more challenging,” Baker Landers
of choice for that moment, so we have ‘Can we play these three tracks together comments. “If it’s something in a quiet
to find those things and make sure they but move that other one?’ Trying differ- scene that’s going to play and you’re on
www.mixonline.com • August 2007, MIX 59
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708mix61.indd 1 7/12/2007 3:53:14 PM

sound for picture
then a kind of plastic-y wobble and then I notes, “The great thing about Karen and Per
put them together so they matched because is that they really love to find out what each
it’s right there in your face—you see it so element is going to be so that when they
you want to hear it.” Foley was also key to get to the dubbing stage and they’re sit-
the sounds inside the cars during the chase: ting there with the director and the picture
“Bodies are flying against the door; hands editor, they can say, ‘We shot a really cool
are turning the wheel real fast,” Jaeger says. thing for this—let’s listen to it!’ The fact that
“These are all things that build tension in they know each piece of their project is re-
the scene.” ally helpful. Karen sits with us and we’ll get
Baker Landers was at One Step Up for a direction from her, we’ll go with that and
many of the Foley sessions, which is consis- then play back the reels for her and we’ll do
tent with her and Hallberg’s great attention fixes based on our playback.”
to detail and intimately knowing every ele- Once the Foley for a reel or section has
ment of the sound tapestry. As O’Connell been recorded, Jaeger takes the material
Foley editor Kelly Oxford worked

with Foley supervisor Craig Jaeger.
and he and Oxford cut it precisely to pic-

ture. “We’ll get it in the ballpark,” O’Connell
says, “and we’ll give them our final choice,
which is usually the one we think blends
best with the overall feel of the scene, as
well as other options.” Later in the process,
the director or picture editor or re-recording
mixers may ask for additional elements or
strip away layers for whatever reasons. Pic-
ture changes or the arrival of new visual FX
late in the process often necessitate shoot-
ing new Foley. Baker Landers estimated
that Foley for The Bourne Ultimatum—con-
sidered a big job—would take more than 25
days, “whereas a regular film usually tries
to do it in 10 days or less. Foley schedules
have gotten crunched on some of the small-
er films and that’s usually not a good idea.”
Asked about the most challenging as-
pect of creating Foley for The Bourne Ul-
timatum, all three interviewees mention
the same area: footsteps. Bourne is con-
stantly on the run—literally and figuratively.
“There’s lots of storytelling through feet,”
Baker Landers says. “We spent a lot of time
on specifics capturing the right texture and
the right feeling, whether it was a chase on
foot or something less frantic, like in a dark
room where you can’t see much but you
can hear the creeeak of a footstep—that can
be a cool moment for the audience.”
Adds O’Connell, “There are a lot of one-
on-one foot chases that go up halls, down
halls, down stairwells, over rooftops, climb-
ing up here, climbing up there. That was a
huge part of it this time. So that’s a lot of
different surfaces and different sound en-
vironments. But that’s part of what makes
it fun and interesting: figuring out how to
make what you see on the screen sound
real and exciting.” n
708MIX58_SFP.indd 62 7/11/07 4:25:15 PM

PRESONUS_0807MixEM.indd 1 7/10/07 12:49:49 PM
708mix63.indd 1 7/12/2007 3:56:55 PM
audionext
By alexander brandon
Soundelux Design Music Group

Extending the Reach of Audio for Interactive Entertainment
I
n our June issue, we profiled Technicolor
Interactive, one of many studios providing
services to games and interactive entertain-
ment. This month, we take a look at another
well-known facility: Soundelux, specifically
Soundelux Design Music Group. I had the op-
portunity to speak with Scott Gershin, Marc
Aramian, William “Chip” Beaman and Bryan
Celano about the group’s humble beginnings
and current impressive list of clients, as well as
its game-specific audio integration techniques.
How did DMG start and what is its relationship

with Soundelux?
Beaman: Soundelux Design Music Group [for-
merly known as Soundelux Media Labs] was
started in 1991 by Scott Gershin, who at the The hardworking, tightknit crew at Soundelux DMG centered around Scott
time was lead sound designer at Soundelux in Gershin in his sound creation/mix room.
Hollywood. With the backing of Wylie Stateman
and Lon Bender, Scott was able to assemble an ideas. After that initial gathering, Gene and I recruited
array of talented people who had to break the norms of David Murrant of Sony and Scott Selfon of Microsoft,
how things were done and come up with new approaches and the idea just kept growing from there. Some of the
and techniques to a brand-new industry. supervising sound designers have also been asked to join
Gershin: I had a vision to create a “Sound Designer and the board of directors for the Los Angeles–area group.
Composer Think Tank” that incorporated many of the cre- [Eds. Note: The IESD was officially launched last month
ative approaches used in film post sound. Each Soundelux with an announcement at Ex’pression College for Digital
DMG designer combined those techniques, along with Arts, a G.A.N.G. program partner. For more, visit www.
the high level of audio expertise found in the recording audiogang.org.)
industry and their knowledge of synthesis technology. On what projects has Soundelux done real-time mixing?
We focused those disciplines to work concurrently in the Gershin: It is a best-case scenario when a client asks us
then-infant game sound industry since most of the sound to be involved in implementation and in-game mixing, as
and music found in games at that time was created using well as sound design. It is crucial to listen to the sounds
FM synthesis. we have created in context to make sure they are hav-
What percentage of DMG’s projects are games? ing the desired emotional effect, as well as sort out any
Gershin: Soundelux Design Music Group is the interactive problems with how they blend or clash with other sounds.
entertainment arm of Soundelux, which is an Ascent Media Hearing the game come alive also inspires us to add new
company. We have an army of sound designers, compos- sounds or change existing sounds, in the same way fea-
ers, re-recording mixers, integrators, voice-over directors, ture-film sound editors add “sweeteners” during the mix.
managers and coordinators. Games make up about 80 We have been fortunate to work with producers and
percent of our projects. We also work on commercials audio directors who want to spend time making sure all
and location-based entertainment, such as T2 3D, Juras- the hard work put into the sound design, music composi-
sic Park and the Kennedy Space Center shuttle-simulator tion and voice-over translates into a great-sounding mix.
attraction. One thing we contribute to in-game mixing is our experi-
Scott, you’re a member of the Game Audio Network Guild ence being at the mix for so many movies.
and co-chair for the Interactive Entertainment Sound De- Describe your gear setup in the different rooms and how
velopers branch. How is DMG involved with this effort? it interfaces with game audio specifically?
Gershin: The GANG:IESD group was started by myself Aramian: We’ve created a studio environment from the
and Gene Semel of Sony Entertainment. [At the time of ground up that is geared toward the gaming world. We
the initial gathering, Semel was working at High Moon built design suites to simulate the average space a gamer
Studios.] We decided to get together and throw a network- may play in [most are 18x16 feet]. All of our designers and
ing party where sound designers had a chance to show composers extensively and continually research the best
off what they had been working on or just talk and share tools for game design.
708MIX64-AudioNext.indd 64 7/13/07 1:06:47 PM

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708mix65.indd 1 1 11/30/06 10:23:18
2:55:51 PM
7/13/2007 AM
audionext
Celano: All of our in-house design suites are Foley stages. This gives Soundelux DMG the composers are in-house, some off-site, so we
equipped with Pro Tools HD and FMOD ability and flexibility to use the same facilities can provide steady delivery of assets that can
running on Mac OS X, as well as dedicated as our film and TV groups. We can shoot also be mixed with other assets on the same
Windows machines running a multitude Foley at any one of our Foley stages [Santa project before delivery to the client.
of middleware, including WWise, FMOD, Monica, Burbank and Hollywood], record What is the most recent project that you
XACT and other proprietary programs we ADR at several of DMG’s VO stages, cap- would consider the most innovative to work
can’t talk about. We have a developer part- ture/record facial MoCap and bring in A-list on from an audio standpoint?
nership with WWise, which opens a dialog Hollywood talent. Soundelux also has access Gershin: Lost Planet was done in 5.1, and
between our designers and the software to the family of Ascent Media studios and fa- because the sounds follow the physics of
programmers. cilities around the world [New York, Atlanta, the game accurately, many Japanese gamers
Gershin: Our editing systems are connected London and Singapore, to name a few]. bought 5.1 systems. There was quite a buzz
to the Ascent Media Network—the same sys- Beaman: We also have access to a growing out there on the game forums about how
tem that also connects all of Ascent Media’s roster of composers, including Chris Tin, who cool it was to have a rocket whiz right by
facilities, including the Todd-AO ADR and wrote “Baba Yetu” for Civilization IV. Some your head and hit something behind you.
We’re currently working on a huge kara-
oke game, whose name I can’t mention, that
required producing the vocals on 30 songs
using contemporary pop techniques: massive
multitracking, pitch correction, multiple mik-
VINTAGE
ing setups, et cetera. Two gamers can pick
and choose whose part they will be singing.
The remaining parts are mixed as stems in-
VIBE
game. The PlayStation 3 console mixes the
live vocals with the chosen tracks and grades
the singers on both pitch and timing.
Are there any projects you’ve done lately for
VO music and/or SFX in which the games
only use 44.1kHz/16-bit or higher formats?
Any games using 96 kHz?
You know the sound–warm and crisp with Aramian: Several years ago, Soundelux start-
incredible presence. About 60 years ago, ed to record all of our sound libraries at
Neumann figured out how to get that sound.
Back then, it took a tube. Today, Neumann’s 96k/24-bit and some at 192k/24-bit. In fact,
done it with some hot new technology. And yes, all of the Hollywood Edge libraries represent
it sounds amazing. Now, grab a couple and go about three percent of our total in-house
make some hits. We’ll toss in the shockmounts.
library. When we mix and master our sound
TLM 49 Condenser Mic design, music, VO and cinematics, we are
always at 24-bit; if needed, we can convert
our files to 16-bit. We always work at the
highest-possible resolution and only convert
at the last step. As far as sample rates go, we
are mostly at 48k, but occasionally work at
other sample rates such as 96k and 44.1k. We
MODERN
will work with lower sample rates on spe-
cific projects like mobile games. We haven’t
worked on any games that use 96kHz files
MOJO
in the finished product; 48k/16-bit seems to
be the standard now. Instead of using lower
sample and bit rates, developers are using
data compression to save memory.
What percentage of your work would you
say is done in surround?
Gershin: Most of our cinematic work is
How do you make one of Neumann’s all- done in 5.1 and stereo-encoded formats
time most popular microphones better? Our [Dolby Pro Logic, PL, PL2]. We are designing
KM 180 Series microphones are now available with surrounds in mind, both for in-game
in digital versions. With analog to digital
conversion right next to the capsule, you and cinematics. We have mastered music
won’t believe the dynamic range and sonic mixes in both formats. We like to master
detail that’s been hiding in your sources.
and deliver cinematics in 5.1 so the client
KM D Digital Mics has more options. n
NeumannUSA: Tel (860) 434-9190 • www.neumannusa.com
Latin America: Tel 52-55-5638-1020 • Canada: Tel (514) 426-3013
Alexander Brandon is the audio director at
Obsidian Entertainment.
66 MIX, June 2007 • www.mixonline.com
708MIX64-AudioNext.indd 66 7/13/07 1:06:58 PM

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2 0 0 7 T E C V O T E R ’ S G U I D E
MIX SUBSCRIBERS: Don’t miss your

Technical
2 3 R D
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Award Sponsor Award Sponsor Award Sponsor Sponsor www.mixonline.com • August 2007, MIX 69
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VotersGuide2007_final 7/12/07 11:57 AM Page 70 VotersG
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| S I LV E R
Cakewalk | Clair Showco | Trident-Oram Pro Audio | TASCAM |
Yamaha Commercial Audio Systems, Inc.
-
| BRONZE
Apogee Electronics | ADAM Audio | Disc Makers | DPA Microphones, Inc. |
Eventide | McDSP | Skywalker Sound | Telefunken USA | Ultrasone of America, LLC

2 0 0 7 T E C V O T E R ’ S G U I D E
TEC NOMINEES | go to www.mixfoundation.org for product descriptions.
The official eligibility year is April 1, 2006-March 31, 2007. Extended descriptions of each product can be found at
www.mixonline.com. Please note that the Creative Awards are nominated by project. In each category, the engineers,
mixers, producers and production facilities will receive TEC Awards recognition. For the Studio Design Project category,
please check our Web page at www.mixfoundation.org for project photos and descriptions. Please take time to read
through each category before voting.
Note: In the category of Outstanding Creative Achievement, a new category has been added—Interactive Entertainment Sound Production.
TO ACCESS THE ONLINE BALLOT | go to www.VoteTEC.org and follow the instructions. You will be
directed to your personal passcode, which you will need to access the ballot. Upon accessing the ballot, please vote in those
categories in which you are most knowledgeable. Voting begins on AUGUST 1 and ends at midnight on AUGUST 31.
O U T S TA N D I N G F. Interactive Entertainment O U T S TA N D I N G
C R E AT I V E Sound Production TECHNICAL
ACHIEVEMENT Call of Duty 3, Activision ACHIEVEMENT
Gears of War, Microsoft Game Studios
A. Tour Sound Production A. Ancillary Equipment
God of War II, Sony Computer Entertainment
Eric Clapton & His Band, Concert Sound America Apogee Electronics Symphony PCI card/
Dixie Chicks Accidents & Accusations Tour, converter interface for Mac laptops
Tom Clancy's Ghost Recon Advanced
Clair Showco Warfighter 2, Ubisoft Audio-Technica ATH-M50 headphones
John Mayer Continuum Tour, Clair Showco Tomb Raider: Legend, Eidos Interactive Dolby Media Producer audio
James Taylor One Man Band Tour, Clair encode/decode/support software suite for
Showco HD-DVD, Blu-ray, DVD-Video and DVD-Audio
G. Surround Sound EAW Smaart Version 6 audio analysis/
The Who, Clair Showco, Eighth Day Sound
Production measurement software
A Valid Path, Alan Parsons (DualDisc) PreSonus FaderPort USB DAW
B. Remote Recording/
Barenaked Ladies Are Me, Barenaked Ladies automation/transport controller
Production or Broadcast (DVD-A) Ultrasone Edition9 headphones
49th Annual Grammy Awards, CBS
Live at 1988 Montreux, Carlos Santana &
Super Bowl XLI, CBS Wayne Shorter (DVD) B. Digital Converter
79th Annual Academy Awards, ABC Love, Beatles (DVD-A) Technology
34th Annual American Music Awards, ABC Score XOX—20th Anniversary World Tour Apogee Electronics Ensemble Mac-based
40th Annual Country Music Awards, ABC Live With Octavarium Orchestra, Dream digital audio converter with four preamps,
Theater (DVD) monitor control and 36 simultaneous channels
C. Television Sound Digidesign Mbox 2 Pro 6x8 FireWire interface
Production H. Record Production/ with mic preamps/DI inputs and monitor control
24, Fox
Single or Track Focusrite Saffire Pro 26 I/O FireWire audio inter-
“Chasing Cars,” Eyes Open, Snow Patrol face with eight preamps and monitor control
Lost, ABC
“Crazy,” St. Elsewhere, Gnarls Barkley Lynx Aurora With LT-HD card multichannel
American Idol, Fox digital converters with Pro Tools HD interfacing
“Not Ready to Make Nice,” Taking the Long
The Sopranos, HBO PreSonus FireStudio 26x26 FireWire interface
Way, The Dixie Chicks
Heroes, NBC with eight preamps, mixer/router, monitor sec-
“Waiting on the World to Change,” tion and optional remote
Continuum, John Mayer
D. Film Sound Production TC Electronic Konnekt 24D 14x14 FireWire
“What Hurts the Most,” Me and My Gang, interface with preamps, onboard DSP/mixing and
Blood Diamond, Warner Brothers Rascal Flatts monitor control
Dreamgirls, DreamWorks
Pan’s Labyrinth, Warner Brothers I. Record Production/Album
C. Mic Preamplifier
Pirates of the Caribbean: Dead Man’s Chest, All The Road Running, Mark Knopfler &
Emmylou Harris Technology
Walt Disney Pictures
Continuum, John Mayer AEA The Ribbon Pre high-gain preamp for
The Departed, Warner Brothers mics that don’t use phantom power
FutureSex/LoveSounds, Justin Timberlake
E. Studio Design Project Manley TNT dual-channel (one tube and one
Stadium Arcadium, Red Hot Chili Peppers solid-state) preamp
Great Divide Studios, Aspen, CO Taking the Long Way, The Dixie Chicks Neve 8801 channel strip with preamp, EQ and
Levels, Hollywood, CA dynamics from Neve’s 88R console
Record Plant/SSL 1, Hollywood, CA PreSonus DigiMax FS eight preamps with ana-
Sony Computer Entertainment America, log and 24-bit/96kHz digital outputs
San Diego Solid State Logic XLogic Alpha Channel
Talking House Productions, San Francisco channel strip with preamp, EQ and limiting
Universal Solo Series 110/610 single-channel
tube (610) and solid-state (110) preamps

708mix73.indd 1 7/12/2007 4:32:59 PM
2 0 0 7 T E C V O T E R ’ S G U I D E
D. Microphone Technology/ Nexo GeoD tangent array loudspeakers L. Workstation Technology
Sound Reinforcement QSC ILA installation line array loudspeakers Ableton Live 6 music creation/production/
AKG D 5 dynamic vocal mic Turbosound Aspect TA-500 Series point- performance tool for Mac and Windows
source loudspeakers BIAS Peak Pro 5.2 Mac-based stereo
Audio-Technica ATM250DE dual-element con-
denser/dynamic kick drum mic editing/processing/mastering software
H. Studio Monitor Technology Cakewalk SONAR 6 Producers Edition
Audix VX 5 condenser vocal mic
ADAM Audio A7 compact near-fields Windows-based DAW/music production software
Equation Audio DS-V10 dynamic vocal mic
Blue Sky Big Blue active studio mains in 2.1 Digidesign 003 FireWire-based
Neumann KMS 104 condenser vocal mic or 5.1 configurations workstation/controller with Pro Tools LE
Shure KSM9 condenser vocal mic Dynaudio Acoustics BM 6A MkII active near- MOTU Digital Performer 5 Mac-based
fields DAW/music production software
E. Microphone Technology/ Genelec 8200/7200 Series active DSP/net- Steinberg Cubase 4 Windows/Mac-based
Recording worked monitor systems DAW/music production software
Audio-Technica ATM 450 cardioid condenser mic Pelonis Signature Series PSS110P point-
BLUE Woodpecker ribbon mic with active source system with external amps M. Recording Devices
electronics Tannoy Precision 8 iDP active monitors with Edirol R-4 PRO 4-channel, 24-bit/96kHz field
networked DSP control recorder
DPA SMK4061 stereo microphone kit for
acoustic piano recording HHB FlashMic combo Flash recorder/Sennheiser
Neumann KM D Series digital versions of KM I. Musical Instrument condenser mic
80/100/180 with AES/EBU and S/PDIF outs Technology Korg MR-1000 1-bit (up to 5MHz) pro mobile
recorder
Royer R122-V ribbon mic with active tube Access Music Virus TI Polar 37-note
electronics Wavetable and HyperSaw synthesizer Marantz CDR310 portable CD field recorder
Telefunken | USA R-F-T AK47 multipattern Arturia Prophet V software version of Sony MZ-M200 16-bit/44.1kHz field recorder
tube mic Sequential Circuits’ Prophet 5/Prophet VS Tascam DV-RA1000HD 192kHz/24-bit or DSD
Cakewalk Rapture software synthesizer with mastering recorder
F. Wireless Technology Expression Engine
Audio-Technica 1800 Series Dual Channel IK Multimedia Ampeg SVX amp-modeling N. Sound Reinforcement
camera-mount UHF wireless plug-in Console Technology
beyerdynamic Opus 900 UHF wireless with Moog Little Phatty stage synth based on DiGiCo D5T12 digital theater console
single/dual/quad receivers Minimoog and Minimoog Voyager
Digidesign D-Show Profile compact digital
Lectrosonics SMQ Transmitter ultra-compact WaveMachine Labs Drumagog 4 drum- console
Digital Hybrid bodypack replacement plug-in
Mackie Onyx 32.4 analog console
Mipro ACT-81/82 digital wireless system
Midas XL8 digital console
Sennheiser NET1 Ethernet- or PC-based wire- J. Signal Processing
Soundcraft Vi6 digital console
less system controller Technology/Hardware
Zaxcom TRX990 wireless mic/IFB transceiver Yamaha PM1DV2 digital console
API 5500 Dual Equalizer stereo analog EQ
with onboard recording based on API 550
O. Small Format Console
Dolby Lake Processor digital loudspeaker sys-
G. Sound Reinforcement tem controller
Technology
Loudspeaker Technology Eventide H7600 stereo effects processor/sam-
M Audio NRV10 analog mixer/digital inter-
face/mix controller
Electro-Voice Phoenix Series Manifold pler
Technology loudspeakers Solid State Logic XLogic X-rack automated
Focusrite Liquid Mix digital vintage EQ/com-
modular rack with summing, line/mic mixing,
JBL Professional VP Series powered, flyable, pressor emulator
busing, EQ, dynamics
networkable speakers Langevin Mini Massive solid-state stereo EQ
Tascam DM-4800 digital mixer/DAW controller
Meyer Sound M’elodie ultracompact curvilin- based on Manley Massive Passive
ear array loudspeakers Toft Audio Series ATB analog console
Neve 8803 Dual EQ stereo equalizer based on
Neve 8108 Trident Series 8T-8 analog console
Yamaha LS9 digital console
K. Signal Processing
Technology/Software P. Large Format Console
VOTE AUGUST
VOTE 1-31
August 1-31
Cedar Audio Tools 3.2 seven audio restoration
tools for the Pro Tools platform
Celemony Melodyne 3 Studio pitch-shifting/
Technology
Calrec Bluefin Technology DSP expander card
for Alpha/Sigma/Omega digital consoles
Go to time-stretching plug-in Fairlight DREAM II With Crystal Core Engine
Go to
integrated digital console/DAW
VoteTEC.org
McDSP ML4000 Mastering Limiter high-res
limiter/multiband dynamics plug-in Oram GP40 Custom analog console
VoteTEC.org
Nominee Descriptions at
Roger Nichols Digital Dynam-izer advanced
compression plug-in
Universal Audio Neve Classic Console
Solid State Logic Duality analog console/DAW
controller
Studer Vista 5 digital console
Bundle 1073/1081 EQ and 33609 stereo limiter/
www.mixfoundation.org
Nominee Descriptions at compressor emulations
Waves V Series vintage equalizer and compres-
www.mixfoundation.org sor emulations

708mix75.indd 1 7/12/2007 4:34:06 PM
Live mix
Bebel Gilberto inside
Photos and Text by Steve Jennings 78 Live Mix News:
Bebel Gilberto’s current jaunt is all about “less Tours, Events, Installations
is more,” as the tour is carrying very little pro-
duction, relying on local P.A.s and tweaking via 82 All Access: Feist
SpectraFoo. But front-of-house engineer Nathan 84 Tour Profile: The Police
Harlow travels with a few pieces of outboard:
BSS Audio 404 comp, ATI Pro 6 mic pre and a 90 Local Crew: Velvet Thunder Sound
Metric Halo computer interface. Harlow began 92 Technology: What’s New in
working with Gilberto in 2001, first mixing moni-
Digital Snakes
tors and later filling the FOH spot two years ago.
Mix caught up with the tour in San Francisco.
“We have 24 channels off the stage,” Harlow
says. “In addition to comp’ing some of the usual
suspects, I put light subgroup compression on
News
©aron ross photography

percussion and keys. If I can get two reverbs and
a delay, I am all right. I prefer a full-range P.A. in
stereo. Extra subs off an aux and frontfill can be
really helpful.”
Monitor engineer
Dean Norman (who Rufus Wainwright recently played seven sold-
previously did FOH out UK theater shows; Concert Sound provided
for Emmylou Harris an Adamson Spektrix rig with five XTA DP226s
Gilberto sings through a Neumann KM105. and joined this tour controlling the system. Front-of-house engineer
three months ago, Matt Manasser used his DiGiCo D1 console.
and who mixes on a recently purchased Yamaha LS9-16)
says Gilberto “has an intimate knowledge of Brazilian music Veteran engineer/sound system designer Paul
and how it should sound, so we’ve developed some fairly Giansante joins Meyer Sound (Berkeley, CA) as
elaborate hand signals so she can make adjustments during touring manager…BBC America’s BritBus Tour
the show.” Gilberto and percussionist Mauro Refosco use criss-crossed the country promoting British mu-
Sennheiser EW300 G2 wireless units, while guitarist Masa sic, television and culture; audio partner Harman
Shimitsu, keyboardist Federico Pena and sax/flutist Jorge Pro Group provided portable P.A. equipment from
Contientino have Shure hardwired packs. Gilberto has cus- Soundcraft, AKG, dbx, DigiTech, JBL and Lexicon
tom molds from Future Sonics and the rest of the band uses Nathan Harlow (top) and to support the tour’s musical numbers…D&M
Westone UM2s. Norman monitors with Ultimate Ears Super. Dean Norman Professional is now distributing select Boston
Acoustics loudspeakers to the sound contracting/
fixed-installation markets…For her current world
tour, Nelly Furtado asked Sennheiser to make a
FixIt special version of her favorite microphone, the
SKM 935 from the Evolution Wireless Series, in
Last month saw Irish guitarist/vocalist Gary Moore and his white and gold… Touring engineer and Certified V-
band touring the UK to promote their latest album, Close As DOSC Engineer Florent Bernard is the new face at
You Can Get. Front-of-house engineer Dave Wooster mixes L-Acoustics as technical support specialist…For
on a Yamaha PM5D. A Martin Audio W8LC P.A. is driven by the first time in 25 years, Bruce Foxton and Rick
XTA DP226s and a DP448. Buckler from The Jam have embarked on a UK
tour, joined by Russell Hastings on vocals and
This tour is traditional rock ’n’ roll–style blues, which needs guitar and Dave Moore on keyboards and guitars.
depth but with clarity and drive. I set the EQ settings The board for the tour was Allen & Heath’s iLive
through crossovers with the XTAs and it’s driving the LCs digital system comprising an iLive-112 control sur-
really well. The 448 gives me the option of sending two face linked via Cat-5 to the iDR10 stage rack…The
feeds to it: one for the flown system and one for the ground-stacked boxes. I can 800-seat Meng Concert Hall at the new Performing
also group it down to a stereo feed and then matrix it from within the 448. Some Arts Center at California State University, Fullerton,
days I have the option of running two separate EQ systems or one across the entire features a high-end sound reinforcement system
system. I have my own SiDD providing EQ across the stereo left and right system so designed by Multi-Media Consulting Inc. (Los
I have another level of show EQ there. Angeles) that incorporates EAW AX Series loud-
speakers and SB Series subwoofers.
708Mix78_LiveMixNews.indd 78 7/11/07 4:26:03 PM

VP_Ad_22107.qxd 6/26/07 12:20 PM Page 1
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including the addition of new application specific loudspeaker systems, the VP7210/95DP, a powered 10" Two-Way, the
VP7212MDP, a powered 12" Two-Way compact powered stage monitor, and price competitive configurations based on the level
of network control and monitoring your project requires. The program goes far beyond the loudspeaker systems. JBL Professional
created an extended team of industry leading experts to provide advanced application support and answer real world questions
relating to your specific application. Installing these premium systems, featuring legendary JBL sound powered by Crown ®
amplification and optional advanced system control using the HiQnet ™ networking protocol, has never been easier.
Contact JBL Professional to speak with an application expert or schedule a demo.

Email: VPSeries @ jblpro.com or visit jblpro.com/vpseries
©2007 JBL PROFESSIONAL
708mix79.indd 1 7/13/2007 10:31:00 AM

Live mix
Now Playing
Shadows Fall
photos: dave vann
Sound Company: Audio Analysts

FOH Engineer/Board: Scott “Goodie”
Goodwine/Yamaha PM5DRH
Monitor Engineers/Board: Chris
photo: Chapman Baehler

Dietrich, Ryan Johnston/Yamaha
On the Road PM5DRH
P.A./Amps: venue-supplied
The White Stripes Monitors: Audio Analysts 12 VFX,
Currently out promoting their new al- 360 VFX/1x18 subs, 2x18 subs
bum, Icky Thump, brother/sister musical Outboard Gear: onboard
team Meg and Jack White are playing Microphones: Shure, Sennheiser, AKG
to sold-out theaters and making stops
at this year’s largest festivals, including Joan Armatrading
Bonnaroo, where Mix caught up with Sound Company: Wigwam (UK)
front-of-house engineer Philip Harvey. FOH Engineer/Board: Andy Wil-
liamson/Yamaha PM5D
How much gear is the tour carrying? Monitor Engineer/Board: Paul
We are carrying a Nexo GEO T line ar- Myers/Yamaha PM5D
ray with Camco amps, a Midas H3000 P.A./Amps: d&b/d&b
with Lake control, effects, inserts and Monitors: d&b Max
a Metric Halo 2882+ DSP multitrack Outboard Gear: Avalon VT747SP,
recording rig. BSS Audio DPR 901 MkII
Any piece of gear you can’t live without? Microphones: Shure, Sennheiser,
Not particularly, but it would be either Neumann
the EL8 Distressors on the vocal chan-
nels or a dbx 120 subharmonic synth for
subtle low-end emphasis.
What is your mixing style for this tour? Top Venue Installs HD Broadcast System
Does this change when you’re in a fes-
tival situation with quick changeovers? Using new, state-of-the-art
We’ve brought in our own consoles for HD video-capture systems in
front of house and monitors to the fes- both Knitting Factory New
tivals this year. The White Stripes have York and Los Angeles ven-
held headline slots consistently, which ues, Knitting Factory Digital
allows for this luxury. So even with quick Services (KFDS) offers record
changeovers, the audio control is preset. labels a means to generate
What about your mixing philosophy live performance content and
in terms of Jack and Meg? Vocals and provides customized delivery
photo: Phillip C Kim
guitar/drums sitting in the mix… to a variety of broadcast, Web

The biggest challenge in mixing the White 2.0, wireless and other distri-
Sripes is the fact that Jack’s guitar volume bution platforms.
onstage usually hovers around 120 dB, The new install includes
so vocals and drums are competing with automated, high-definition The Wrens performing a special concert at the Knitting
guitar even before bringing them into the A/V-capture systems that al- Factory in New York City
FOH sound system. Since there are only low a single operator to cap-
two people performing, the instruments ture a four-camera HD shoot ready for broadcast or post-production; the system
must sound large to fill out the mix. The is expandable with an additional three to 10 cameras. The audio path comprises a
White Stripes’ musical style is very “in your stereo feed from the board (a Soundcraft MH 32-channel in New York City and a
face,” so I take that approach, making sure Crest X Series 40-channel in L.A.) and ambient mics (a pair of Shure KSM141SLs)
nothing is too heavily compressed so that through the Meyer custom system. That feed goes to a remote production booth
all of instruments have room to breathe with a Mackie ProMix console and outboard goodies, which then goes to the re-
with dynamics and then keep the vocals cording decks.
on top crowning the mix. KFDS will also provide basic editing and clip compilation services. Stereo and
Where can we find you when you’re not advanced multitrack audio capture are available, as is basic entry-level direct-to-DVD
on the road? capture. O.A.R. recently came in to the New York City show and used this system
I reside in New York City’s East Village. to put on a “secret show” for their fans.
708Mix78_LiveMixNews.indd 80 7/12/07 10:04:50 AM

Eliminate your power struggle and get on your high horse. Control
your DAW with Yamaha’s DM1000 and DM2000 digital mixers.
With the freedom to play with faders, knobs and buttons, and the
ability to pan surround, the authority is all yours. Compatible with
Nuendo, ProTools, Logic and more, the DM series is ready to take
command. As your hands direct the console, enhance your DAW’s
DSP with onboard EQ’s, dynamic processors and extra effects.
Yamaha’s DM Series of Mixers. Control. Yourself.
When you need help, time zones shouldn’t matter. Yamaha provides coast-to-coast
24/7 technical support. With dedicated staff and regional service centers, assistance
is around the corner. If we can’t fix it over the phone, we’ll put a part or a person on
the next plane out. It’s that simple.
Yamaha Commercial Audio Systems, Inc. • P. O. Box 6600, Buena Park, CA 90620-6600
©2007 Yamaha Commercial Audio Systems, Inc.
706mix67.indd 1 5/9/2007 2:53:06 PM

708MIX82_AllAccess_p+c.indd 82 7/11/07 4:20:05 PM
708MIX82_AllAccess_p+c.indd 83 7/11/07 4:35:31 PM
708Mix84_TP-police p+c.indd 84 7/11/07 4:24:15 PM
708mix85.indd
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And ready to go. The Tn Series of amplifiers
from Yamaha have the power needed to
drive your speakers the distance. With a
2 Ohm UL approved rating, these amps are
set to get to work using a NEXO system or
any other line array. With Yamaha’s own
EEEngine technology, power consumption is
reduced by up to 50%. Additional features
include removable handles, easy air-filter
maintenance and robust construction.
Network control capability wraps up the
package and superior sound quality ships
it out the door.
Yamaha’s Tn Series Amplifiers.

Sound Intensified.
When you need help, time zones shouldn’t matter. Yamaha provides coast-to-coast
24/7 technical support. With dedicated staff and regional service centers, assistance
is around the corner. If we can’t fix it over the phone, we’ll put a part or a person
on the next plane out. It’s that simple.
Yamaha Commercial Audio Systems, Inc. • P. O. Box 6600, Buena Park, CA 90620-6600
©2007 Yamaha Commercial Audio Systems, Inc.
706mix63.indd 1 5/9/2007 2:12:48 PM

708mix89.indd 1 7/13/2007 11:00:35 AM
Local Crew
B y s a r a h b e n z u ly
Velvet Thunder Sound Systems

From Festival Work to Building Own Packages
A
s you read this, the summer music
festival season will be coming to
a close. While the larger, more-
established festivals are relying on a full
complement of gear from high-end sound
companies, each region in the U.S. hosts
its own locally fed event, becoming the
bread-and-butter for that region’s sound
providers. Wrapping up slew of highly
attended gigs is Eugene, Ore.–based Vel-
vet Thunder Sound Systems (www.velvet
thundersound.com), which just closed the
books on such festivals as String Cheese
Incident with Peak Experience Produc-
tions at Horning’s Hideout, Northwest
String Summit with Yonder Mountain
String Band, High Sierra Music Festival,
the Summer Series of Concerts by Square
Peg Productions at Secret House Winery, Velvet Thunder Sound Systems supplied a full complement of SR gear (and a laser
Zimbabwe Music Festival and the annual show, too!) for the Floydian Slips’ performance at the Cuthbert Amphitheater.
Eugene Celebration.
Fortunately, there are many locally funded gigs to Audient Aztec handles monitoring chores, in addition
contract after those festivals have packed up. Accord- to company-built wedges (co-ax 12x2s, vocals; 15x2s,
ing to company co-owner Toni Ehrlich (along with drums and sidefill tops) and AB International and QSC
Steve Ehrlich and Bill Walker), VTSS has enjoyed a amps. The newest item in the shop is a Yamaha M7CL
longtime resident capacity (since 2001) at The McDon- 48-channel digital console, and the company has an eye
ald Theatre in downtown Eugene, where the company toward purchasing a Digidesign VENUE.
has supplied top gear for such acts as Robert Cray, Company crew includes engineers Oroville Lawton,
the Black Eyed Peas, Evanescence, Slayer, Dark Star Claudette and Dana Heitman, and Rich Hipp, who will
Orchestra and many others. “Our relationship with the occasionally sit in on a gig; Frank Rinaldi is on staff
McDonald Theatre and Kesey Enterprises has brought for large live recording projects; Anton Ray; Joe Croce;
a new opportunity in the form of the annual concert and Jimmy “The P” Purich.
series at the Cuthbert Amphitheatre here in Eugene,” “Our focus has always been live performance,”
Toni Ehrlich says. “We will be working with Diana Ehrlich says. “We are also involved in live tracking for
Krall, Los Lonely Boys, Gordon Lightfoot, Earth Dance, bands wishing to record. At this time, we are in the
the Floydian Slips, Floater and others this season. Wil- process of acquiring a media supply/duplication/rep-
lie Nelson just graced our stage at the Cuthbert on July lication business that would allow us to take a project
6—a great show, as always.” from the stage to point-of-sale.
Ehrlich and the rest of the VTSS crew can cull from “Local sound companies today face increasing
an extensive inventory of gear for such events, including challenges as more tours travel with less,” she contin-
its own XLT-3 three-way line array with double 18-inch ues. “Equipment is expensive; choices must be made
speaker cabinets, which is built in the company’s wood wisely. The challenge is always knowing which way
shop. “We have over 40 years of speaker system design the industry is moving and being there ahead of the
and manufacture, and electronic design experience in curve. We have the good fortune to be in a position
our R&D team,” she continues. “We take a very ‘Clair that allows us to listen to the touring engineers as
Bros.’ approach to our proprietary system.” Powering the they come through, listen to and evaluate other P.A.s
system are AB International Sub2000/9620/1590 amps, as often as possible and, of course, listen to our
which Ehrlich describes as “little-known and seriously customers—that information is invaluable. As long
under-appreciated amps with a sophisticated power as our ears and eyes are wide open and we maintain
supply.” Complementing the front-of-house inventory our focus, we will be able to stay competitive in this
are a Midas Heritage 2000, a newly purchased Dolby rapidly changing business. Ultimately, to stay in this
Lake LP4D12Z and numerous pieces of outboard; an business you have to love it.” n
708MIX90LocalCrew.indd 90 7/12/07 3:47:06 PM

As soon as more people get to mix on
this system, youʼre going to see it on
Mixing the band under difficult circumstances a lot of riders - itʼs awesome!
was in fact easy and a pleasure. Iʼd use and
spec these boxes again. Toby Francis
FOH Engineer
Peter Kadelbach ZZ Top, Guns Nʼ Roses,
K-OS Engineer Velvet Revolver
I was the crew chief on the Gobi tent at

Coachella and not only was I impressed Honestly, I thought it was solid.
with the STLA but all of the engineers we I liked it better than many systems.
worked with had very positive things to For a compact versatile system, it is
say. It's light for a powered box, has tons definitely worth taking a listen and
of horsepower, and goes up and down, a look at the numbers.
quickly and easily.
Hoover Dave Rat
Rat Sound Systems Rat Sound Systems
Iʼm not even using a processor, and my

I have to say the Renkus-Heinz line arrays graphic is flat unless I get into a really
are not only lightweight and easy to tough room or if Iʼm using less than eight
work with but they sound amazing boxes. This PA has made a huge
and get extremely loud too. difference in my stress level. Iʼm
really happy with my mix every night.
Brian Schmidt
FOH - Tech, “The Joint” Steve Emler
Hard Rock Hotel, Las Vegas Okie Brothers Sound
THE NEXT GENERATION OF POWERED LOUDSPEAKERS

Standard Ethernet Networking
Digital Audio Distribution
User Accessible DSP In Every Loudspeaker
Remote Control & Supervision
Renkus-Heinz, Inc. - 19201 Cook Street, Foothill Ranch, CA 92610, USA • Phone: 949 588 9997 • Fax: 949 588 9514 • www.renkus-heinz.com
708mix91.indd 1 7/13/2007 11:06:14 AM

New Developments in
Digital Snakes
By George Petersen
Cable snakes and system interfacing are hardly the

stuff that generates huge headlines in the audio
press. And 20 years ago, this article would have
never existed. But these days, with the industry-
wide acceptance of protocols such as EtherSound
and CobraNet and the ease of fiber or Cat-5 ca-
bling, copper is definitely on the way out. Expen- Aviom’s 6416dio provides 16 digital I/O channels to/from a Pro64 A-Net audio network.
sive and bulky, analog snakes are prone to ground
loops, EMI and RF interference while digital systems avoid these architecture, increasing the channel count to 64x64 (with higher
dilemmas and others, such as signal losses over long cable runs sample rates) and data integration for remote control of mic pre-
or the age-old issue of who gets the first split. Offering the ability amps, network management and distributing user control data.
to carry control information along with multichannel audio feeds, The first Pro64 install handles the tielines from the new Pearl
digital provides a flexible, easily reconfigurable solution, whether stage at The Palm complex in Las Vegas to the facility’s state-of-
in the most basic or highly complex installations. the-art control room.
Owners of digital consoles who are looking into a digital snake Aviom recently unveiled several peripherals that expand the
should begin their quest with the manufacturer, where upgrading potential of the Pro64 series. A two-rackspace unit, the 6416dio
to digital-based audio/control distribution may require little more provides 16 digital I/O channels to/from a Pro64 A‑Net audio
than an interface cable between the console(s) and stage box, or network using the AES-3 format, with support for all sample rates
perhaps adding some optional cards. In the market of hardware- up to 192 kHz. Due out at the end of this month is the 6416Y2,
and software-driven systems for distributing audio and control a Y2-format card that interfaces between Yamaha console/mix
data, changes are frequent and continually evolving. With that in engines and Aviom’s Pro16 personal monitor mixing system. The
mind, we checked in with some third-party suppliers of digital 6416Y2 supports up to 16 simultaneous I/O channels and handles
snake products (listed alphabetically). variable sample rates of 44.1/48 kHz or 88.2/96 kHz. Multiple
cards can be used to provide 64x64 capability.
what’s on the market Aviom’s new AV-M8 module provides eight mic level signals
Unveiled at last fall’s AES show in San Francisco, Aphex (www. to a Pro16 system; its AV-P2 outputs two analog channels from
aphex.com) is now shipping its Model 828 Anaconda, a 64-chan- a Pro16 A-Net digital audio stream. Multiple modules can be
nel, bi-directional snake that interfaces the company’s 1788A used for increased channels or more splits; both rackmountable
remote-controlled preamps to consoles, DAWs and recorders. The modules are shipping.
first permanent install went into KCET Los Angeles, the country’s At InfoComm, BSS Audio (www.bssaudio.com) showed a hard-
largest public TV station, linking the studio to a Yamaha digital ware/software update for its Soundweb London range. Users in-
volved with teleconferencing will be interested in software Version
1.14;. When combined with a new, dedicated SHARC DSP card, it
provides Acoustic Echo Cancellation technology. The card requires
a new BLU Series interface (models BLU-80A/32A/16A); these are
identical to the existing BLU models except that they have a larger
power supply to handle the needs of the SHARC card. Also new
The Aphex 828 Anaconda interfaces a 1788A to consoles, DAWs and recorders. is a BLU-555 telephone hybrid.
Digigram (www.digigram.com) is shipping its LX6464ES
console in its control room 400 feet away using a high-speed fiber EtherSound PCI network soundcard, which can transmit and re-
line that also carries control (transport, gain, etc.) and metering ceive 64 EtherSound channels. The card offers a bridge between
data to/from the 1788A preamps. computer audio apps for recording/playback and an EtherSound
Recent interface/converter peripherals for the Anaconda network, with DirectSound and ASIO driver support. Also
system include the Model 141 8-channel ADAT-to-analog con- new are three EtherSound-enabled AES/EBU devices: models
verter, the Model 142 8-channel analog-to-ADAT converter and ES881v2, ES16161v2 and ES1241v2. All new interfaces implement
the bi-directional Model 144, an AES-to-ADAT and ADAT-to- ES100 (the latest upgrade to the EtherSound technology), which
AES interface that converts four stereo pairs of AES or S/PDIF permits the design of original network topologies, such as redun-
to/from eight ADAT-format channels. dant rings. The latter allows automatic redirection of the audio
The news at Aviom (www.aviom.com) is that the Pro64 ver- and control data stream in the alternate direction in the event the
sion of its A-Net technology is finally available. Pro64 A-Net ring is accidentally broken.
expands on Pro16 A-Net while improving the flexibility of the The LightViper VIM-MY32 mini-YGDAI interface components
708MIX92DigitalSnakes.indd 92 7/11/07 4:27:23 PM

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708mix93.indd 1 7/13/2007 11:07:46 AM

929_QSC.indd 1 7/2/07 9:51:37 AM
New Developments in Digital Snakes
from Fiberplex (www.lightviper.com) are

designed to connect Yamaha digital con-
soles directly to the company’s fiber-optic
audio snakes. Designed as a plug-and-play
solution, two VIM-MY32 card modules
(master/slave set) will handle 32 (24-bit/
48kHz) audio sends and eight returns via
fiber. With an additional card set, a Yamaha
PM5D can operate with 64 sends and 16
fiber-optic returns. The cards also support
Yamaha’s M7CL, DM2000, DM1000 and The Roland S-1608 16x8 digital snake is based on the company’s REAC protocol.
LS9 units, and control protocol for AD8HR
remote mic preamps is provided. Meanwhile, MediaMatrix announced its the S-1608 features 16 mic inputs and eight
Also new, LightViper’s YamMon soft- NION nX DSP Audio Node and NIO™ I/O returns over a standard Cat-5e cable. The
ware lets users of non-Yamaha consoles cards. The NION nX core is based on three S-1608 can also be used with an S-4000 to
remotely control up to 255 of Yamaha’s floating-point SHARC DSPs, and its Scalable create a 48-input, 16-return digital snake.
AD8HR preamps from a laptop computer. I/O Architecture has optional plug-in cards Users can also employ the S-1608 in pairs
Used with the LightViper 4832 system, this in two module bays supporting up to 16 si- or multiples to create flexible split-stage or
multaneous analog audio channels, stage zone setups. Preamps are controllable
while an integrated CobraNet port using the S-4000R hardware remote or the
provides 64 channels for a total of included RCS software for fast setups with
80 simultaneous configurable audio preset memories.
channels. New NIO I/O cards in- The D32IO-A digital audio snake ter-
clude NIO-AES—offering eight AES minal from Violet Audio (www.violetaudio
pairs (each pair is selectable as input .com) handles up to 32 channels of 24-bit/
or output channels)—and NIO-8i 96kHz audio over standard Cat-5 cable. The
with eight line inputs (24-bit A/D). unit acts as an AD/DA converter, digital
Momentum from Pro Co Sound transmission hub and physical connection
(www.procomomentum.com) is terminal, with analog I/O connectivity via
a modular, expandable (up to four analog D-Sub 25-pin ports. Ports can
256-input) Ethernet snake system be factory-preconfigured for operation in
LightViper YamMon lets non-Yamaha users control up to 255 featuring a digital mix engine and either a 32/0, 24/8 or 16/16 implemen-
Yamaha AD8HR pre’s from a laptop. numerous connectivity/conversion tation, depending on customer needs.
options. It’s based on single-rack- Violet Audio also offers rackmount D-Sub
PC app (a Mac version is coming) controls space, 8-channel rackmount modules for breakout boxes with XLRs for AES/EBU or
phantom power, HP filter in/out and roll-off input/outputs. A DSP engine can be added analog signals.
frequency, channel level/trim, word clock to an output unit for use as a personal E MOD networking and I/O module
settings, metering, labeling and more. monitor/distributed audio mixer. It features digital interconnects from Whirlwind
Optocore (www.optocore.de) launched pro-quality mic preamps, wireless mix en- (www.whirlwindusa.com) offer solutions
the PTP32E, a point-to-point link with gine control and a touchscreen controller for nearly any install. The PXP Series
redundant fiber connection carrying 32 for remote system operation. Options in- converts 16 channels of audio to/from
AES/EBU digital audio channels and bi- clude fiber optics, CobraNet, and Phoenix various protocols: PXP-CA (CobraNet-
directional composite video. Optocore also and D-Sub 25 connectors. to-Aviom A-Net), PXP-EA (EtherSound-
offers its Y Series network modules for con- The DigiPHY line of RapcoHorizon to-A-Net) and the bi-directional PXP-CE
soles with Yamaha YGDAI mini-slots or the (www.rapcohorizon.com) Ethernet-based (CobraNet-to/from-EtherSound). The two
DIO8 for the PM1D, with 64 audio I/Os per products uses modular 8-channel mic/line half-rack, 2-channel interfaces include
module or (with multiple modules) up to 512 input and line-level output units that can the CO2a (CobraNet to line-level analog
channels per Optocore network ring on a be monitored or re-configured on-the-fly output) and the CI2L (line-level to analog
single fiber pair. The most recent option for locally or remotely via included software. to CobraNet input). New 8-channel mod-
the company’s optical network system is the The modules can be connected in daisy- ules are the CI8L (analog-to-CobraNet
DD8RP Repeater Device, which can expand chain, star or mixed topologies using stan- input) and CO8a (CobraNet-to-analog
the system’s normal multimode, 700-meter dard or the company’s DuraCAT5e Cat-5e outputs), both in single-rackspace pack-
range via four link ports that can operate in cables with Neutrik Ethercon connectors. ages. About to ship at press time is the
standard multimode or be switched to mono Inputs have phantom power, program- CIA (Computer Interface Alternative),
mode for runs up to 100 km. mable gain and 80Hz/12kHz filters. which can control Whirlwind’s E-Snake
Last fall, Peavey (www.mediamatrix Roland Systems Group (www.rssamerica directly from a Yamaha digital console,
.com) licensed EtherSound technology for .com) is now shipping the S-1608, a digital providing access to parameters such as
its MediaMatrix, Crest Audio, Architectural snake in a fixed 16x8 configuration. Based gain and phantom power without the
Acoustics and other brands. No word yet on on the same 24-bit/96kHz low-latency need for a computer. n
any EtherSound-enabled MediaMatrix gear, REAC protocol used in the company’s flag-
so stay tuned for further developments. ship S-4000 modular digital snake system, George Petersen is Mix’s executive editor.
708MIX92DigitalSnakes.indd 94 7/11/07 4:27:38 PM

With the new LightViper™ VIM-MY32 mini-YGDAI cards,
Yamaha digital console owners* can now easily upgrade to
receive all the benefits of the revolutionary LightViper fiber
optic audio transport system.
A pair of MY32 cards (master & slave set) will handle 32
sends and 8 returns (24-bit/48kHz digital audio) via
LightViper’s fiber-optic digital audio cable. Need more
channels? Add another MY32 card set for 64 sends and 16
returns. No additional interconnect cables to buy, no rack-
mount electronics. Adding a state-of-the-art fiber optic
audio transport system to your live rig or permanent install
couldn’t be easier**. The MY32 is truly “plug & play.”
Slash hours off set-ups, tear-downs and on-site labor.
Dump hundreds of pounds of copper. Best of all: no more
drawing straws at the end of the gig to see who gets the ugly
job of tearing down the snake. VIM-MY32 interface cards are available in four configurations: TAC-4FR military style connectors; non-tactical LC or
ST connectors and rugged Neutrik OpticalCon® connectors.
*Yamaha digital console models include: LS9,M7CL, DM1000/2000 & PM5D. **Yamaha control protocol
for AD8HR remote mic-preamps is also provided through the MY32-enabled fiber connection.
Sound @ the speed of light ™
© 2007 FiberPlex, Inc. All rights reserved. LightViper and MY32 are either trademarks or registered trademarks of FiberPlex,Inc.
All other trademarks are the property of their respective owners.
www.lightviper.com Tel: 301.604.0100 Fax: 301.604.0773
708mix95.indd 1 7/13/2007 11:13:08 AM

R OA D-READY
Steinberg
CUBASE 4
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- Record unlimited audio/MIDI tracks
- Complete host based mixing engine with EQ and dynamics
- 50 real time VST audio effect plug ins
- Integrate with PreSonus via Control Room feature for
software controllable sub mixes
PreSonus
FIRESTUDIO ™
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- 8 XMAX class A microphone preamplifiers
- JetPLL jitter elimination technology
- DSP matrix routing mixer
- Word clock I/O, MIDI I/O, SPDIF I/O
PreSonus
DIGIMAX FS
��
(2 units shown for an additional 16 channels)
- 8 XMAX class A microphone preamplifiers
- 96k digital output via SMUX
- JetPLL jitter elimination technology
- Direct outputs, insert points, DAC inputs
Sweetwater
CREATION STATION
FREE ��
- Rock-solid rackmount configuration
MONITOR STATION REMOTE - Every component hand-selected for audio production
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PreSonus & FireStudio™ are trademarks of PreSonus Audio Electronics Inc. Steinberg GmbH & Cubase 4 are registered trademarks of Yamaha Corporation. JET & Jitter Elimination Technology are trademarks of TC Applied Technologies Ltd. The JET technology is used under sublicense from TC Applied Technologies Ltd., &
706mix106-107.indd 2
�� 5/11/2007 3:33:08 PM
Y R E C ORDIN G
mics
JARS OF CLAY PRODUCES LIVE CD DURING TOUR

When Jars of Clay hit the road to promote their current release GOOD MONSTERS, they wanted to record their shows in hopes
of releasing a live recording after the tour. After recording the first few shows, they realized, not only was their Creation Station
system rock solid, but that the recordings were so high quality they decided to release a live record, called LIVE MONSTERS,
during the tour! How did they do it?
N It starts with a recording system capable of dealing with the demands of a national tour. At the heart of the system is the
Sweetwater Creation Station – designed and configured by the computer audio experts at Sweetwater specifically for audio
production. Connect the PreSonus FireStudio™ and two DigiMax FS’ for 24 Class A microphone preamplifiers with Jet PLL
synchronization technology enabling hours of rock-solid continuous multi-channel recording. Finally, add Steinberg’s Cubase 4
- the most advanced audio recording and production software with the ability to mix during recording, send sequencer and virtual
instrument tracks in real time and more, for a fully integrated hardware and software recording rig that can handle anything
thrown at it.
“Our recording rig is exactly what we need it to be: dependable, easy-to-use, and powerful,” says Jars of Clay guitarist Matt
Odmark. “It has become an integral part of our production and recording. The PreSonus preamps sound amazing, Cubase 4 is
unbelievably creative and powerful and the Sweetwater Creation Station never skips a beat, literally. Thanks Sweetwater for the
sweetest recording rig!”
Call Sweetwater today at 800-222-4700

or visit www.sweetwater.com
Check out video and photos of the recording at www.sweetwater.com/jarsofclay
Check out www.jarsofclay
m TC Applied Technologies Ltd., & is the intellectual property of Sonopsis Ltd. Applicable patents include WO2004088845
706mix106-107.indd 3 5/11/2007
��
3:28:17 PM
tech's files B y E dd i e C i l e t t i
Dare to Compare
Pitting Processing Plug-Ins Against the “Real Thing”
B
ack in January 2006, I routed one microphone
to six preamps for an unconventional series
of tests dubbed “Not a Mic Preamp Shootout.”
I was willing to accept one compromise: The unique
relationship between the mic and the preamp front
end would be neutralized, but this setup allowed any
one preamp to be subtracted from another to hear the
remaining topological differences.
Although I spent the bulk of the time recording
drums—which are good for evaluating overload char-
acteristics—I planned future tests to focus on voice,
which is better for discerning amplifier and capsule
nuances.
Earlier this year, I was asked to compare analog
hardware with software signal processing. This time,
local engineers were invited to contribute raw and pro-
cessed samples. These sessions were called “Dare 2
Compare.” I not only analyzed their files, but attempted
to re-create their tests using generic and hardware-spe-
cific plug-ins. Digidesign Pro Tools, Soundscape and Top: Separate left and right Soundscape plug-ins re-create the
Adobe Audition were my “analysis tools.” Neve 1064 EQ. The curves are similar but not perfect. Bottom: An
As the initial samples came in, I encountered an additional instance per channel was required to achieve a more
analysis problem: Everyone dismissed the software be- perfect null; very little needed to be done.
cause they felt it wasn’t even close to delivering the
sound provided by the hardware. This was not initially IN THE BEGINNING
the fault of the software, but was rather due to the Sonic comparisons always start out the same way: Es-
hardware’s inconsistencies. tablish a repeatable “procedure” that ensures a “level”
A perfect example is the Neve 1064/1066/1073 pre- playing field. Getting the procedure right will consume
amp/EQ modules. There’s no way that a pair of vin- a considerable amount of time, sometimes more than
tage or retro-modern analog hardware equalizers can the actual tests. The first step is to optimize the gain
be made to agree simply by putting their knobs in the structure for headroom and noise, followed by match-
same place. So don’t expect “identical knob settings” ing the signal levels of all the gear being evaluated. The
on software to match the hardware. latter can be as simple as routing an oscillator to the de-
For example, consider someone who’s applying an- vices under test, measuring the outputs with a precision
alog EQ to a stereo track. The first step is to artistically meter and trimming the level to achieve a match that is
approximate the EQ, but if you fed pink noise to both hopefully within 0.1 dB and does not exceed 0.25 dB.
EQ units, reversed the polarity of one and summed, Another way to confirm the level match is to sub-
you’d notice that the two equalizers are nowhere near tract one device from another by reversing the polarity
being matched, which is an opportunity to tweak the in one of the signal paths and then “summing,” which
EQ bands on each channel for the best null. is, in reality, subtraction. A full 180-degree shift consti-
The fact that few engineers take this extra step quite tutes polarity inversion, so here we’re using our ears as
literally adds dimension to the stereo track because distortion analyzers. There will be subtle phase issues
ballparked (unmatched) dual-mono EQ settings intro- caused by the number of gain stages and the coupling
duce phase shift that make the stereo image “wider,” capacitors between them. Each capacitor in the chain
which is one of the inverse complaints people have can cause small amounts of phase shift. Discrete and
with digital—it doesn’t exhibit the dimensionality of IC op amp circuits—from API to Avalon, Crane Song to
analog—even when comparing converters. Grace and even Mackie—have less phase shift than old-
I compared some well-known hardware (API, dbx, school discrete circuits like models from Great River,
Neve, Universal Audio/UREI and Alan Smart) and soft- Neve and Telefunken.
ware (Digidesign Smack!, Bomb Factory 1176, and When one group is subtracted from another, what
URS’ Neve and API plugs), along with some generic often remains after the levels have been trimmed for
Soundscape and Pro Tools signal processors. the best null are spectral extremes—low bass and high
708MIX98_Techs.indd 98 7/11/07 9:48:09 AM

PRODUCTION THE PROFESSIONAL’S SOURCE
real world solutions from industry professionals!
bhproaudio.com
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Mix.indd 1
707mix97.indd 1 8/2/06 1:19:20
6/14/2007 3:48:56PM
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708MIX98_Techs.indd 100 7/9/07 3:34:48 PM

MA_NRVv2_Mix0807.qxd 6/28/07 4:08 PM Page 1
“Oh, so THIS is how computer-enabled

mixers are supposed to work...”
Mike Metlay, Recording magazine
Includes NVR10 interFX

real-time standalone VST FX host
The NRV10™ is the only FireWire analog mixer that lets you record ten mixer inputs while listening to ten computer outputs.
You also get 24-bit/96kHz and award-winning M-Audio Octane™ preamp technology for pristine sound quality. The included NRV10
interFX™ software even lets you host your favorite VST effects live without a DAW. In short, the NRV10 is the only mixer designed to
be the nerve center of your software-based production and performance rigs—and seamlessly bridge the gap between the two.
"Large-sounding…killer stage-mixing capabilities and thorough FireWire integration

make the [NRV10] the jack-of-all-trades nerve center." – Remix magazine
“...the NRV10 represents a step forward for computer-friendly mixing that I'd put somewhere in between 'remarkable' and
'astounding'... You won't fully appreciate how genuinely new it is until you try it yourself.” – Mike Metlay, Recording magazine
www.m-audio.com
© 2007 Avid Technology, Inc. All rights reserved. Avid, M-Audio, the “>” logo, NRV10, NRV10 interFX and Pro Tools M-Powered are either trademarks or registered trademarks of Avid Technology, Inc. All other trademarks contained
herein are the property of their respective owners. Product features, specifications, system requirements and availability are subject to change without notice. Use of any enclosed software may be subject to a licensing agreement.
708mix101.indd 1 7/13/2007 11:21:59 AM

TECHNOLOGY
NEW PRODUCTS
Tools of the Trade
band absorption said to be well-suit- to create Doppler shifts that are created/
ed for the problematic low-frequency edited in a graphic-authoring window
area. Absorptive layers are housed in and arranged with a visual reference to
an aluminum/steel inner frame that the file being processed. Once the sound
is wall-mounted via a detachable, file is processed, the output is saved to
damped metal frame, which provides a new multichannel sound file. The as-
airspace behind the unit. The series sociated panning breakpoints and DSP
includes five products in charcoal or envelopes are saved to separate files, so
light gray (including the corner trap all spatialization instructions can be edited
shown); all are Class-A fire-retardant. or re-used, leaving the original sound
file unchanged. Other features include
THERMIONIC CULTURE channel-balance test routines for speaker
EARLYBIRD 2.2, PULLET setup, waveform-based GUI, path/file
The latest flight of Thermionic looping and I/O mapping for interapplica-
Culture’s (www.thermionicculture tion processing. It’s compatible with AIFF,
.com) Earlybird is the 2.2 ($4,604), WAV and SDII file formats.
a 2-channel tube mic/line preamp
featuring an optional sidekick called CEDAR DNS 2000 FOR MAC/PC
SONIC STUDIO AFC24 the Pullet ($1,514). This add-on unit is a Cedar’s (www.cedaraudio.com) DNS 2000
The AFC24 ($4,395) transcoding package 2-channel passive boost/cut EQ with six dialog noise suppressor is now compat-
from Sonic Studio (www.sonicstudio.com) midrange and three HF bands. As a pas- ible with Pro Tools for PCs and Intel Macs.
offers rapid sample rate conver-
sion for large amounts of audio.
The Windows software handles
up to 24 channels of fully ad-
justable SRC and bidirectional
PCM-to-DSD and DSD-to-PCM
interchange. Supported formats
include WAV, AIFF, AIFF-C and
BWF, with PCM sample rate
conversion from 44.1 kHz up to 2.8224 sive device, it needs 40 dB of make-up Customers who purchased the hardware
MHz as batches or single files. For SACD gain boosting at the back end, which the unit after June 8, 2007, have a completely
authoring, a Compression Ratio Estimator Earlybird 2.2 provides via a second set of generic processor, which means it can
feature measures DST lossless compres- switchable line inputs. When not used as connect to a PC on one day and to a Mac
sion-encoding gains. AFC24 also multi- a Pullet booster, the Earlybird 2.2 func-
plexes, de-multiplexes and remodulates tions as two mic pre’s with variable input
DSD data and creates DSDIFF EM or Edit impedance and onboard, switchable active
Master files. Nine distinct delta sigma mod- EQ across the low, mid- and high bands;
ulators are available, including the Trellis separate output trims; polarity switches;
E algorithm with adjustable path length for and dual VU meters.
the highest fidelity at the
smallest file size. imr VORTEX
SURROUND DESIGNER
GHOST ACOUSTICS The Vortex Surround
acoustic panels Designer from Immersive
Ghost Acoustics’ (dist. by Media Research (www.
Sonic Distribution, www. im-research.com) gener-
sonicus.net) acoustic ab- ates psychoacoustic cues
sorption panels feature a that create a surround
layered design of highly panning effect from
compressed glass fiber and mono and stereo sound
layers of micro-thin flexible files. It uses pitch, reverb
aluminum, offering broad- and amplitude variations
708MIX102_TOTT.indd 102 7/9/07 3:36:05 PM

TECHNOLOGY NEW PRODUCTS
on the next, as needed. The unit also inte-

grates with all of Digidesign’s control sur-
faces, such as the D-Command and ICON
systems, on PC or Mac platforms. The Re-
mote-Control Software (RCS) can support
and control up to 128 DNS 2000 hardware
units for those really big jobs. The latest
RCS and firmware downloads are available
from Cedar’s Website.
DISC MAKERS MEDLEY duplicator

The Medley ($1,799) from Disc Makers
(www.discmakers.com) not only makes CDs
and DVDs, but also features on-disc printing
delay and an easy-set GUI that eschews the PRESONUS

usual settings associated with other hard- MONITOR STATION REMOTE
ware or software limiters. The company The PreSonus (www.presonus.com) Moni-
claims this VST plug “listens” to your track tor Station Remote ($229.95) connects to
and assesses the best possible limiting solu- the company’s FireStudio via standard
tion for the situation. Features include 1-
sample reaction time, audio-related attack/
release/hold times, a stereo link button,
and separate output level and gain-reduc-
tion meters.
SONOMA WIREWORKS
RIFFWORKS STANDARD
Midnight guitar-shredders and recordists
will want to check out RiffWorks Standard
and integrates with iTunes and the Windows ($169) from Sonoma WireWorks (www.
Media Player. The 9.5x19x17-inch (HxWxD) sonomawireworks.com). It offers a feature-
unit fits in tight spaces, and offers a 50-disc rich interface that automatically creates
capacity, independently mounted disc-trans- tracks and offers loop recording in 24 layers
port robotics, built-in CMYK 4,800 dpi inkjet with seven effects, including wah, multiband
printer and one dual-layer–capable 18x compression, distortion, modulation, delay,
DVD/48x CD drive. Medley connects to any reverb and EQ. The user can mix to WAV
Windows PC via USB 2, and includes cables, or Ogg Vorbis formats and then podcast
graphics software and a one-year warranty the tracks using the integrated RiffCaster.
Optional is RiffLink, an online collaboration
STARPLUGS QUANTUM LIMITER tool that features instant track streaming to
This instantiate-and-forget limiter ($39.95) other users and an online chat client. Riff-
from Starplugs (www.starplugs.com) boasts Works Standard supports Windows XP ASIO Cat-5 Ethernet cable and offers surround
no distortion, no pumping, no ducking, no and Mac OS Core Audio interfaces. sound/stereo speaker management, input
switching and a talkback system with
built-in mic. It also has two separately
adjustable headphone outs and mute/
dim/mono switches, and integrates
with the FireStudio’s Control Console
routing/mixing software for greater
control of track routing, mixing and
I/O switching.
708MIX102_TOTT.indd 103 7/9/07 3:36:22 PM

NEW PRODUCTS
and ground lift. The compact 4.5x2.5x1.5-

inch box contains a shielded transformer
and Neutrik gold-pin XLR connectors.
HOW AUDIO TRAINING

Howaudio.com is a subscription-based
Website with training on both music/au-
dio software and topics such as musical
instruments, hardware and music business.
Currently, it includes Digidesign Pro Tools,
Sony Sound Forge, Finale, Apple Garage-
Band and MOTU Digital Performer; Able-
ton Live 5, Apple Logic Pro/Soundtrack
Pro, Cakewalk SONAR 5, Propellerhead
Reason, Steinberg Cubase SX3, Audacity
NEUMANN KK CAPSULES circuitry used in the company’s Precision Mixcraft, BIAS Peak
These three new capsules ($799 each) 8 and P2 analog preamps. P-SOLO is
from Neumann (www.neumannusa.com) built using military-grade,
expand on the company’s Solution-D hand-matched com-
KM D miniature microphone system. The ponents, and features
additions include the KK 131 free-field a highpass filter, dual
equalized omni, KK 143 wide-cardioid analog outputs, hi-Z in-
and the KK 145 cardioid with highpass. strument input and four-
The KM D miniature mics have a 3-pin level metering. Designed
XLR connector to transmit a bidirectional for ribbon and dynamic
signal conforming to the AES-42 standard. mics, it has no phantom
This signal carries the balanced digital power and offers high
mic output signal, phantom power and a input impedance and
remote-control data stream that also has extra gain.
a signal to sync the mic with a master
clock. The mic and capsules come in AURALEX
classic nickel and black Nextel finish. All SPACEARRAY DIFFUSeR
standard sampling frequencies are sup- The SpaceArray ($399
ported, from 44.1 to 192 kHz. each) acoustical diffuser
from Auralex Acoustics
TRUE SYSTEMS (www.auralexelite.com),
P-SOLO RIBBON PREAMP designed by Russ Berger,
Offering features optimized for ribbon offers hemispherical acous-
and/or dynamic mics, the single-chan- tical diffusion in a wood
nel P-SOLO ($745) ribbon preamp from finish. The Class-B, fire-rat-
TRUE Systems (www.true-systems.com) ed product passed testing in
uses the same balanced, transformerless accordance with ASTM E84, Pro, Sony ACID Pro 6 and Adobe Audition
a standard test for surface-burn- are coming soon. Users can subscribe for
ing characteristics of building materials, a 30-day, all-access trial for $19.99; $199
and acoustical testing in accordance with buys one year of access to all current and
ISO 17497-1, a standard test for sound- future content. Lesson DVDs can also be
scattering coefficients. Each paulownia purchased online. n
wood panel measures 24x24 inches.
cable techniques
XTRAGOOD
The 1-in, 2-out Xtragood
Mic Splitter ($199, mono
version; $299, stereo
version) is a simple but
often-needed problem-
solver from Cable Tech-
niques (www.cabletech-
niques.com). The sturdy, all-
metal box offers a loop-thru
with secondary, isolated output
708MIX102_TOTT.indd 104 7/9/07 3:36:36 PM

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Liquid_Mix_QuotesSWmix.indd
708mix105.indd 1 1 6/25/07 11:23:56
7/13/2007 7:27:20AM
PM
TECHNOLOGY
FIELD TEST
FIELD TEST By steve la cerra
Yamaha EMX5016CF Portable Powered Mixer

Versatile Yet Simple Design for Quick and Easy Gig Setups
O
ne of the obstacles facing many tory presets (vocal/
engineers working small live dance/speech) and
sound events is having to drag three user-defined
the P.A. from venue to venue and con- EQ curves. The EQ
stantly changing the setup. The Yamaha looked intimidating,
EMX5016CF portable mixer is designed to yet operation was in-
alleviate those P.A. woes for portable and tuitive: I could easily
installed applications where versatility and set my own presets
simplicity are paramount. Priced at $1,249 on-the-fly without con-
(MSRP) and combining a 16-channel mixer sulting the manual.
with a stereo power amp, built-in effects, Working with the EQ
digital EQ and a feedback eliminator, the section is a feedback suppres-
EMX5016CF is a workhorse that provides sor and Frequency Response
intuitive operation. Correction (FRC) system. The
feedback suppressor’s Auto mode
FEATURES AND FX worked well, though I could some-
The EMX5016CF has eight mono input times hear the filter shifting back and
channels (XLR mic or TRS line), each with 3- forth between ringing frequencies. FRC is
band EQ, insert, two aux sends, two effects an auto-analysis program that analyzes noise
sends to internal DSPs and 48-volt phantom (or music), calculates a suggested EQ curve single jack of a stereo channel. However,
power. Four stereo channels accept mono for correction and displays the curve on the patching a mic into a stereo channel deliv-
XLR mic or stereo ¼-inch or RCA inputs. EQ graph. This function worked fine, though ers signal to the L and R buses. There is
The effects section’s two DSP engines are I typically tweaked the result by ear. no indication of PFL (or AFL) other than
based on Yamaha’s ubiquitous SPX algo- the position of the button, making it dif-
rithms. The master output bus is available IN THE TRENCHES ficult to see exactly which channels are be-
on ¼-inch stereo outs, RCA “record outs” Using the mixer in the field revealed a lot ing cued. Same thing for the compressor,
and two stereo sub outs, in addition to the of strengths and some weaknesses. On the though you’ll be able to hear it. Occasion-
speaker outs. plus side, the power amps are configurable ally, I’d hear a pop when turning phantom
All channels and the two effects returns in several ways. Speaker level output is de- power on, even if no mics were plugged
route PFL to a headphone jack with level livered via parallel Speakon and ¼-inch out- into any of the channels.
control. The eight mono channels include puts, typically used for the L/R mains. A front
a one-knob compressor, which simultane- panel switch lets you derive the two power POWER AND MORE
ously raises the compression ratio and ad- amps from L/R, aux 1/mono or aux 1/aux In addition to excellent sound quality and
justs the makeup gain. In some applications 2 buses. A three-way switch sets maximum ample headroom, the EMX5016CF is easy
(e.g., snare drum), I heard too much make- speaker output to 75/200/500 watts per to use. Even with all of its features, you’ll
up gain, but I found the compressor to be channel. On gigs with a pianist and a Nea- hardly need the manual due to the board’s
effective for smoothing bass and vocals. politan tenor, I could customize the EMX- intelligent design. One example of the EMX-
Both stereo effects processors have 16 5016CF for the venue. At a small restaurant 5016CF’s clever functionality is a Standby
presets, including reverb, delay, tremolo, (where no monitors are needed), I set the switch that mutes channels 1 through 8
chorus, phaser and other effects. These speaker outs to L/R at 75W. A larger room while leaving the stereo channels unmuted
are returned on “mini-channels” with PFL, required a monitor, so the EMX5016CF was to provide background music between sets.
on/off, and aux 1 and aux 2 send controls, set to output mono/aux 1. On an upcoming And because each effect has a footswitch-
so routing effects into the monitors was an gig in a dance hall where I’ll need two mon- bypass jack, it’s easy to turn off effects in-be-
easy task. A knob for each effect modifies itors, I’ll simply set the unit’s outs for aux 1/ tween songs. I loved the output power range
a single parameter, so adjustment is limited. aux 2 and use the stereo output to drive an switch: Finally, you won’t have to compro-
Some of my faves were early reflections on external power amp for the mains—a great mise gain structure when using a powered
snare and chorus on clean electric guitar. example of the unit’s versatility. mixer. If you’re in the market for a powered
I do have a few criticisms about the mixer, you need to take a look at this one.
TAKE ME TO YOUR MASTER mixer. Patching a signal into either the Yamaha, 714/522-9011, www.yamaha.
Located near the master section is a 9-band left or right jack of a stereo channel will com/livesound. n
digital EQ. Each band has an LED bar graph deliver that signal to only the respective
and “±” buttons for adjusting gain. Mem- bus; many mixers automatically switch a Steve La Cerra is Mix’s sound reinforcement
ory slots allow quick recall of three fac- channel to mono when you patch into a editor.
708MIX106_FTYamaha.indd 106 7/11/07 4:28:10 PM

707mix55.indd 1 6/13/2007 11:09:18 AM
TECHNOLOGY
FIELD TEST
FIELD TEST By michael cooper
Rupert Neve Designs Portico 5014 Field Editor

Line-Level, Mid-Side Stereo Processor Enters Uncrowded Market
M
id-Side (M-S) processing gives
you unrivaled control over ste-
reo program material by allow-
ing independent treatment of its sum and
difference components. One basic appli-
cation of M-S processing is the ability to
adjust the level of a mix’s stereo effects,
natural ambience and hard-panned tracks
(the Side, or difference signal) with respect
to center-panned elements such as kick, difference channel only, providing up to 15 5014’s inserts. Using the 5014’s width con-
snare, bass and lead vocals (the Mid, or dB of boost/cut at a continuously variable trol to widen the mix compensated for my
sum signal). More advanced treatments center frequency of 120 to 2.4k Hz, and of- upstream bass boost, which pulled the im-
involve applying compression, EQ and/or fers a choice of two Q values (0.7 and 5). age toward center. Setting the depth control
other signal processing independently to TRS insert jacks can be switched into to the 10 o’clock position brought the vocal
sum and difference channels before re- the difference channel for connecting forward and further increased clarity. The
combining them back into a conventional to outboard signal processors. Another result was a beefier, yet reasonably clear
stereo channel. switch selects between the XLR I/Os and master. On another mix, I successfully used
M-S processing can also be used during the ¼-inch bus jacks for L/R inputs. The the 5014’s width control to boost the level
mixdown to dry up individual stereo tracks XLRs are balanced using proprietary trans- of hard-panned electric guitars and drum
that are drowning in embedded reverb or formers. The rear panel also has a co-ax overhead and room mics.
increase the amount of ambience in, for connector for the 5014’s lump-in-the-line I also tried treating only the stereo room
example, drum room mics. Yet for all of power supply. mics for a drum kit with the 5014. Raising
its tremendous power and flexibility, there the width control made the cymbals loud-
are few line-level M-S processors on the MAKING A DIFFERENCE er and spread the room tone within the
market. The Rupert Neve Designs Portico The 5014’s biggest omission is a lack of in- stereo field for a wider-sounding effect.
5014 stereo field editor is designed to fill serts for the sum (Mid) channel, precluding The depth control (whose action is highly
that gap. independent treatment of center-panned el- source-dependent) had only a subtle ef-
ements in stereo material. Also, the lack of fect here, making the sound slightly more
MODULAR AND PORTABLE detents and dearth of screened values for ghostlike as the knob was turned counter-
The half-rackspace 5014 is part of Rupert intermediate settings on control knobs com- clockwise. I got similar results using the
Neve Designs’ Portico line of analog pro- plicate the 5014’s use in mastering apps. 5014 on stereo-miked piano and Sonic Im-
cessors, which can be interconnected via Nevertheless, I gave the unit a shot in plants Symphonic Strings tracks. In most
¼-inch bus jacks on each unit’s rear panel mastering a problematic pop mix in which cases where the difference signal needed
to form a system with many of the same ca- the engineer had rolled off the bottom EQ, I found myself wishing the 5014’s filter
pabilities of a modular production console. end on drums and bass while tracking. type was low-shelving or highpass instead
Portico gear can run on AC power or an Many stereo-miked tracks and regular use of bell-curve, and ended up using an out-
external 9 to 18VDC source. of compression and brickwall limiting on board equalizer instead.
Rotary front panel trim pots provide -6 both vocals and instruments contributed
to +12 dB of left- or right-level adjustment. to a crowded, midrange-y mix that lacked SUMMING UP
Each channel also has a polarity-inversion punch and detail, which was exacerbated The best I can say about the 5014 is that it
switch and 8-segment LED meters, which by the drums being mixed too low. performs well in getting half the job done.
are globally switchable to show input or A typical approach here would include The lack of control over the Mid channel se-
output levels. boosting the low end and level on the Mid riously limits the unit’s usefulness. For what
Width, depth and EQ facilities feature channel to restore punch. The 5014 does the 5014 does, the $1,795 list is a bit pricey.
continuously variable controls and can be not provide onboard EQ or inserts for the My search for an affordable yet full-function
individually bypassed. The width control Mid channel, so I had to work in reverse: line-level M-S processor continues.
adjusts the stereo image’s width—from boosting the low end before input to the Rupert Neve Designs, 512/847-3013,
mono to potentially much wider than it was 5014 and then EQ’ing out the resulting www.rupertneve.com. n
originally—by manipulating phase. Depth mud in the 5014’s difference channel. The
changes the phase relationship between left 5014’s onboard EQ wasn’t exacting enough Mix contributing editor Michael Cooper is
and right channels to move center-panned for EQ’ing the difference channel in this the owner of Michael Cooper Recording in
elements forward or backward in the mix. A instance, so I used a Rupert Neve Designs Sisters, Ore. Visit him at www.myspace.com/
single-band bell-curve equalizer serves the 5033 equalizer that was patched to the michaelcooperrecording.
708MIX108_FTNeve.indd 108 7/9/07 3:37:08 PM

708mix109.indd 1 7/13/2007 11:29:57 AM
TECHNOLOGY
FIELD TEST
FIELD TEST By kevin becka
Heil PR30, PR40 Microphones

Surprising Rich Tone,Versatility From Dynamic Models
E
ven though the Heil PR30 (right) going PRIME-TIME The PR30 sounded great
and PR40 large-diaphragm dy- One way to harvest great tones on a Fender SuperSonic
namic mics look like side-ad- from a drum kit is to mike the guitar cabinet with a single
dress models, they are front-firing. The toms’ top and bottom heads. 12-inch speaker. Both mics
PR30 is 6.5x1.75 inches, weighs in at a The PR30 and PR40 worked were equidistant from the
trim 9 ounces and uses a large 1.5-inch well as a team on a low tom, grille cloth and about four
transducer. Its shape, weight and sturdy with the PR30 on top and the inches off the edge of the
standmount allow you to tuck the mic PR40 providing added low dust cone. I first isolated
into tight spaces without fearing that it tone from underneath. When both mics to hear the dif-
will sag or get in the way of drums or I flipped the polarity on the ference. The PR30 had a
other adjacent mics. The slightly larger bottom mic, which is naturally bit more top end and was
(6.75x2.10-inch) PR40 weighs 13.5 ounc- out of polarity due to its op- more balanced through
es. Although the PR40 is larger, it uses posite placement, the sound the spectrum, while an
a smaller 1.13-inch element. was thunderous. Stick attack SM57 sounded thicker in
The mics each have two different-diam- and transient response from the lower midrange. When
eter mesh screens and a “breath blast” filter the PR30 had the tom sound- I added them together, it
to keep pops to a minimum during voice ing great on top, while the was the perfect marriage:
applications. The elements are isolated via feed provided by the PR40 The PR30 made up for the
a Sorbothane shock-mount on top of a from the bottom added lots of upper-mids and top end
non-resonant fixture, which effectively de- warm low-frequency tone to that was lacking on the 57,
couples the elements from the steel case. the mix, making it a winner in while the 57 brought up the
Both come in a matte-champagne this application. lower-mids.
finish and include well-designed, burly One remarkable thing I
standmounts. The PR40 (below) arrives in noticed was that the PR30 has HEIL-Y DELICIOUS
a metal “lunchbox” case with a handle; a tendency to round out the After talking to Bob Heil
the PR30 ships in a box surrounded by transient in a beneficial way, about his mic line during
foam. An optional SM2B shock-mount fits almost as though it mildly compresses the this year’s NAB show in Las Vegas, I was
either mic. signal. This was subtle, yet noticeable in intrigued. If you have ever met him, then
a number of high-transient applica- you know that he’s quite the evangelist
tions. Heil claims that this sounds for his mics. I tend to leave my hype filter
like the response you would get set on high for any review, and I must ad-
from a ribbon mic, and I’d have mit I was a bit skeptical about his claims,
to agree that the effect is similar to but I couldn’t have been more wrong.
that. The PR30’s promised “ribbon-y” response
I then used the PR30 on a snare was borne out in repeated applications.
drum with good results. The mic has Used on various drums, guitar cabinets
plenty of great-sounding upper-mids and vocals, the tone was stellar.
and top end for a dynamic model, The PR30 and PR40 are brawny units,
and reacted well when I tried to dig with beefy mounts, steel bodies and stur-
out 150 Hz to make the bottom end dy grilles that would probably survive a
of this thin snare sound a bit bigger. tumble, although that wasn’t part of the
As mentioned, the mic has a tenden- test. They sound great in the usual high-
cy to round out transient hits when SPL applications where you’d imagine a
used with a high-SPL source, and dynamic to shine and are quite afford-
the snare was no different. When I able. If you’ve ever thought that dynamic
added a Shure SM81 to the bottom mics were dull workhorses, then you
of the drum and flipped the polarity need to check out these Heil mics. Prices:
to pick up the snare component, it PR30, $299; PR40, $375; and SM2B shock-
mixed very well with the PR30, pro- mount, $95.
viding plenty of snap to the drum Heil Sound, 618/257-3000; www.heil
and overall mix. Using the PR40 on sound.com. n
the same snare, I noticed it offered
more bottom end than the PR30. Kevin Becka is Mix’s technical editor.
708MIX110_FTHeil.indd 110 7/9/07 3:37:36 PM

C O N S O L E S O U N D. R A C K P R I C E.
If you’re serious about audio,

you’re undoubtedly familiar with
SSL. Their consoles are the heart
of the most sought-after studios in
the world, imparting a bit of sonic
magic to everything that passes
through their circuitry. But this
magic carries a hefty price tag.
With the XLogic X-Rack Series, you can piece together your ideal combination of SSL modules — all of which come directly from a
variety of SSL consoles. These modules are racked in a dedicated XLogic rack that provides Total Recall for your settings, providing
the best of the analog and digital worlds. These X-Rack modules are DC-coupled, which means these modules will sound the same
twenty years from now as they did the first time you plugged them in. These aren’t emulations of the SSL sound — this is the real
deal, SSL SuperAnalogue DC-coupled circuitry. Console sound at a rack price — SSL XLogic X-Rack.
Sweetwater Sales Engineers specialize in putting together custom recording systems and can put together a customized SSL X-Rack
system that meets your needs. Call today and the experts at Sweetwater will configure the perfect SSL X-Rack system for you.
XLogic X-Rack Modules
Mic Amp Module Dynamics Module Eight Input Summing Module

The perfect front end. SSL mic pre with Classic compression. Dynamics processing Eight Stereo Inputs. Input synths, submixes,
75dB of gain, variable impedance control, ripped straight from the XL 9000 K with multi-channel feeds from audio interfaces,
and high- and low-pass filters. compression, limiting, expansion, and gating. or any other stereo signal into the X-Rack.
Channel EQ Module Four Channel Input Module Master Bus Module

One of the most revered EQs ever. Integrate outboard gear. Four line- The final link in the chain. Mix insert
SSL’s twin-curve 4-band parametric level inputs with solo, volume, and and sum points, mono compatibility
EQ from the E and G series consoles. pan with insert points for each input. check, and master metering with
monitor outputs.
800-222-4700
s w e e t w a t e r. c o m
707mix127.indd 1 6/14/2007 4:22:56 PM

ad7a-Swtr_COOP_MIX_Final.indd 1 4/10/07 9:54:32 AM
TECHNOLOGY
FIELD TEST
FIELD TEST By Barry Rudolph
Drawmer S3 Multiband Tube Compressor

Three-Stage Unit Provides Musically Pleasing Options
F
or years, multiband compressors THREE OF EVERYTHING Normal/Mute switches can add/subtract a
have been the strict purview of The multiband compression process starts band section’s contribution to the stereo
mastering and broadcast engineers. with stereo audio being divided into three output to audition each band separately or
They’ve seldom found use in music re- frequency bands—high, mid and low—us- in combination.
cording studios because of
their inherent complexity
and the potential for catas-
trophe if incorrectly set.
First in Ivor Drawmer’s
Signature Series, the
$6,995 S3 3-band com-
pressor, reinvents the ar-
cane multiband process
using 10 tubes and three
identical Class-A, fully
balanced stereo signal
paths. The S3 is easy to
use, and it achieves a depth of precision ing two gentle 6dB/octave passive filters. BIG AIR
in spectral dynamic control that is not The Low-Split control sets the frequency The Big switch on the low-band compres-
possible with a single-band compressor. (60 to 1.4k Hz) where the audio is divided sor inserts a passive 100Hz, 6dB/octave
between the low and mid-band, while the shelving filter into the compressor side-
IMPRESSIVE OUTSIDE AND IN High-Split knob (1.4 to 14 kHz) sets the chain. Engaging Big results in less pumping
A pair of large, backlit VU meters and styl- mid/high-band dividing point. Once sepa- in the bass when loud percussive LF events
ish engraved borders around each proces- rated, each band’s audio output is routed such as kick drums or vocal “p” plosives are
sor section dominate the beautiful black to its own stereo compressor section. present in your program. On the high-band
gloss of the three-rackspace front panel. The controls for each band are identi- compressor, an Air switch places a 12kHz
High-contrast white lettering, Ivor Draw- cal and include separate threshold, attack peaking filter into the sidechain, keeping
mer’s signature and an intuitive layout time, release time and make-up gain. The high frequencies more open under heavy
complete the look of this future classic. three make-up gain controls also function gain reduction.
Inside the well-vented cabinet, eight as a 3-channel stereo mixer to recombine A master gain control on the output
12AX7s and two 12BH7s (secured by wire each of the bands’ audio output back into section sets the final stereo output level. A
clamps) surround a large toroidal power a composite stereo audio signal. balance control compensates for any level
transformer. All components, including Each band’s threshold is adjustable differences between the left/right channels.
the custom-made Stevens and Billington from infinity (off) to -32 dB, and an 8-seg- Meters are input/output-switchable, and a
I/O transformers, are mounted on a thick ment LED meter indicates gain reduction range Pad switch decreases the VU meter’s
PC board. The S3 generates considerable for each band. Attack time choices are sensitivity by 10 or 20 dB.
heat so keep an air space around it in 0.2/ 2/5/10/20/50 ms; release times are
your rack. All of the S3’s Omeg conductive 80/300/1,000 ms. There are also three pro- THREE-WAY CRUNCH
plastic pots have a nice, damped feeling gram-dependent release times: fast (100 to I used the S3 for live recording and simple
to them—no need to worry about settings 500 ms), medium (300 ms to 2 seconds) mastering projects. On a broadband sound
changing if someone accidentally brushes and slow (500 ms to 5 seconds). The pro- source like a drum kit, the S3 is a wonder-
up against them. gram-dependent compression ratio in- ful processor for room mics. I had a pair of
At the heart of the S3 are three optical creases with input level. The 1.05:1 starting AKG C 12s left and right, 10 feet in front
light-dependent resistor elements (LDRs) ratio is very low; the highest ratio possible of the drum kit at about five feet off the
for both left and right channel—six total. at a maximum gain reduction of more than floor. The initial settings for all three bands
To optimize compressor tracking perfor- 20 dB for each band section is about 5:1. were -10dB threshold, 0.2ms attack and 0.3
mance, the LDRs must behave identically Three bypass switches let you A/B each release; crossovers at 4kHz and 500Hz posi-
and therefore are encased in two small compressor’s effect to the overall sound. tions; and Big and Air on. Most of the gain
ovens (one for each channel), running at For example, you can compress only the reduction occurred in the mid- and low-
50 degrees centigrade. About two minutes low band—i.e., for recording bass guitar— band sections. Compressing and changing
after power-up, a front panel indicator or compress a vocal solely in the mid- and the level relationship between each of the
shows the LDRs have reached operating low bands, leaving the high band open three bands lets you “sculpt”—reshape the
temperature. and uncompressed. Additionally, three sonic characteristics of your drum room and
708MIX112_FTDrawmer.indd 112 7/9/07 3:38:07 PM

708mix113.indd 1 7/13/2007 12:01:07 PM
708MIX112_FTDrawmer.indd 114 7/9/07 3:38:17 PM
Music is your life. Make it a career.
888 688 LARS 6690 Sunset Blvd. Hollywood CA 90028 larecordingschool.com
© 2005 The Los Angeles Recording School. All Rights reserved. The term ”The Los Angeles Recording School” and The Los Angeles Recording School logo are service marks of The Los Angeles Recording School.
LARS_Mix_1205(full).indd 1 10/19/05 10:46:00 AM

707mix99.indd 1 6/14/2007 3:54:05 PM
TECHNOLOGY
FIELD TEST
FIELD TEST By barry rudolph
Josephson Engineering C700A Condenser Mic

Flexible Design Offers Two Front-Facing Capsules
T
he Josephson Engineering C700A is OPTIONS GALORE Trim plug-in to precisely change
an ingenious condenser mic with I first used the C700A to re- the gain or the phase of either
two front-facing capsules. This de- cord a Martin D-28 acoustic the W or X channels. I had a
sign permits nearly total directional-pat- guitar. The front side of the male singer positioned three
tern flexibility by carefully mixing the two mic was five feet in front of feet from the mic, and again,
capsule’s output signals. The C700A is not and facing the sound hole. I he sounded much closer than
an M-S or X/Y stereo microphone; rather, used a GML Model 8200 pre- he physically was. This singer
it has a 16mm-diameter omni capsule that amp with 55 dB of gain, and is notorious for “blowing up”
responds to pressure, and is mounted fed two tracks in a Pro Tools boutique condenser mics,
above a pressure-gradient, 26mm figure-8 HD rig running at 88.2 kHz. I but not the C700A. Before
capsule. For recording events in anything used no EQ or compression. adding the pad, the PreSo-
from mono to stereo to three-dimen- The C700A has no roll-off or nus M80 mic preamp dis-
sional surround, Josephson also offers the attenuation switches; it can torted, but not the mic. I
C700S, which adds a side-facing figure-8 withstand greater than 142dB found the mic’s sound to
capsule. SPL before overload. be clear, realistic, noise-
Both the omni capsule (the free and quite neutral
SOMETHING BORROWED, W channel) and figure-8 cap- without a hyped high end
SOMETHING BIG sule (the X channel) output or midrange.
Both the C700A and -S borrow greatly the same level, which makes Remixing each pair
from Josephson’s Series Six microphones, it easy to record and mix of tracks in a triple-tracked
with omni capsules that are similar to the the mics to two tracks. backing vocal passage greatly
KA11 model and Class-A, transformerless I used the studio’s API increased the depth of the fin-
J-FET impedance-converter/head amps. console to mix Pro Tools ished background vocal stem.
The gold-layered, 5-micron-thick Mylar mic track outputs. The I also tried equalizing and com-
capsules are manufactured in-house. To omni sounded clear and openly pressing the X channel differently
preclude the need for an external shock- ambient, yet remarkably “close” despite from the W. Rolling off the X channel’s
mount, the capsules are mounted in a its distance from the source. The figure-8 low frequencies decreases the proximity
brass yoke assembly and placed in rubber sounded closer with more low frequen- effect, while boosting the W signal’s high
shock-mounts that are installed between cies and dryer with less of the surrounding frequencies accentuates the room’s ambi-
the polyacetal (polyoxymethylene) resin room. If you mix the omni and figure-8 ence. I also found compressing the omni
upper and lower half-domes. channels equally, then the in-phase com- signal greatly increases ambience, letting
The C700A is a sizeable 4.2-pound ponents of both are added to produce a the uncompressed figure-8 signal “speak”
unit, which accommodates the dual shock- cardioid pattern. better.
mounted capsules and two sets of elec- Varying the ratio of the W channel to I also used the C700A as an overall
tronics, and allows adequate space around X channel changes the shape of the pat- drum kit mic by placing it about five feet
the capsules for proper acoustical mixing tern. With no X channel added, the re- in front, at rack tom height. Panning the
of sound sources. Its 328mm-long/63mm- sult is omni; hypercardioid when W is 10 two capsule signals left and right produced
diameter, nickel-plated machined brass dB lower than X; or wide-cardioid when a very wide mono room track, making it a
body has large sound-entry holes backed the W channel exceeds the level of the X solid, mono-compatible alternative to ste-
with black oxide–plated, stainless-steel channel by a significant amount. reo room miking.
mesh. The latter provides durability and I recorded a Gibson Hummingbird
electrostatic shielding. The mic’s increased acoustic with the C700A close up, aimed at FLEXIBILITY DEFINED
mass/size means stability—less resonance the 12th fret and at a typical pop music dis- The C700A is a unique tool that allows
when coupled between the U-shaped tance of less than six inches. This time I re- you to explore and experiment with mic
swing mount and the mic stand. corded the blend of the two capsules using patterns and the subsequent shift in tune,
The C700A comes in a cushioned Peli- two Neve 1084 modules and the sidecar’s after the recording, during the mix. The
can case with a 12-foot attached cable. A mix bus. I got a fatter and bigger sound C700A is great for accurately documenting
single 7-pin XLR male connector is used due to proximity of the figure-8 capsule any acoustical event. The C700A would
with an included “Y” adapter that fans and the signal chain. The sound was good make an impressive addition to any music
out to two standard XLR connectors—one for a song that required a featured, front- recording studio or Foley pit, or for picking
marked “W” and the other labeled “X.” If line acoustic guitar. up location/ambient sound. Price: $5,200.
the adapter is misplaced or lost, the mic is After recording vocals, I remixed the Josephson Engineering, 831/420-0888,
unusable. mic channels inside Pro Tools, using the www.josephson.com. n
708MIX116_FTJosephson.indd 116 7/9/07 3:38:43 PM

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707mix109.indd 1 6/14/2007 4:12:38 PM

TECHNOLOGY
FIELD TEST
FIELD TEST By michel henein
Audiofile Engineering voXover Software

Large-Scale, Repetitive Voice-Over Recordings Made Easy
W
hen it comes to recording mass ageable parts by
amounts of voice-overs for a using hierarchical
30-hour videogame or doing structures known
more than 100,000 recordings of pronun- as groups, sections
ciations for an online dictionary, automating and lines. For ex-
the recording process is an absolute must. ample, if you are
Audiofile Engineering’s voXover Version 1, working on a vid-
exclusively for Mac OS X, is designed to meet eogame, it might
the needs of those tasked with managing be useful to have
large-scale voice-over recordings for video- the dialog broken
game, Website and multimedia projects. down into groups
Think of voXover as a souped-up batch and sections that
processor that adds recording capabilities. correspond to lev-
Its power lies in a streamlined process els in the game, in
that ties all overdubs to a text script that addition to catego-
you import, names the files for you and rizing player vs.
then exports the files based on rules that non-player voices.
you set.
EASY FROM VoXover’s Script Recorder window simplifies the dialog recording process
POWERED BY COCOA TAKE 1 TO 1,000 with various metering displays and a dialog script area.
voXover’s interface is stellar. It was de- Once I imported
signed entirely in Apple’s elegant Cocoa the script, I was ready to record. Batch- Using the Inspector (similar in appear-
environment, leveraging Quartz’ incredible recording in voXover equates to “run- ance to Apple’s suite of iWork apps), I
interface capabilities and easy audio con- ning” the imported script. After clicking on specified whether I wanted to record lines
figuration via Core Audio. The entire inter- Sessions in the top menu bar, I chose the manually by pressing the Next button or
face has a very slick Mac OS X feel to it, Run command, which opens a window ask- have voXover automatically go to the next
as opposed to a proprietary window style, ing you where to save the session file. This line based on a user-defined threshold val-
making voXover a pleasure to use. is a single file that will store all of the lines ue for the input signal. Another cool fea-
voXover is designed to import scripts as you are recording as audio on your drive. ture is the ability to use multiple inputs for
text files. Using the Import Script command, Once the file is saved, the Script Recorder walla recordings and other voice-recording
you can import raw text in which you can pops up. It has a peak meter and an ana- techniques involving multiple inputs.
assign lines to characters. You can also im- log-style VU meter. I then chose which sec-
port text as a table with all of the characters tion to record, and all of the lines associated IT’S A WRAP
and lines already associated. For table-style with that section were then displayed in the voXover is certainly a niche product, but
text, I would have preferred voXover to di- Teleprompter. if you’ve ever had to record tons of voice-
rectly import spreadsheet files (i.e., Excel) The Teleprompter shows the lines that overs, it is a must. For instance, when re-
as opposed to exporting the script in a you are about to record, highlighting the cording games, once all of the lines have
spreadsheet program as tab-delimited text. active line while you’re recording. One been recorded and the takes have been
This is a minor inconvenience, however, as of voXover’s coolest features is the abil- selected, you then export your files in a va-
the exporting process from a spreadsheet ity to have the Teleprompter not only ap- riety of formats such as Sound Designer II,
takes literally seconds to do. In addition, pear on a different screen (for dual-screen WAV or AIFF at various sample rates and bit
voXover can import raw text files such as setups), but also on a completely differ- depths. You can have the files renamed au-
a traditional script-style (centered) text or ent computer that has voXover installed. tomatically based on token values such as
scripts formatted for VoicePro X. In my dialog recording session, I ran section, character, line name, take number,
In general, when using batch-process- voXover on my main studio computer, etc., in addition to having voXover number
ing programs that handle large amounts of and then through OS X’s network proto- the lines for you. I highly recommend this
audio files, you must have a well-thought- col Bonjour, I had a separate laptop in the software to anyone recording large runs of
out plan in place to save you from head- recording booth sign in to the active ses- repetitive voice-overs. Price: $375.
aches down the road. This includes cre- sion on the network and—voilà—the lap- Audiofile Engineering, 800/960-6522,
ating naming conventions, nominal level top in the booth displayed and updated www.audiofile-engineering.com. n
standards and project-specific consider- the current line being recorded with visu-
ations. voXover allows you to organize the al feedback as to when I was in Standby Michel Henein is co-founder of Diesel Games
batch-recording process into more man- or Record mode. in Phoenix.
708MIX118_FTVox.indd 118 7/11/07 4:28:45 PM

706mix103.indd 1 5/9/2007 3:41:43 PM
708Mix120RecNotes.indd 120 7/12/07 3:47:43 PM
classic tracks
Tears for Fears’

re c o rdi n g n o t e s
“Everybody Wants
to Rule the World”
By Heather Johnson
Amazing things happen when we stop planning, analyzing
and second-guessing ourselves long enough to allow the cre-
ative process to happen on its own accord. Roland Orzabal
and Curt Smith, the duo behind the synth-pop group Tears
for Fears, had spent many months working and re-working
Songs From the Big Chair, the follow-up to their 1983 Phono-
gram debut, The Hurting. Each song entailed endless analysis
and adjustment in every stage of the recording to make sure
Orzabal’s weighty lyrics came through with ample power and
their music conveyed the sophisticated yet accessible sound
they wanted. But when they got to “Everybody Wants to Rule
the World,” the last track recorded, they had grown tired of band recorded eight songs, which initially seemed like enough
fiddling and the whole thing tumbled out in less than two for one album. But Hughes thought the record needed more
weeks. Why? They followed their first instincts, and because work. “Roland had convinced the label that the album could
they wrote the song so quickly (and just possibly because they work on ‘Head Over Heels’ and ‘The Working Hour,’” he says.
were burned out and ready to go home), they didn’t take the Granted, “Head Over Heels” did become their third U.S. Num-
song too seriously and figured it was an upbeat ditty to bal- ber One, but a couple more strong songs sure wouldn’t hurt.
ance out more intense fares such as “Shout” and “Broken.” Not long after that decision, Orzabal played Hughes a
Ironically, their throwaway track, this month’s Classic chant he had written called “Shout.” They stopped everything
Track, became the album’s centerpiece and debut single, top- else to focus solely on that number, which would become
ping the Billboard Hot 100 and Hot Dance charts, and leading their second Number One and one of the most recognizable
the band to commercial success that far exceeded their expec- songs of the decade. They spent many, many months on that
tations. With this single—and the album’s other chart-toppers, powerful anthem alone, making sure that each layer worked
“Shout” and “Head Over Heels”—the band achieved their perfectly with the others. Near the end of its evolution, Orza-
goal of winning over the U.S. market and then some. bal walked into the studio and played two simple, chimey
Tears for Fears were already well-known in the UK thanks chords on his acoustic guitar. He didn’t give them much
to The Hurting, which had produced three Top Five U.S. thought, yet he couldn’t stop playing them. “It’s nothing,” he
singles. They felt reasonably content with their success on told Hughes. “It sounds a bit like [the Simple Minds song] ‘On
the other side of the pond, but their producer, Chris Hughes, the Waterfront.’” Those two chords became the foundation for
knew that Orzabal’s songwriting, combined with Smith’s keen “Everybody Wants to Rule the World.”
melodic sense, could win over audiences worldwide. “The “I had a little 8-bit computerized MIDI sequencer called
tendency in Britain at the time was to make clever, introverted a UMI [Universal Musical Interface], and I programmed those
synth-pop records, and we had done that with The Hurting,” two chords and a bass line, and had that running on and off
says Hughes. “I thought Roland’s songwriting was universal for days in the studio,” says Hughes. “Roland was really not
and that we could have a more American, if you will, type of interested. I said, ‘You have to go away and write this song! I
record. The overall impression when we started Songs From know it’s only two chords, but it’s really, really good.’ Some
the Big Chair was that it was a big record, so it felt like every- weeks later, he came in with basically the chorus line. From
thing was already moving in that direction.” the day he came in with that chorus line, myself, Ian Stanley
With The Hurting, the band incorporated the latest of and Roland sat down and finished the whole thing in about
1980s technology—MIDI-controlled keyboards, synthesizers a week. If you put up the 2-inch masters of that song now, it
and drum machines—into an all-electronic concept album almost mixes itself. It’s very straightforward.”
dealing with mental anguish and emotional crises. With Songs Typical of synth-driven 1980s pop, the entire song was
From the Big Chair, they continued to take an inner-directed programmed, and the only organic elements were a few gui-
approach but with a lighter touch, both conceptually and mu- tar parts and Smith and Orzabal’s vocals. “This was the flavor
sically. “I felt that we should keep the synths that we loved, of the time,” explains David Bascombe, who recorded and
but re-introduce guitars,” says Hughes. “Roland was reluctant mixed the album. “It was all very controlled.” Their layered
to at first, but once we recorded ‘Mother’s Talk,’ we had hit on style of recording also made it easier to work from Stanley’s
the style of what the album could be.” home studio, which the band had recently upgraded using
Working in keyboardist Ian Stanley’s home studio, the advance money from the second album. Stanley’s newly ex-

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708mix123.indd 1 7/13/2007 12:09:28 PM

recording n o t e s
panded home studio included a 32-channel PPG Wave, and Orzabal and local session tracks were recorded to two 24-tracks, then
Soundcraft console, a 24-track analog tape musician Neil Taylor laid down the electric we would do edits on tape, and any piece
machine and room for the band’s keyboard and acoustic guitar parts. The synth pattern of technology that could have gone wrong
and synthesizer collection, which included came from the DX7. Bascombe recorded or held us up probably did. But ‘Everybody
such classic designs as Sequential Circuits Smith and Orzabal’s vocals with a then-new Wants to Rule the World’ was so simple and
Prophet 5, Fairlight CMI, Roland Jupiter 8, Neumann TLM 170 microphone at Union went down so quickly, it was effortless, re-
Yamaha DX7 synthesizer and PPG Wave. Studios in Munich, where they also mixed. ally. In fact, as a piece of recording history,
They also had a LinnDrum LM-2, another “We wanted to mix on an SSL, but not in Eng- it’s bland as hell.”
recent acquisition. land,” Hughes recalls. “So we looked through The song’s simplicity comes through
“It was a really exciting time,” recalls Bas- the SSL guide and found one in Munich!” when one hears the pulsing shuffle-beat,
combe, who was just starting his career at the The locale also allowed for a bit of skiing for bright melody and singable lyrics. Even
time. Songs From the Big Chair was his first some of the team, as Bascombe recalls. though the message is still quite serious—
major album project—a testament to his in- Mixing Songs From the Big Chair took about people craving power and the misery
herent talent. “I loved all the new technology almost as long as the recording process and of warfare—the song serves as a refreshing
that was coming out, and Tears for Fears was was just as tedious. Bascombe mixed many break for those listening to the album straight
pretty much at the forefront of it all. We also of the songs more than once. “Shout” alone through, as well as for the team that recorded
had some old analog mono synths—Ian had took four days. Limited technology, combined it. “When you’ve spent so long trying to per-
an old Roland modulator system that we used with the band’s perfectionist streak, made fect the other bits and pieces of the record
on a couple of things—but the [synths] were for many a long day. “It was a very careful, and it has taken such a long time, it’s a breath
the mainstays. The LinnDrum did almost ev- considered process,” recalls Bascombe. “Ev- of fresh air when something comes together
erything else. We just chose whatever device erybody Wants to Rule the World,” however, in a very innocent moment,” says Hughes. “It
would deliver the sound we were after.” wasn’t taken as seriously. “We only mixed was up on its legs too quick to over-fuss it.”
Hughes programmed most of the drums this track once,” he recalls. “It came together The song recorded as an afterthought be-
on “Everybody Wants to Rule the World.” easily. With the other songs, there was a came the album’s lead single, shot to Number
They borrowed the snare drum sound from lot of second-guessing, making sure every One for several weeks and helped the album
“Shout” and pitched it up. The hi-hat and sound was really pushing the band. But this reach quadruple-Platinum status less than
shakers came from the LinnDrum. The kick was more straightforward.” a year after its February 1985 release. The
drum sound came from the Fairlight CMI. “It’s probably the most straightforward re- album broke Bascombe’s career; he went on
Smith laid down a new bass line with the cording on the record,” adds Hughes. “Other to work with such artists as Depeche Mode,
©2007 BERLINER USA, INC.

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Mix.indd 2
707mix111.indd 1 8/2/06 1:19:40
6/14/2007 3:51:24PM
PM
recording n o t e s
ABC, Peter Gabriel, Erasure and, more re- for me. You cannot repeat yourself exactly
cently, James, Natalie Imbruglia and Linkin the same way. People move on.”
Park, among others. He also rejoined Tears Maintaining control of her musical output
for Fears to engineer and co-produce Seeds has always been essential to Amos, particu-
of Love back in 1989. larly because of a long battle she fought with
Songs From the Big Chair also remains Atlantic, which culminated in the company
a key album for Hughes, who’d already releasing her in 2002, when the artist moved
had success with Adam & The Ants before over to Sony/Epic. Another manifestation of
meeting Orzabal and Smith in the early ’80s. her quest for autonomy is her recording stu-
“When I’m working with people now, they dio in Cornwall, Martian Engineering, where
refer to either the math, science and synths of she has recorded all of her music since From
Tears for Fears or the rawness and mayhem the Choirgirl Hotel [1998], the follow-up to
of Adam & The Ants,” he says. Hughes went Boys for Pele.
on to work with Howard Jones, Lloyd Cole She set up the studio on the advice of Amos’ piano is miked with two Neumann U87s.
and Robert Plant, among others. He also is- Peter Gabriel. “Had I not listened to him,” she
sued a solo CD and recently finished record- recalls, “I don’t think I would have survived desk with Flying Fader automation, comple-
ing and producing a new jazz project called the war with Atlantic Records. But we were mented by a fully loaded Pro Tools HD3 Accel
The Quartet, featuring former Wang Chung here in Martian Engineering, and in control system, using three Apogee AD16X convert-
vocalist/guitarist Jack Hues, to be released on and in command of the music, and the re- ers for inputs and three Apogee DA16X con-
Hughes’ own Helium Records. n cord company only had access to the master verters for outputs. Hawley and van Limbeek
tapes that I gave them. I’ve heard stories of clearly mean business when it comes to hi-fi
artists standing outside and banging on doors, sound. This is also borne out by the impres-
screaming, ‘Give me my f***ing masters!’” sive collection of microphones, preamps and
Tori Amos
FROM PAGE 120
Amos built Martian Engineering in 1997
with the help of Mark Hawley and Marcel van
Limbeek, her live and studio sound engineers
outboard, featuring models from Neumann,
AKG, Focusrite, GML, Lexicon, Tube-Tech and
so on. All five rooms—four live spaces and a
lantic wanted another record like Under the since Boys for Pele; the former is also her hus- control room—were acoustically designed by
Pink [1994, her second album]. But I knew band. The gear at Martian is state-of-the-art, van Limbeek, with diffusers creating uniform
that if I delivered that, it would be all over with a Neve VR Legend VSP 7.1 68-channel acoustics throughout.
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708mix127.indd 1 7/13/2007 12:25:29 PM

recording n o t e s
“Studio technology has been much

harder to come to terms with for me than
performance technology,” Amos admits.
“We’re pretty geared up in Martian, and I
think I have made friends with what’s there
now. I don’t regard studio equipment as the
destroyer of the organic musician anymore. I
had to sit back to be able to see the subtleties
and endless possibilities of studio technol-
ogy. I’ve lived with all the boxes and knobs.
I understand what Pro Tools does. I believe
in using all these things as instruments, and
have learned how to use them musically in-
stead of letting them homogenize my work.
And so it’s a cop out not to embrace it. Now
what’s happening for me is that I treat these Amos’ engineers are her husband, Mark Hawley (left), and Marcel van Limbeek.
elements as part of the arrangement.”
terious Mac Aladdin. He also appeared on “The electric guitars were all recorded
Tracking the artist Amos’ previous two studio albums, but has with a dynamic microphone,” says Hawley.
The process of recording an album appar- never been seen on the live stage or spot- “Marcel had met Bob Heil, who is a legend
ently begins with Amos and her preferred ted on albums by any other artist. It can be in the P.A. system world, and he made these
writing aids: books, a Bösendorfer grand revealed here that the name is an alias—but new Heil Sound PR40 microphones, and they
piano, a compact cassette recorder and avid Amos fans already worked that out a are absolutely stunning. They have a much
a boom box. “For this album, she spent long time ago. In addition, the album features better high end than most conventional dy-
much more time on her own, thrashing out a string quartet, a tuba and a euphonium, all namic microphones, and at the same time
the songs and the structures, than for other arranged by long-standing Amos collabora- they have all the good qualities of dynamic
albums,” recalls Hawley. “In the past, she’d tor John Philip Shenale. Guitars, strings and microphones, in that they don’t distort. We
come to Marcel and me when the songs brass were overdubbed, also at Martian. put the PR40 on the guitar cabinets and ran
were half-written, and we’d record some re- Van Limbeek looks after recording Amos, it through a Neve 1084 mic pre, and some-
ally great piano/vocal demos, but this time giving the Hawley/Amos man-and-wife times through a Chandler EMI copy preamp
they were almost finished by the time Matt tandem a bit of space. Van Limbeek notes, and then straight into Pro Tools.
[Chamberlain, drummer] and Jon [Evans, “For the new record, Tori’s piano is recorded “For the acoustic guitar, mandolin and
bassist] came in. with two Neumann U87 mics, placed under ukulele, I used the B&K 4003 in omni mode,
“They’re great players, and in the three the lid, in an M-S pattern, one set to omni using the B&K mic pre straight into Pro
weeks that they were here, they and Tori laid or cardioid and the other to figure-8, going Tools. I’ve always used cardioid mics and
down two tracks a day,” Hawley continues. through a GML 8304 preamp. Before that, was never really happy with the sound I was
“Tori would play them the song in the morn- I’d use two U87 microphones with cardioid getting. So for this album, I tried an omnidi-
ing, and Matt would do a loop rather than patterns, placed phase-coherent with a bit rectional mic, placed quite close, and I found
play to a click. He builds the loops himself in of space between them. In the past, I always that it works well because you don’t get that
Ableton Live. I will put it into Pro Tools and used the Focusrite RED 1. You have to horrible proximity effect. But, of course, it
they play to that. Sometimes a loop survives change your setup at times; you can’t have does depend on the room being great.
and actually makes it onto the track, like it every record sound the same. “We always record Jon’s bass direct,”
did on ‘Digital Ghost.’ “Just like with The Beekeeper,” continues Hawley continues, “but we also miked
“They always track together, all three of van Limbeek, “we began recording Tori’s some speakers up, using Neumann KM140
them. Jon will sit here in the control room, vocals on the new album with the Blue cardioids. He has his own compressor, and
Tori in one live room, and Matt in another. Bottle, but one-third into the recording we didn’t add any. The distortion you hear
They may do eight or nine takes, and Jon or we obtained the Korby KAT-5, which is a on the bass on ‘Body and Soul’ comes from
Matt may add a few fixes to improve their fantastic microphone. You can change the a distortion pedal that he uses. We had 13
parts. But usually what you hear is what capsules to get the characteristics of several microphones on Matt’s drums, including a
they’ve played. Tori is at her best when she classic microphones. It sounds amazing pair of B&K 4003 mics behind his head and
plays piano and sings at the same time, and and the noise floor is so much better than an [AKG] C-12 above the snare and one
in a song like ‘Beauty of Speed,’ she played with many of the older microphones. We above the floor tom.”
Bösendorfer and upright piano at the same used it for the remainder of the sessions, Despite using Pro Tools and their love
time. Although we have a screen behind varying the microphone capsule and pre- of digital in general, Hawley and van Lim-
her vocal microphone to separate it from amp per song, and sometimes inside of a beek still seem to prefer to work out of the
the piano, you can definitely hear the cross- song, but mostly we used the U47 capsule. box as much as possible. “We tend to use
talk between piano and vocal. So we can’t She sometimes has very elaborate vocal Pro Tools purely for editing and as a tape
really edit Tori’s vocals like you can with arrangements, so it helps to have different machine,” explains Hawley. “But we do
most people. The only thing that we can do vocal sounds inside of a song. A typical mix everything else outside of Pro Tools, and
is splice different takes together.” chain on the vocals may be Neve 1084 first, for the mix we go through the Neve desk
The guitars, of which there are many on then LA-2A or 1176, depending on what and use almost only outboard gear.
American Doll Posse, are played by the mys- sound we want, then GML EQ.” “We used a couple of plug-ins for Ameri-

708mix129.indd 1 7/13/2007 1:21:36 PM
708mix131.indd 1 7/13/2007 12:59:22 PM
recording n o t e s
can mix takes the pressure off as far as the

money. There is always cross-pollination of
music ideas and sound ideas, but basically
we worked in the studio the same way we
work live: Richard takes care of the music,
and I take care of everything else.”
Tassano worked with the studio’s house
engineer, Doug Tyo, recording to Pro Tools
and laying down basic tracks and a scratch
vocal live. “Richard records a live vocal with
every track, with a Shure SM7. But we replace
most of those with overdubbed vocals using
a C-12, which has a natural sound for his
voice. His vocal has a very strong midrange
and a lot of sibilance, and the C-12 doesn’t
over-accentuate either of those areas.”
Thompson’s electric guitar was captured
using a setup that combined Tassano and
Tyo’s ideas: an SM57 and a Royer ribbon mic
on the amp, and a U87 or U67 six or seven
feet away to capture the room. “I was the
one to push for the room mic,” says Tassano.
“The room really helped, and no effects were
required at all. If you have a nice-sounding
room—and this one is—let’s capture it, be-
cause that’s what we’re paying for!”
On acoustic guitars, they used a coin-
cident pair of Neumann KM84s. “Simon
wanted to try that, and it worked really well,”
Tyo says. “I hadn’t used those mics that way
before, but it was cool.”
The album was recorded in two batches:
half with electric bass and half with upright
acoustic played by Danny Thompson (no
relation to Richard Thompson). During that
second half, Danny Thompson played in
the vocal booth and Richard Thompson
had to be moved into a corner of the main
room. “We had to put him in there with
the drummer,” Tyo says. “We did get some
bleed, but Richard’s so good at playing we
didn’t have to overdub any of his parts.”
Tassano is a MOTU Digital Performer
user so Tyo used Digi Translator to convert
the files for the mix in Austin. “My chain for
Richard’s vocal in the mix was a [UA] plug-in
Fairchild compressor into a [UA plug-in] Neve
1082. I am amazed by how it sounded like
the actual model. I was very impressed by
the way it interacted with the voices.”
The first song to be released from Sweet
Warrior is an edgy political rock song called
“Dad’s Gonna Kill Me”; “Dad” equals Bagh-
dad, and that about says it all. After 40-plus
years in the business, Thompson may not be
the kind of artist who’s going to get snapped
up by Universal, but he still makes beautiful
albums, and he’s still got loads to say.
“He keeps getting better,” Tassano says.
“I don’t know how he does it or where it
comes from, but he does. I’m still a huge fan,
and I look forward to every gig.” n

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708mix133.indd 1 7/13/2007 3:02:45 PM

COOL SPINS The Mix Staff Members Pick Their Current Favorites
Sinead O’Connor King Wilkie

Theology Low Country Suite
(Koch Entertainment) (Zoe Records)
When Sinead O’Connor set off to make Theology, King Wilkie play a
she began with the notion of recording acoustic- moody brand of string
only tracks—just her and a guitar, the way she per- band music that occa-
forms some of her live encores. But just as she and sionally brushes up against a traditional bluegrass
producer Steve Cooney were capturing intimate approach, but often veers in other directions si-
versions of these beautiful new songs in Windmill multaneously, adding such instrumental touches
Lane, O’Connor was also working with producer as ukulele, pedal steel guitar, accordion, percus-
Ron Tom with the idea of recording a future project sion, even kazoo. Mandolinist Reid Burgess and
in the way most of her albums have been made: guitarist John McDonald have a wonderful vocal
combining hip hop beats with orchestral strings blend on this collection, which is dominated by
and electric guitars as a backdrop for the singer’s country/folk ballads. “Crazy Daisy” shows their
magnificent, reverb-magnified voice. O’Connor found herself totally attached to both versions of this album, debt to Sweetheart of the Rodeo-era Byrds, but
and so she’s releasing both. It’s easy to see why; the acoustic disc 1 (dubbed the Dublin Sessions) and electric mostly they have an original sound that mixes
disc 2 (London Sessions) are equally intoxicating. The acoustic disc is simple and sweet, with delicate guitar melancholy with melody quite beautifully. Songs
work and pure focus on song and voice. Disc 2 is by turns bright and moody, and includes the first UK single such as “Stone & Steel” and “Captivator” are
(a song that’s not on Disc 1), O’Connor’s version of the Rice/Webber opus from Jesus Christ Superstar, “I quietly powerful and emotional, whereas the
Don’t Know How to Love Him.” More exemplary of the compositions on this double-CD is the U.S. single, excellent “Wrecking Ball” jumps from the disc.
“Something Beautiful,” which O’Connor says she wrote as sort of a prayer for the inspiration to create And though there’s no flashy playing at all, the
something beautiful in a dangerous world. The overall feeling on Theology is somehow simultaneously instrumental work throughout feels just right.
personal and Biblical. Most important, acoustic or electric, O’Connor’s sound is unmistakable, and always Produced, engineered and mixed by Jim
remarkable. Scott. Recording and additional engineering:
Producers: Sinead O’Connor, Steve Cooney, Ron Tom. Engineers: Graham Bolger, Ron Tom, George Steven Rhodes. Studio: Plyrz Studio (L.A.). Mas-
Renwick. Studios: Windmill Lane (Dublin), Mayfair Recording Studios (London). Mastering: Disc 1—Bob tering: Joe Gastwirt/Gastwirt Mastering (Oak
Katz/Digital Domain (Altamonte Springs, FL); Disc 2—Chaz Harper/Battery Studios (NYC). —Barbara Schultz Park, CA) —Blair Jackson
Nicole Atkins The Country Avishai Cohen

Neptune City Gentlemen After the Big
(Columbia) Going Back to Rain
A songwriter’s muse the Blue Ridge (Anzic Records)
can come from any- Mountains I first encoun-
where: Nicole Atkins (Smithsonian tered New York
is a self-proclaimed Folkways) trumpeter Avishai
metal-head, yet what comes out of her mouth Like Flatt & Scruggs, bluegrass artists The Coun- Cohen’s atmospheric work on a pair of lumi-
is smooth, luscious and elegant. Her debut, try Gentlemen gained most of their fame from nous albums by the French singer Keren Ann.
named for her New Jersey seaside hometown, the “Folk Revival” of the ’50s and ’60s. Their The quieter parts of this album have some of
is dreamy, with hints of Loretta Lynn coming traditional, virtuosic sound may have been fairly that reflective and introspective quality, but
through with a hint of pop sensibilities. Backed commonplace in their home state of Virginia, much of what’s here has a distinctly African
by her band, The Sea, Atkins eases into the but Northern music lovers couldn’t get enough. feel to it, thanks in part to the presence of
album with soft lyrics, minimal drumming and This CD was originally released in 1973 and Benin-born guitarist and singer Lionel Loueke
an easy swing. As you progress through this comprises live performances that the producers (who recently signed his own deal with Blue
effort, you suddenly realize that you’re hearing think took place throughout the ’60s. Smith- Note). The title song and “Miryama” are in
more politically oriented lyrics while holding sonian Folkways has reissued Going Back in the Fon language of West Africa, and the
true to a “love lost” foundation. The moods celebration of the Gentlemen’s golden anniver- disc’s longest track is called “African Daisy”
flow easily from soft ballads to more folk/pop sary, and it includes a 28-page booklet detailing (though it’s less overtly African-sounding). Not
stylings to a smoke-filled Paris cafe without too the history of the group, and offering a critical surprisingly, Cohen occasionally echoes Miles
much drama. Atkins is someone to keep your view of bluegrass of that era. The album may Davis in his playing, but he also favors elec-
eye on. not be spotlessly clean, but passionate playing, tronic treatments on his horn, which take it
Producer: Tore Johansson. Engineer: Acke. high lonesome singing, and surprisingly good to another place altogether. File this intriguing
Mixing: Johansson. Studios: Varispeed Studios separation of instruments make the release just outing under “World Jazz.”
(Klagerup, Sweden), The Bubble. Mastering: as enjoyable as it is historical. Producer: Avishai Cohen. Engineer: Frederik
Morten Blue at Audioplanet (Copenhagen). Sound supervision and mastering: Pete Rubens. Studio: Puremix (NYC). Mastering: Al-
—Sarah Benzuly Reiniger. —Barbara Schultz lan Tucker/Foothill Digital (NYC) —Blair Jackson

For more information go to www.audixusa.com or call 1-800-966-8261
Audix Corporation. PO Box 4010. Wilsonville, OR 97070. ®Audix Corp 2007.
All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation.
708mix135.indd 1 7/13/2007 1:07:59 PM

COAST
L.A. grapevine Nashville Skyline
by Bud Scoppa by Rick Clark
As a one-time major-label A&R guy and ists, including Steve Earle, Graham Parker Making studio news headlines along Music
full-time music-magazine-editor-turned-in- and Dave Alvin. “In the last year,” says Slui- Row was the closing of Masterfonics, one
dependent-contractor, I’m acutely aware of ter, “my career has taken an interesting tra- of the area’s most distinguished studios.
the pressures that come with working in jectory. I had co-produced the last OK Go The story of its demise is a sadly familiar
and around the music business in this chal- record, Oh No! When the treadmill video one, and when the topic was brought up
lenging decade. This month, I’ll take a look blew up on YouTube, I started getting some to me in conversations, there seemed to be
at a couple of talented and resourceful indi- interest from a few producer/managers. an abundance of dour assessments about
viduals who have battened down the hatch- When nothing materialized, I realized that the state of the local industry. I decided to
es and sailed through rough seas by making I needed to get ‘circulating,’ and I decided I call a few people integral to the Nashville
use of every bit of skill, knowledge, experi- would assist if the situation was right. recording scene—owners and a couple in-
ence and resiliency. Their stories may not “I had met Jim Scott [the subject of my volved with servicing the studio communi-
constitute the feel-good hit of the summer, July column, in a cosmic coincidence] in ty—to get their take of what’s happening.
2004 when I was recording Flogging Nancy Quigley, owner of NTS Prome-
Molly in Studio 2 at Cello,” he says. dia since 1994, has experienced the stu-
“I’d always been a big fan of his work, dio community’s dramatic ups and downs
and Jim mixed a few projects I had first-hand. “It’s been a transitional time,
tracked. I made repeated offers to as- to say the least,” says Quigley. “We saw
sist for him, which he refused, saying, recording projects go from $2,000-plus
‘I don’t like hiring people into a posi- on analog tape to a $200 hard drive. Pro
tion beneath their skill level.’ Finally, Tools taking over Nashville affected NTS
I just called him, and said, ‘Look, I sales and Nashville’s studios in a big way.
just want to work. The reality is that In addition, studios and publishing were
I need to assist if I want to pay my shutting down or consolidating right and
rent, so why not assist for you?’ Even- left. It was a tough five years for everyone.
tually, a project came up that one of Just when it seemed the downward trend
his regular guys wasn’t available for, was never going to end, the dust seemed
so he took me up on my offer.” to settle and the orders started coming
With success from OK Go and others under his belt, Since then, Sluiter has run Pro in. The difference was the customer was
Ken Sluiter finds that he needs to continue “circulating.” Tools on mixes for Travis Tritt and an beginning to change. The majors are still
end-to-end project for Kathleen Ed- present, but there is a much stronger pres-
but as Spoon put it so compellingly, that’s wards. “I really like working with Jim,” he ence from home studios, independent
the way we get by. says. “His client skills are amazing and, in labels and custom projects. Analog has
“As much as I enjoy a good old-fash- addition to being one of the most musi- made a recent resurgence, with produc-
ioned, eight-week camp-out in a Neve cal mixers I’ve worked with, he’s also the ers missing the warmth in their recording
room, with runners, a food budget and all fastest. Jim is the man in charge, no doubt, projects. Although it seems Quantegy has
the rest, those gigs aren’t as plentiful as they but as the PT operator, you set the pace of stepped out of the market, we still have
once were,” says Ken Sluiter, a Chicago the session and Jim likes to work fast. As analog available to us through RMGI [for-
transplant who has worked with such acts I said, it makes it much more interesting merly BASF].
as OK Go, Lucinda Williams, Flogging Mol- than traditional assisting.” “The famous, state-of-the-art studios
ly and Pete Yorn since relocating to L.A. in Sluiter’s most significant non-studio gig such as Blackbird will have continued
2003. He and his wife have two kids, ages has involved recording and mixing a June success because there will always be a
4 and 2. “To continue their careers on a 14 concert by The Format at the Mayan need for the Rolls Royce of any business,
full-time basis, engineers have to figure out Theatre (Denver) for use in a concert DVD just as the world needs five-star restau-
ways to do professional work in environ- directed by Sam Erikson. “As the engineer/ rants,” Quigley continues. “But the nor-
ments other than the standard commercial mixer of their most recent album, Dog mal public can’t afford to eat there seven
studio. So I’ve been branching out.” Problems, this project gave me the chance nights a week. The mid-level and small
This guy is no newbie. In 1992, he to continue my working relationship with studio will have to be creative and will
helped configure the first Pro Tools system the band,” he notes. see the face of their clientele change.
in the Windy City as a college project, and Sluiter recorded the two-and-a-half- With fewer publishing companies, labels
five years later became a partner in Kingsize hour concert, including strings and horns, and artists on the labels, the majority of
SoundLabs. He’s also recorded a ton of art- —CONTINUED ON PAGE 140 business these studios are accustomed to
708MIX136_Coast.indd 136 7/12/07 3:50:36 PM

TO COAST
NEW York Metro
by David Weiss
photo: david weiss
having has decreased dramatically.” Control room? Check. Live

Rob Dennis, president of Super Loud room? Check. Pro Tools HD?
Music/Rack-N-Roll Audio, quickly respond- Check. Killer mic collection?
ed to my question with a picture of how Check. Soooo, who’s gonna
and why he thought some businesses suc- fly this thing? Almost all
ceed, while others fail: “It’s unfortunate New York City studios have
that another facility [Masterfonics] has gone a vision, and most of them
away. Every time I see another studio or definitely have the gear, but
publishing company close or move out and in a busy facility, selecting
a non-industry–related business open on the right chief engineer can
the Row, I cringe,” he says. “On the posi- be what makes or breaks a
tive side, the people who have addressed business.
the changing model years ago seem to be At Dubway Studios, a
doing really strong business. Steve [Tveit] at New York City recording
Omni is a great example of someone who fixture since the 1980s, one
didn’t lie down and give up. He stays solid explanation for consistent
because he got out and shook the bushes success dating from 1999
and watched every dime that he spent. I is the presence of their Dubway’s Jason Marcucci (left), Steven Alvarado
think it’s just watching your bottom line. now-chief engineer Jason
Also, people like Tom Fouce at the Blue Marcucci, who brings the studio stability, just a room with an analog desk (Amek An-
Room in Berry Hill signed an exclusive deal technical expertise, great morale and solid gela 28x24) and some killer outboard—he
with Brent Maher, who camps out in his business leads, along with his full-time found a culture that embraced the team-
room. John McBride has done similar deals status. oriented ethic he brings to the often un-
with Dan Huff and Justin Niebank. From my “I went into Dubway to engineer some necessarily secretive art of engineering.
perspective, the business has been picking overdubs for a band called Paleface and “The reason we clicked is because we try
up a great deal in the last year.” never left!” says the energetic Marcucci, to share information and teach each other
Tveit, general manager of Omnisound whose deep passion for his craft is imme- a lot, like miking techniques and how to
Studios, echoes Dennis’ sentiments. “I’ve diately evident. “I was attracted to entering manage your data,” he explains. “I didn’t
talked to other studio owners and have a staff situation as opposed to remaining a stick around long at other studios before
heard a lot of doom and gloom in recent freelancer because I really like the process Dubway because I wasn’t learning any-
years,” he says. “Most of the problems oc- of recording. Working for the studio, it’s a thing new there and people wouldn’t talk
—CONTINUED ON PAGE 142 completely different situation each day. about stuff! I’d seen competitive mixers in
“In just the last three days, the same building, and I thought that was
photo: juan pontlezica
I’ve done three different ridiculous. Here, I really try to motivate ev-
things: Yesterday I worked erybody and keep the whole staff excited.
with [mandolin/banjo/bou- I’ve really taught a lot to the interns, and
zouki player] Chris Thile I’ve learned a lot from them and the own-
of Nickel Creek, today I’m ers. It’s a pretty open dialog at Dubway,
working on an Unplugged and that’s mainly because they want the
project for VH1 and tomor- studio to run well.”
row I’m working with an Technically, Marcucci has been one of
electronic DJ/remixer. But I the driving forces behind Dubway’s move
don’t care if the session is just toward complementing its large John Sto-
a voice-over! I like recording ryk–designed Yellow Room with three
so much, and having a stu- smaller, 5.1-ready suites optimized for mix-
dio relationship means you ing the studio’s increasing sound-for-picture
can work on everything.” workload. “We have more of those rooms
At Dubway, Marcucci, because they’re cost-efficient to build, and
whose recent credits also in- with all the work we’re doing for TV, it’s
Rob Dennis, president of Super Loud Music/Rack-N-Roll Audio, advises clude work with Joss Stone great to be able to recall quickly on the Pro
studio owners to keep an eye on their bottom line to stay successful. and Moby, found more than —CONTINUED ON PAGE 142
708MIX136_Coast.indd 137 7/12/07 3:50:52 PM

SESSIONS AND STUDIO NEWS
raul malo’s after hours

the chicken hill sessions
In the woods south of Nashville is bassist Jay Weaver’s per-

sonal studio, Chicken Hill. The facility was designed and in-
stalled by its owner in a 1,200-square-foot garage on his
68-acre property, reachable only via a long gravel lane. But
if you’d turned down that lane a few months ago and found
yourself at Chicken Hill, you’d have heard a familiar voice
crooning in the woods. Weaver—who has played on sessions
with many of Nashville’s finest, including a long stint with
Dolly Parton—is now bassist for former Mavericks frontman
Raul Malo, and Malo’s latest solo effort, After Hours, was
recorded live in Chicken Hill.
“When I started playing with Raul, I wanted to have
a rehearsal in my studio so I could ‘spy’ on the rehearsal,”
Weaver says. “I set mics up all around and captured us play-
ing in one room. The piano wasn’t even tuned, and I didn’t
even tell them I was recording, For monitoring purposes, for
Raul’s vocal I have a couple of speakers on the wall in the
main room, and I ran his vocal through them with the ’verb
sound that he wanted, and we played in the main room to-
gether. We then went into the control room, and I said, ‘Hey,
Raul, listen to this.’ He said, ‘I love it,’ so we used that same Recording artist Raul Malo (left) and bassist/studio owner Jay Weaver in Weaver’s Chick-
basic setup when we recorded the record.” en Hill Studio, where Malo’s latest solo album, After Hours, was recorded
Weaver’s studio comprises a large main room, control
room and three iso booths, but rather than use the division of space “I happened to read about Korby online and found out there’s someone
to separate the musicians, Weaver tailored degrees of bleed between who’s making new 47s and 251s and C-12s,” Malo says, “and he’s got this
the rooms to suit the songs. convertible system you can change the heads on, and I was fascinated by
“In lieu of using headphones, we had Raul’s vocal coming through this. I went over there and saw him, and it turned out he was a fan; he’d
those speakers, and I had a mixer in the main room to balance the seen me play in Pittsburgh. I talked to him about what we were doing,
sound,” Weaver explains. “The horn player was in an iso room, and and he was excited. He supplied us with his BLUE mic, which is a 47-like
so was the upright piano and Raul’s guitar amp. I had the upright reproduction. We used a couple of FET mics on the piano and a couple on
bass, the drum set and the drums; we also used a couple of 251s. It was pretty much an all-Korby
Raul singing in the main session, though I think on the acoustic guitar I played, it may have been an
room, and I would bal- old Neumann small-diaphragm mic that Jay had.”
ance how far open all of The album was also mixed by Yorke and Malo at Chicken Hill. It’s a cov-
the doors were, and then ers collection—all vintage country songs arranged in new ways. Even at the
manipulate the mix that height of The Mavericks’ popularity, Malo’s interest in Latin jazz and pop
was coming through the music always found their way onto the band’s “country” records. This album
speakers until I heard the also works in swing and jump blues, while celebrating what Malo calls “the
mix and fidelity I want- elegant side of country music.” A version of Buck Owens’ “Crying Time,” for
ed, and I let that sound example, features piano stylings that are much more Bradley’s Barn than
bleed into all the mics. Bakersfield. And with the addition of a horn section and an uptempo beat,
So the performances you Hank Williams’ “Cold, Cold Heart” channels Louie Prima.
hear on there, that’s For Malo’s part, Chicken Hill was the perfect location for this project.
what you get. That’s Raul “It’s a dream place,” he says. “It’s cozy and it’s got all the vibe in the
singing with the band in world. You can pretty much make a record anywhere these days, but when
the room live.” you have a place like that, that’s off the beaten path and you’re not on
Weaver served as musician and co-producer on After Hours, and the clock, you can really take your time. I realize after making records for
enlisted the help of an outside engineer, Evan Yorke, to capture the major labels all these years we really didn’t have time to experiment. You
sessions to Nuendo. The studio contains a variety of newer Universal do two songs before lunch, do two more and call it a day. This time around,
Audio mic pre’s, vintage Ampex and Telefunken pieces, and a good mic we wanted to make sure we had plenty of time to try stuff, and we enjoyed
collection. However, Malo recently visited Tracy Korby’s Nashville base every minute of it.”
to talk mics and came away with enough models to cover the project. —Barbara Schultz
708MIX136_Coast.indd 138 7/12/07 3:51:09 PM

TRACK SHEET
Southeast
Pop/R&B singer/songwriter Michael
behind the glass Warren was in Nashville finishing
up tracks for a new CD, due out this
month. Bass and drums were cut at
not so secret sounds Bletchley Park Studios; all other
grant, najee trade talents tracks were cut at producer Stephen
Gause’s home studio, Invertigo Pro-
ductions. Gause produced and co-
engineered with Jimmy Jernigan...
Tim Carter is recording and mixing
four tracks for Rounder Records art-
ist Claire Lynch’s next CD in his
Treehouse Studio (Nashville)...At
Catalyst Recording (Charlotte, NC),
owner Rob Tavaglione engineered Okay, squeeze together. From left: saxophonist Wayne
and produced new releases for Ang- Shorter, producer Larry Klein, Hancock, drummer Vinnie
wish and Jagfu. Colaiuta, stand-up bass player Dave Holland, assistant en-
gineer Brian Montgomery, engineer Helik Hadar, assistant
Northeast engineer Justin Gerrish and guitarist Lionel Loueke.
Kurt Lundvall mastered Duke Elling-
ton: The Complete 1936-1940 Variety
Dennis Chambers at Secret Sound’s kit and Okeh Small Group Sessions at his first tier jazzers at avatar
Lundvall Mastering (Jersey City, NJ) Jazz keyboard/synth master Herbie Hancock did some
Producer/guitarist John Grant produced a studio. Other recent projects include tracking for an upcoming Verve release in Avatar Studio
track for saxophonist Najee at Grant’s Secret Andrew Hill’s Time Lines and Joe A (NYC) with producer Larry Klein. Helik Hadar engi-
Sound recording studio (Baltimore, MD). Najee Lovano and Hank Jones’ Kids: Live neered with assistants Brian Montgomery and Justin
also guested on Grant’s independent smooth at Dizzy’s Club Coca Cola...B.B. King Gerrish.
jazz release, True Spirit, featuring drummer was in Avatar Studios (NYC) Studio
Dennis Chambers, bassist Gary Grainger and C overdubbing vocals and guitar for an upcom- Needham at The Ballroom (L.A.) and mastered
keyboardist Gregg Karukas. ing children’s book/CD produced by author Sandra by John Greenham at Area 51 Mastering
Boynton. Roy Hendrickson engineered, assisted (Richmond, CA).
in the funhouse by Chad Lupo. In Studio A, producer Steve Lil-

lywhite and engineer Steve Hardy recorded Ra- Southwest
Triggers at mr. smalls zorlight for Mercury UK. Bryan Pugh and Rick At Tempest Recording (Tempe, AZ), Clarke
Kwan assisted. Rigsby is completing mixes for a Lissa Wales
tribute CD. The project is being produced by
Midwest Tesla drummer Troy Luccketta and features
Rockhouse Studio (Fort Worth, TX) hosted drummers such as Danny Seraphine (CTA), Da-
sessions for Earl Musick and Mark Merritt’s vid Garibaldi (Tower of Power), Steve Ferrone
upcoming fall release, which has the working (Tom Petty) and Ian Wallace (King Crimson).
title Woodshead’n. The artists are self-produc-
ing and engineering this all-acoustic roots al- Southern California
bum...At Linder Avenue Recording (Roselle, Westlake Recording Studios (L.A.) hosted
IL), percussionist Micah Holland tracked and numerous sessions this summer, including The
mixed for a promotional project with engineer Gospel Project with engineer Dave Way and
Dom Palmisano. producer Quincy Jones; Queen Latifah with
producer James Toyser, engineer John Adams
Northwest and assistant Antonio Resendiz; and engineer
Standing, L-R: Triggers guitarist/vocalist Adam After performing at San Francisco’s Warfield Dave Reitzas remixing Streisand Live for 5.1
Rousseau, drummer Rich Kawood, keyboardist/ Theater, Regina Spektor spent the next day surround. Westlake also reports that Grammy-
vocalist Brett Zoric, studio owner/assistant Larry in Studio 880’s (Oakland, CA) Studio C for a winning producer Walter Afanasieff has made
Luther, bassist Joe Kasler. Seated: producer/engi- playback session. Also in 880, Flypside gui- the newly renovated Production Room 1 his
neer John Hiler. tarist Dave Lopez and engineer Reto Peter new base of operations for upcoming projects...
tracked for Flypside’s upcoming album, which Producer Tom Rothrock visited Precision Mas-
Producer/engineer John Hiler was at Mr. is being produced by Akon...San Francisco Bay tering (L.A.) in June to master James Blunt’s
Smalls Funhouse (Pittsburgh, PA) recording Area pop/rock artist Alex Karweit completed upcoming album with engineer Don Tyler. n
new tracks with the band Triggers for a new his debut album, Enemy, with producer/engi-
CD. Studio owner/engineer Larry Luther as- neer Joey Muller at Icehouse Recording (San Please send “Track Sheet” news to bschultz@
sisted during the tracking. Rafael, CA). The project was mixed by Mark mixonline.com.
708MIX136_Coast.indd 139 7/12/07 3:51:26 PM

L.A. Grapevine From Page 136 knowing how to use it doesn’t necessarily Along with running his West Valley stu-
onto 40 tracks on his portable HD rig using pay the bills. Consequently, this 44-year-old dio, Ars Musicai—outfitted with a G4 and a
Pro Tools 7.3.1 HD Accel 2, a Mac G4 and single father of two has been “out there Focusrite ISA 110, running Nuendo 3 and
hardware from Digidesign, API, John Har- doin’ it,” seizing every opportunity to make Reason 3—Miller has made use of his ex-
dy, Vintech, Universal Audio, Smart, dbx use of his wealth of technical knowledge pertise to snag gigs like helping bring Mike
and Empirical Labs. He’s mixing the con- and “schoolboy tenor” with its four-and-a- Post’s private studio in Burbank back on-
half octave range. That’s nothing new line, while assisting on projects for Post and
for the Columbus, Ohio, native, who Aussie band Sick Puppies, while continuing
came to L.A., like so many others, for to serve as Marcus Miller’s go-to tech ex-
the myriad opportunities the showbiz pert at the bassist/producer’s Hannibal Stu-
Mecca has always dangled so tantaliz- dios on the West Side. Since Marcus Miller
ingly. heard Gussie’s glass-shattering voice, he’s
Back in Columbus, Miller was a lo- made use of it for the CW animated series
cal TV celebrity at age 12, and started Everybody Hates Chris, the Chris Rock film
singing jingles in a local studio soon I Think I Love My Wife and the bassist’s up-
thereafter, where he caught the tech coming album.
bug at the first sight of a Neumann Gussie is working on a solo album with
mic. He’s been bouncing between writing and production partner Alex Ales-
these two overlapping realms ever sandroni, which will feature contributions
since, getting his music and vocals from Marcus Miller, David Sanborn and
into several TV series while doing tech other high-profile players with whom he’s
support and sales for companies such crossed paths during the years. Along with
Gussie Miller combines home studio know-how with as Tascam and Westlake Audio. But his a number of “irons in the fire,” as he puts
vocal stylings to make ends meet. momentum was interrupted 12 years it, Miller has been chosen as a contestant
ago by a bizarre accident. “I was drum- on the NBC karaoke reality series Singing
cert in the box with outboard at his home ming in a Lion King event at Disneyland,” Bee. “The prize is $100,000, and brutha
studio, primarily on Yamaha NS-10s. he recalls, “when I got crushed between a needs funding for his record,” he says with
Gussie Miller is one of many home parade float and a fence and nearly died. a laugh. n
studio owner/operators in SoCal, but pos- My back was messed up, and I started my
sessing high-end recording equipment and studio with the workers’ comp money.” Send L.A. news to bs7777@aol.com.
708MIX136_Coast.indd 140 7/12/07 3:51:44 PM

708mix141.indd 1 7/13/2007 1:12:12 PM
Nashville Skyline From Page 137 faster than we think. We are witnessing the ing capabilities led him to begin oversee-
cur because people are stuck in the old way greatest metamorphosis the music indus- ing recording and mixing in Fenix’s spa-
of doing things, blaming what they can’t try has probably ever seen—and change is cious, Neve VSP 60–equipped control room
control. You have to continue to be proac- good. We, as music industry professionals, around the turn of the millennium. A free-
tive and not just wait for the phone to ring. must embrace the tremendous opportunity lance consultant specializing in optimizing
One day we’ll cut a demo, the next day a that new technologies offer instead of seeing studio systems for Cubase and Nuendo,
master and the next day a jingle. We rarely them as threat to our existence. There are a Odom went into Fenix to perform a quick
have any client in for more than a day or multitude of avenues in which to generate install six years ago and wound up with a
two. It used to be we could book out a revenue from the music we love to create permanent assignment.
whole month with one client. Those days and participate in—and not just survive in Ironically, staying put has helped enor-
are gone and are never coming back; you the music industry, but thrive.” n mously in satisfying Odom’s thirst for ad-
either understand that or you don’t.” venture—audio adventure, that is. “Being in
Dennis’ latest venture, Super Loud Mu- Send Nashville news to MrBlurge@mac.com. one place allows you to really experiment
sic, is “a hybrid company that will handle with different things,” he points out. “The
everything in-house; that is, management, thing about engineering is you never do the
publishing and all things associated with a New york metro From Page 137 same thing twice. Situations constantly arise
artist’s career.” He also recently produced Tools HD2 systems,” says Marcucci. “For when you have different singers, for exam-
a live CD/DVD for Cross Canadian Rag- stereo, I don’t mix in the box—I’m summing ple, and one mic doesn’t work for every-
weed and Universal Records South, and is mixes right now with the Dangerous 2-Bus. body. The more gear you have, the more
currently in the middle of producing a live I’m certainly hoping that surround mixing choices you have for your signal path.”
Lynyrd Skynyrd hi-def project. “This ‘old- continues to grow, because once you mix Taking on the responsibility of chief
school’ mindset that ‘I’ll ride this out and in 5.1, you never want to go back.” engineer in a major facility can eventually
things will get back to normal’ is not going From management’s perspective, mak- prove to have its drawbacks. For Odom,
to work,” he comments. “I just produced a ing Marcucci a full-time staffer was worth whose credits include LL Cool J and Ver-
last-minute remix on a new artist the other the additional capital commitment. “Jason non Reid, among others, the pressure
day where I did all of the overdubs in town takes on more responsibilities as the on- meant learning how to let go and oversee
via an FTP site. While I missed the personal staff chief engineer,” says Steven Alvarado, a trustworthy staff. “I got to record all the
interaction, it was a great way to get work studio head at Dubway. “He’s more invested sessions—rock, gospel, heavy metal, you
done quickly. I will be doing more and in what we’re doing. If he were completely name it,” he says. “But you get burned out
more work this way in the future, as it was freelance, he’d be more apt to do other stuff after a while. It’s nice making the music, but
perfect for my busy schedule.” and make what we do not as important. you notice, ‘I’m not smelling the roses, not
Tveit feels that part of Omni’s success Jason’s an excellent engineer, he’s got the spending the time with my daughter. I have
is due to the fact that his business “made qualities that you want from someone that to have balance.’ Once you know where
a conscious decision early on to find ways you’ll be sitting in the same room with for things go in the studio, you can relay the
to work with home recorders instead of several hours, and he invests himself com- information on to engineers as to how we’ll
against them. Obviously, home recording pletely in every project that he works on. work a particular session, and what mics,
has had a big impact on the commercial His personality traits and quality of his work preamps, et cetera, were used if I can’t be
studio business, and, over the years, my are an extension of what we do.” there myself.”
staff guys have actually gone to our clients’ “Being on staff, it’s nice to be able to “The chief engineer sets the precedent
homes to help them learn more about op- concentrate on having Dubway’s staff grow, for any other engineer coming in,” confirms
erating their gear,” Tveit offers. “Our main and not just be looking out for myself,” Tony Hanson, manager of Fenix Studios.
business is centered on tracking live musi- Marcucci observes. “In New York City, be- “He’s like the commander of the platoon:
cians; we excel in the things you can’t do ing chief engineer brings even more of a He’s a pacesetter who determines the way
at home. I see major problems ahead for feeling of responsibility. There are a lot of things are done, the proper routine. Before
dedicated mix rooms with large-format ana- audio pros capable of doing good work in you look at skills, you have to mesh with
log desks. Labels in Nashville are just begin- this city, but we want people to come back somebody and be comfortable with them,
ning to accept mixes completely done in and spread the word that everyone here— and Kevin is always relaxed and in control
Pro Tools. It is only a matter of time until from the owners to the interns—can make during a session. Skills-wise, Kevin’s com-
that is the norm. things work.” puter knowledge is through the roof. He’s
“I feel very fortunate to have worked Way down in the southernmost tip of New an expert in Pro Tools and Windows ap-
and made a living in the Nashville studio York state—Tottenville, Staten Island—word plications. That’s half our studio right there,
business for the last 20 years,” Tveit contin- is spreading about one of that borough’s and if anything goes down but can be fixed,
ues. “It has always been a challenge even best-equipped commercial facilities, Fenix he’ll fix it.”
in the best of times. We never take anything Studios (www.fenixstudios.com), and its Odom feeds off the respect and reflects
for granted. We are constantly re-evaluat- chief engineer. “We’re in a nice, tucked-away it back to Fenix. “I don’t like to tell potential
ing what we do and how we do it. We are area where you don’t have to worry about clients who I’ve worked with,” he says. I’d
always looking to expand our client base people walking in on your session,” says rather play a CD I’ve engineered on, and if
and services.” Kevin Odom, officially “head audio guru” at you like it, then let’s see what we can do
NTS’ Quigley brings it all back home, add- Fenix since 2001. “You can park here! It’s a together. Keep building on the information
ing, “Music has always been an integral part different environment from what you have you’ve gathered that qualifies you to say, ‘I
of people’s lives. It entertains and soothes in Manhattan, and it’s very convenient for can do this.’” n
us—that will never change. But the business people in Staten Island and New Jersey.”
of music as we know it today is changing, Odom’s fierce computer and engineer- Send news for Metro to david@dwords.com.
708MIX136_Coast.indd 142 7/12/07 3:51:56 PM

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707mix140-141.indd 2 6/13/2007 2:19:39 PM
707mix140-141.indd 3 6/13/2007 1:50:32 PM
708mix158-159.indd 2 7/12/2007 5:13:48 PM
708mix158-159.indd 3 7/12/2007 5:14:34 PM
TECHNOLOGY
FIELD TEST
POWER TOOLS B y m at t m a r r i n
Solid State Logic AWS 900

Speeding Up Production, Tweaking the Mix
I
work with producers Jimmy Jam and we want to record
Terry Lewis in their Flyte Tyme Produc- to, see them on the
tions studios, in Santa Monica, Calif. AMS 900’s DAW
When we began thinking about gear for the control layer and
new five-room facility, we considered build- arm those tracks
ing custom consoles with a great-sounding to record while we
monitor section, DAW control, mic preamps, can change fader,
EQs and quality metering. Then SSL released pan, send levels,
the AWS 900 and we bought five. Here are playback, record,
some of our tricks for using the AWS for track- punch-in, solo,
ing, mixing and everything in-between. mute and locate
from the console.
TRACKING LIVE I can stay in the
While tracking, I use the AWS as a front middle of the con-
end to Pro Tools. I generally get my rough sole—in-between
mixes completely in the box, placing my the speakers—with-
stereo Pro Tools output into the AWS’ out a distracting
external input section. This lets me route computer screen in
my console mic/line inputs to the SSL Mix my face. It’s a refreshing way to work, and I ing sessions where the producers want to
bus and to Pro Tools’ direct inputs so our can always hop over to the computer screen feel an extra bottom-end punch, turning on
production team can actually hear them- to do a quick edit if necessary. the bass management provides more power
selves in case I switch between Pro Tools This method is also nice for figuring out and reduces the stress on my speakers at
sessions, or if the computer is off and vocal comps before putting them together. By higher volumes, avoiding a lot of blown
somebody just wants to work on a song. the end of the vocal tracking, Jimmy usually drivers. In the monitor section, press Moni-
When I’m ready to start tracking, I can has a complete map of the comps he’s going tor Options, select Bass, and then select 80
toggle between my SSL Mix bus and the to use. He plays back the sections he likes and BMN.
Pro Tools 2-track output, giving me some and confirms his notes by muting/un-muting
nice control over what I hear. I generally takes without having to rely on someone else THE MIX
stick to a 2-channel, in-the-box Pro Tools immediately editing the pieces together for We have 32 Pro Tools outputs and use
rough mix while tracking, unless I’m track- him. Once he confirms his comp map, we all of them when mixing. In the end, we
ing vocals. Then I keep analog channels can quickly assemble it in the computer. have about 30 tracks—15 stereo submix
1 through 4 on the console open for Pro stems—coming out of Pro Tools and into the
Tools outputs, routed to the SSL Record REFERENCE MONITORING AWS’ analog channels and aux returns, with
bus. This way, I can stem out a separate The AWS 900’s flexible monitor section can another stereo output for playing reference
vocal bus for the singer and he/she can accommodate most anything you send into mixes. From here I add compression to the
change the vocal levels on a private cue it. I usually have several different external stereo mix from the AWS’ center-section ste-
mixer in the booth. In this mode, I monitor 2-track playbacks patched in, along with my reo compressor. I may use a little channel EQ
the 4-channel stem mix via the SSL Record Pro Tools mixes. I can easily reference pre- here and there, or some filters, and a couple
bus—essentially, SSL mix bus 2. vious rough mixes and tracks that capture key channel inserts on drums/bass, etc.;
an energy I am looking to build in my cur- combined with the submixing and plug-ins
FAST VOCAL PRODUCTION rent project. I play these reference mixes in in Pro Tools, we get a powerful mix, using
Most Pro Tools users record vocals with a real time—in my Pro Tools session—lined the best of both analog and digital.
keyboard and a mouse; I do things a little up with the timing of my current project, I store console recall settings in my Pro
differently. Usually, I set up 20 or so vo- assigned to different outputs than my mix Tools session as MIDI sys ex data and my
cal tracks, some for leads and some for is assigned to so I can seamlessly A/B be- assistant writes channel-insert outboard
backgrounds. Jimmy and Terry like to avoid tween the mix and references. gear settings directly in the corresponding
using layered playlists in Pro Tools for vocal tracks’ comment field. This way, all recall
recording because it’s hard to instantly see THE BASS BUMP data is easily found for both the console
what we have recorded, and it’s an extra step The console’s bass management can out- and outboard gear, and we can easily get a
when it comes to comping vocals if you want put an LFE channel for surround or stereo. mix back up. n
to quickly mute/un-mute takes using only When mixing 2-channel material, I usually
the console faders and transport for play- listen to my small speakers—flat with no Matt Marrin is a freelance engineer. Visit
back. Working this way, we lay out the tracks subs attached—but sometimes during writ- him at www.mattmarrin.com.
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EC AWARDS

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Dolby® Media Producer is the deﬁnitive Dolby Media Producer Products

Dolby Media Encoder Performance on an Intel Mac*

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Nineteen-time Grammy Award Winning Engineer

Photograph by Chris Schmitt

"When it comes to a ribbon mic,

Royer Ribbons - Hears Like Your Ears

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StudioPatch 6425 The StudioPatch™ Series

StudioPatch™ Series audio patchbays feature bussed

For more information,

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Hear why award-winning engineer, producer, Nathaniel Kunkel relies on the

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sections technology columns

PAGE 106 48 Mix Interview: Roger D’Arcy

64 AudioNext: Soundelux DMG

98 Tech’s Files: Dare to Compare

121 Nick Lowe and Richard Thompson

COA S T TO COA S T 118 Field Test: Audiofile Engineering 16 Current

 MIX, August 2007 • www.mixonline.com

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GROUP EDITORIAL DIRECTOR Tom Kenny tkenny@mixonline.com

OFFICE MANAGER Lara Duchnick lara.duchnick@penton.com

George Petersen Founded in 1977 by D av i d S c h wa r t z and Penny Riker

magazine is affiliated with

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Chief Excutive Officer John French john.french@penton.com

Sr. Vice President, Administration Eric Jacobson eric.jacobson@

PHOTOCOPIES: Authorization to photocopy articles for internal corporate, personal

REPRINTS: Contact FosteReprints to purchase quality custom reprints or e-prints of

ARCHIVES AND MICROFORM: This magazine is available for research

LIST RENTAL: Marie Briganti marie.briganti@walterkarl.infousa.com

MAILING LISTS: Penton Media Inc. makes portions of our magazine

NATIONAL EDITORIAL, ADVERTISING AND BUSINESS OFFICES, 6400 Hollis

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14 MIX, August 2007 • www.mixonline.com

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notes from the P&E Wing

Fair Pay for Airplay

photo: steve jennings

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“I'm thoroughly impressed with what Focusrite has accomplished here.

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Yahoo! Originals Studios

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THE WHOLE TRUTH

Designed for professional monitoring and mixing, Audio-Technica’s

ATH-M50 professional studio monitor headphones. For true sound.

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MIX, August 2007 • www.mixonline.com