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INTERNATIONAL EDITION 

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AUDIOMEDIA 

THE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE 

FINAL CUT: 

Battlefield: 

Bad Company 2 

BAFTA WInner 

Product Sampler 

21 Recorders 

Next Gen' Audio Compression For 

Pro Tools, AU, and VST... 

Sonnox 

Fraunhofer 

Pro-Codec 

Master Of 

The Masses? 

AUDIOMEDIA 

THE INTERNATIONAL 

BUYER’S GUIDE 


A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP 

MONITORING & 

HEADPHONES 

2011 

PRODUCED BY 

AUDIO MEDIA 

01-Monitors&Headphones-2011-editorial-cover.indd 1 05/05/2011 08:45 

Special Supplement 

Monitoring & 

Headphones 

A NEWBAY MEDIA PUBLICATION 

Prolight+Sound 

Show Report 

Over 60 companies listed! 

0 5 

9 7 7 0 9 6 0 7 4 7 0 2 4 

WORLDWIDE EDITION 

ISSUE 246 •MAY 2011 • UK £3.80 

Also: Hot From Frankfurt Previews: DiGiCo D10 & D10B; Roland Systems Group R-1000 & M-480 • Waves OneKnob Bundle • Universal Audio UAD-2 Satellite • ElectroVoice R320 • Video Guide • Classic Cut: No Country For Old 

Men • Production Focus: Papa Sangre • Recording News • Broadcast News: NAB 2011 • Post News • GeoFocus: The Netherlands • What’s Up UK: Pinewood Offers On Table • CutScene: Develop Conference News • And More!

contents 

I S S U E 2 4 6 • M A Y • 2 0 1 1 

REGULARS 

GEOFOCUS: NETHERLANDS 24 

JIM EVANS finds out how TM Audio and Lightco 

have worked together to fit out De Vorstin in the 

Netherlands. 

WHAT’S UP UK 26 

KEVIN HILTON finds out what Peel’s bid for 

Pinewood could mean for the studio. 

CUT SCENE 28 

The annual games-fest starts to come together for 

Develop 2011, and we look at some highlights of 

the programme so far. 

FINAL CUT: BATTLEFIELD: 

BAD COMPANY 2 36 

Having won the BAFTA for Use of Audio, the audio 

creators of Bad Company’s sequel at DICE talk to 

JOHN BROOMHALL about what makes this game 

so special. 

VIDEO GUIDE 54 

Quantel gets a closer look in comparison to newer 

manufacturers, as KEVIN HILTON considers the 

players on the field of colour correction today. 

CLASSIC CUT: 

NO COUNTRY FOR OLD MEN 58 

STEPHEN DEUTSCH uncovers how when sound 

and music are considered early in the production 

process, they can become so integral as to 

become invisible. 

FEATURES 

PROLIGHT + SOUND 

SHOW REPORT 6 

A bumper-packed show report with all the latest 

releases, updates, and news hot from Frankfurt. 

PRODUCTION REPORT: 

PAPA SANGRE 40 

LISA GEE steals a creative insight into the game 

NEWS 

RECORDING 16 

Lynx says hello to Hilo; Native Instruments 

Kompletes the picture; Olympic LS20 is ready 

to record. 

BROADCAST/NAB 18 

SSL upgrades its broadcast consoles; Riedel 

launches MediorNet; Minnetonka wins with ACLS 

and AWE; Axia Radius – low cost IP console; new 

DK compact meter. 

POST 22 

Voice & Music becomes Soho Square Studios; 

CEDAR respeed launches; Alcons install at 

Universal Pictures. 

REVIEWS 

SONNOX FRAUNHOFER 

PRO CODEC 38 

PAUL MAC enjoys a testing time with the pro 

codec plug-in that assures perfect quality. 

WAVES ONEKNOB 44 

Oneknob actually multi-tasks beautifully via a 

fuss-free and simple interface, says STEPHEN 

BENNETT. 

UAD-2 SATELLITE 46 

The range of UAD plug-ins are brought to a new 

audience with the UAD-2 Satellite, says SIMON 

TILLBROOK, but just how good will they be? 

ELECTRO-VOICE RE320 48 

Electro-voice seems to have done the nearimpossible, 

says ROB TAVAGLIONE – updated the 

classic RE20 to even closer perfection. 

PRODUCT SAMPLER: 

RECORDERS 50 

AUDIO MEDIA whittles down the recorders list to 

Special Supplement 

Monitoring & 

Headphones 

RUSHES 

AUDIOMEDIA 





NEUMANN KH120 30 

The KH 120 studio monitors utterly convince 

with a sound so unremarkable as to be quite 

remarkable, says ALISTAIR McGHEE. 

DIGICO SD10 & SD10B 32 

With just a few tweaks, the SD10 can just as 

perfectly take to the stage as to the studio, says 

STEPHEN BENNETT. 

ROLAND M-480 & R-1000 33 

Roland branches out with its new live console and 

recorder. STEPHEN BENNETT finds out just why 

these will work so well in a field occupied with 

dominant players. 


MONITORING & 

HEADPHONES 

2011 


AUDIO MEDIA 

PRODUCED BY 



LITTLE LABS 500 SERIES VOG 34 

All beef without the muddy clutter, says SIMON 

TILLBROOK of the little bass resonance tool. 

SHADOW HILLS OPTOGRAPH 35 

Despite setting a high bar for itself, the latest 

with graphics limited only by imagination, and a 

world defined only by sound. 

present some of the very best for any number of 

applications. 

Shadow Hills release doesn’t disappoint, says 

SIMON TILLBROOK. 

2 

AUDIO MEDIA MAY 2011

C 

M 

Y 

CM 

MY 

CY 

CMY 

K 

A5-AUDIOMEDIA-V5.pdf 1 21/12/2010 13:20 

leader 

I wonder sometimes if combining music fans, artists, 

technologists, and engineers into single beings is such a good 

idea. Producers are a funny bunch, and they go even funnier 

when the balance is tipped too far one way. I think it's fine to give 

infamous producers – and engineers too – a kind of rock star status. It's the hierarchy 

we're happy with. After all, many people in audio were music fans in the beginning, 

so we're comfortable attaching 'legendary status' to those who have pioneered the 

art, or have pushed forward technological boundaries, and so on. The reward of the 

recognition of peers is also a great motivation to excellence. After all, if studio salaries 

were the only incentive, the industry would be a dark place. 

If we cross the line into arrogance, however, we are definitely in danger. If you ever 

think that audio is more difficult, or more (big picture) important, or more exclusively 

ours than any other professional endeavour in any subject or sphere, then it's time to get 

perspective. That way lays the path of a prima donna. And nobody likes prima donnas. 

Is idealism to the point where you are fighting against the popular (salary paying) 

masses, another kind of artistic arrogance? If you consider the art of heavy compression 

so a song sounds great on the radio is a terrible, unmentionable thing, then aren't you 

cutting off your nose? If you consider the mp3 or AAC to be the work of a demon, then 

aren't you biting the hand? 

Successful rock stars sometimes do a bit of messing about in the middle of the 

playlist, sure, but for the finale, and the encores, they give the audience what they want 

– what is popular – to the best of their ability. It's our love of quality audio that keeps 

our aspirations high, and that is right. But it should be a love of others loving music that 

informs professionalism and service. 

Paul Mac, Editor 

Rycote® InVision Studio Kit 

A Truly Universal Vocal Mic Suspension & Pop Filter System 

I would like to thank all the generous pro audio companies and individuals who donated 

UK RRP 

money to the National Deaf Children’s society on the back of my London Marathon run. 

£95.00 inc VAT REMOVE THE WEAK LINK FROM YOUR RECORDING CHAIN 

We’ve raised almost £2,500 for the NDCS. 

Rycote’s new InVision Studio Kit combines the best-selling Universal Studio 

Mount (USM) with the brand-new Universal Pop Filter, creating a versatile, 

long-lasting, universal vocal microphone system for under £100. It’s 

Paul Mac, Editor 

AUDIO MEDIA 

harder-wearing than other microphone suspensions, more vibration-resistant 

and better at protecting your mic from vocal pops and thumps without 

high-frequency loss. If you record vocals, you owe it to yourself to try one. Go 

for the universal solution, and let the Studio Kit rock your vox! 

• Fits virtually all large-diaphragm mics 

• No need to change suspensions when you swap microphones 

• Up to twice as resistant to unwanted vibrations as elasticated mic mounts 

• Reduces vocal pops and thumps by up to 20dB — with no HF loss! 

• Replaceable, hygenic foam mesh 

Rycote®. Sound solutions for studio recording. 

REVIEW 

DiGiCo SD10 & SD10B 32 

RUSHES 

Shadow Hills Optograph 35 

FEATURE 

Papa Sangre 40 

Rycote Microphone Windshields Ltd 

Libby’s Drive, Slad Road, Stroud, Gloucestershire GL5 1RN, UK 

Tel: +44 (0) 1453 759338 Fax: +44 (0) 1453 764249 Email: sales@rycote.com 

For more information, 

please visit our website at 

www.rycote.com 

AUDIO MEDIA is a Sustaining Member of the Audio Engineering Society. 

AUDIO MEDIA 

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Group Publisher Europe 

Raffaela Calabrese 

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Editor In Chief 

Paul Mac 

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News/AMSR Editor 

Jo Fletcher-Cross 

pr@audiomedia.com 

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Production Editor 

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Design & Production Manager 

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jp.shirreffs@audiomedia.com 

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© 2011 IMAS Publishing (UK) Limited. All rights reserved. 

*Within Broadcast & Production 

REVIEW 

UAD-2 Satellite 46 

ADVERTISERS INDEX 

Adam Audio 22 Orbital 16 

Audio-Technica 10 

Prism Sound 13, 42 

DiGiCo 60 

Fostex 12 Radial 59 

Genelec 11 Roland RSG 14, 31 

HHB 23 

InfoComm 53 

Solid State Logic 18-19 

JoeCo 51 Sonic Distribution 3, 5, 29, 49 

KMR Audio 15 Sonnox 9 

Lawo 21 

Midas 41 

Tascam 40 

NewBay Media 27 Unity Audio 43 

4 


Show Report 

Prolight + Sound 

Musikmesse 2011 

Prolight + Sound Musikmesse 2011 attracted 75,221 visitors and 1,511 exhibitors from 55 countries. For four days, from April 6-9, 

2011, the fair transformed Frankfurt am Main into the audio capital of the world. 

“Prolight + Sound Musikmesse was a complete success for our members from the fields of production, sales, trade, and media,” 

commented Jochen Stock, Chairman of the Board of the Society of Music Merchants. “The mood throughout the sector is good, and 

this is confirmed by our sales figures.” 

There were a vast array of exciting new products from pro-audio manufacturers, a selection of which are presented here. 

AMS Neve showed its 1073LBEQ 

500 Series Mono Equalizer Module. 

It is the second 500-series format 

module AMS Neve has built in 

the image of the company’s 1073 

Classic module, following the 

debut of 

the 1073LB 

mic pre at 

AES 2010. 

The 1073LBEQ retains the sonic 

characteristics of the classic module 

by using the same architecture, 

matching components, and legendary 

three-band EQ design. New 

features include a signal presence 

LED and Neve’s Audio Processing 

Insert design. 

www.ams-neve.com 

AMS Neve 

1073. 

Apogee’s Duet 2 is an updated version 

of the company’s USB audio 

interface. The new version adds 

a full colour OLED display and 

assignable touchpads. The unit 

features two combination line/mic 

inputs, two balanced line outputs, 

and one quarter-inch stereo head- 

phone output. Two microphone 

pre-amps provide up to 75dB of 

gain. 

www.apogeedigital.com 

Audinate’s Dante digital network- 

ing solution had a notable presence 

at the show. In addition 

to its integration with product 

launches by manufacturers 

such as Allen & Heath, 

DiGiCo, and Four Audio, 

Dante played a major role 

in the project that won this 

year’s Systems Integration 

Award. The award was presented 

to Hartman+Mathias 

Partnership at 

Prolight+Sound for equipping 

Frankfurt am Main’s 

Goethe University. It was the 

first project in Germany to use 

Audinate’s Dante solution as 

the audio network. 

www.audinate.com 

Avid exhibited with Sibelius and 

Pro Tools 9. Also on show were 

the M-Audio Venom synthesizer, 

and the Eleven Rack Expansion 

Pack. The Eleven Rack Expansion 

Pack is a software add-on for the 

guitar recording and effects processing 

system with additional 

guitar amp and effects emulations 

and the ability to turn Eleven Rack 

into a bass rig and vocal 

studio. 

www.avid.com 

Virtual instrument 

and sample library 

distributor Best Service 

presented five new packages. 

World Percussion, Forest 

Kingdom, Klanghaus, 

ElectraX, and Kraftworker 

will be distributed worldwide 

by Best Service. All 

products are currently shipping. 

www.bestservice.de 

BSS Audio introduced control and 

monitoring for additional Crown 

amplifiers with the release of 

HiQnet London Architect v3.06. 

The updated configuration, control, 

and monitoring software for 

the Soundweb London family of 

networked signal processors now 

provides control and monitoring 

for Crown CTs 4200/8200, Macro- 

Tech i, and CTs amplifiers with a 

USP4-CN PIP Module. 

www.bss.co.uk 

CharterOak was showing its new 

MPA-1 microphone pre-amp. 

The MPA-1 is a solid-state, dual 

channel microphone pre-amp with 

transformerless input circuitry and 

transformer balanced output. Input 

and output gain controls manipulate 

the signal from transparent to 

pleasant colouration. 

www.charteroakacoustics.com 

DPA Modular Series 

DPA Microphones showed its new 

modular series of microphoens at 

ProLight + Sound 2011. According 

to DAPA, the reference standard 

microphones "take DPA's Standard 

and Compact ranges a step further. 

The range offers increased flexibil- 

ity, sound quality, and cost-effec- 

tiveness." The range includes the 

Reference Standard 4000 Series, 

which builds on the STandard and 

Compact 4006, 4011, 4015, and 

4017 mics, and the pioneering new 

twin diaphragm capsules that form 

the 2000 series. 

www.dpamicrophones.com 

IOSONO presented its new Spatial 

Audio Workstation with Upmix 

technology. In the workstation’s 

single display, all tracks and events 

occur as sound objects, providing 

convenient positioning and movement 

of audio. Upmix recovers surround 

sound from stereo material, 

which can then be manually finetuned. 

www.iosono-sound.com 

Loudspeaker designer On Point 

Audio introduced the OPA-28 NP, a 

high-output dual eight-inch coaxial 

speaker system. The system 

features coaxially mounted 1.35- 

inch titanium compression drivers, 

contributing to the encolusre’s 

slim profile, the outside width of 

which is only 7.3-inches. 

www.onpointaudio.com 

Two Notes audio engineering 

expanded its Torpedo range with 

the addition of the PI-101 speak- 

er simulator and 

> 

6 


Show Report 

> 

LB-202 dual channel loadbox and 

attenuator. Two Notes’ Torpedo 

technology uses several measurements 

of a real cabinet and microphone 

set-up to accurately reproduce 

the system and the microphone 

position. 

www.two-notes.com 

ADAM Audio launched a new 

AX monitor at Prolight + Sound. 

The A77X features the company’s 

X-ART tweeter, new woofers and 

amplifiers, and re-designed speaker 

cabinets. The two seven-inch 

woofers feature large 1.5-inch 

voice coils and powerful amplifiers, 

capable of high sound pressure 

levels and very deep registers. One 

of the woofers covers bass frequencies 

up to 400Hz, while the other 

takes over most of the mid-range. 

www.adam-audio.com 

AKG launched two new products; 

the BBB DFive Beatbox microphone 

and the C544 L Headset 

microphone. The BBB DFive is a 

version of the D5 that has been 

adapted for beatboxing. It has a 

more effective internal windscreen 

to prevent unwanted plosive 

sounds without altering the 

natural sound of the microphone. 

The C544 is designed for sporting 

applications, presentations, or live 

vocals. A cheek pad keeps the mic 

in place if the user’s head is turned 

abruptly. 

www.akg.com 

ADAM Audio A77X 

Alcons Audio presented a collection 

of new products at 

Prolight+Sound. The production 

versions of the LR24 three-way 

mid-size line-array and LB24 

line-array bass are designed specifically 

for the concert touring and 

large-scale installation markets. 

The BC543 is a brand new cardioid 

sub-bass loudspeaker and 

features an industry first, three 

state-of-the-art 18-inch, longexcursion 

woofers, with allcarbon 

fibre cone and dust cap. 

The new ‘engine’ behind every 

Alcons system, the Sentinel ALC 

is a powerful four channel DSPbased 

controller with full Class D 

amplifier stages. 

www.alconsaudio.com 

Allen+Heath exhibited its iLive 

digital mixing system fitted 

with the new Dante audio interface 

card, providing up to 64x64 

bi-directional audio channels. 

It demonstrated iLive working with 

other Dante-enabled equipment, as 

well as virtual soundcard recording. 

Also on display was a new 

Audio Technica unveiled 

a host of new products at 

Prolight+Sound. Among 

them were two new 

broadcast microphones, 

an X/Y stereo condenser 

microphone, and a 

condenser microphone. 

The BP4001 (cardioid) 

and BP4002 (omnidirectional) 

dynamic microphones are 

designed for broadcast 

interview and remote 

newsgathering situations. 

The AT2022 features 

two 

unidirectional 

condenser capsules in an 

X/Y configuration to allow 

for narrow or wide stereo 

operation. It is designed for 

field sound and general stereo 

recording. 

The AT2031 cardioid 

condenser end-address 

microphone is ideal for 

stringed instruments in 

critical recording and live 

situations. 

www.audio-technica.com 

iLive MixPad app, for 

remote control of essential 

live mixing functions. 

Also on show was the new GS-R24, 

an affordable, yet high quality analogue 

console with motorised faders, 

MIDI controllers, and a selection 

of interface modules. 

www.allen-heath.com 

APG expanded its 

UNILINE compact 

line array system at 

Prolight+Sound, with the 

launch of the UL210D 

cabinet. The UL210D is a 

dedicated downfill speaker 

for the UNILINE system, 

providing extended downwards 

coverage when 

placed at the bottom of a 

hang of UL210s. Also on 

show was the SB115, a 

compact subwoofer that 

replaces the SUB 138P. 

www.apg.tm.fr 

Audient launched the Dual Layer 

Control module for its ASP8024 

console. The DLC module gives 

users total control of the computer 

session, plus eight channels of 

analogue moving fader automation. 

Also introduced at the show 

was Audient’s FaderLink software. 

The software provides plug-in 

control of Audient auto- 

mated consoles – Zen, 

ASP8024-DLC 

and 

ASP2802, and opens up 

Audient’s analogue auto- 

mation to all DAW pack- 

ages supporting standard 

plug-in formats. 

www.audient.com 

Aviom 

showcased its 

personal mixers at the 

show. “We are very proud 

that Aviom’s Personal 

Mixers have become the 

tried and true choice within 

the audio industry,” com- 

mented Aviom President 

and Co-Founder, Carl Bader. 

“The A-16IIs have been used 

by everyone from worldclass 

artists to the newest 

generation of audio profes- 

sionals.” 

www.aviom.com 

Blue Microphones show- 

cased two new studio 

microphones and a new 

desktop USB micro- 

phone. Reactor is a multipattern 

microphone with 

a swivelling capsule head. 

It features Blue’s premium 

condenser capsules, fully 

discreet Class A solid state 

components, and propri- 

etary pre-amp for noiseless 

live switching between pat- 

terns. Also on show was YetiPro, 

the first USB microphone to combine 

24-bit/192kHz digital recording 

resolution with an analogue 

XLR output. 

www.bluemic.com 

Beyerdynamic launched Touring 

Gear, a complete range of live 

microphones. The Touring Gear series 

features vocal, headset, lavalier, 

drum, and insrument microphones, all 

of which benefit from Beyerdynamic’s 

new Sound Channelling Technology, 

which uses precisely tuned delay 

lines and attenuation pads to 

influence model the sound and polar 

pattern. The series is split into four 

categories, ranging from the entry 

level TG30 range to the flagship 

TG90 range. “Our goal was to retain 

the best elements from our existing 

models and combine these with the 

latest technology and materials,” 

commented Mario Gebhardt, Audio 

Products Development Manager.” 

www.beyerdynamic.com 

Crown Audio introduced its XTi 2 

amplifier series. The XTi 2 features 

enhanced control with Crown’s 

proprietary PeakX Plus limiters. 

The limiters are derived from the 

same framework as those found 

in I-Tech HD and the new XLS 

DriveCore Series amplifiers, allowing 

users to manipulate threshold, 

attack, and release times. A new 

and improved subharmonic synthesizer 

offers more accurate control 

over which frequencies are targeted 

and can be tailored for a specific 

system or room set-up. 

www.harman.net 

DiGiCo announced the adoption of 

Audinate’s Dante digital networking 

solution and the launch of two 

new Dante implemented products. 

The first is an eight-channel I/O 

module for the SD-Rack that allows 

users to drop audio on and off a Dante 

network for connection to system 

control, amplifiers, and general audio 

networks. The second is the Dante 

DiGiCo Multi-channel Interface card. 

The Dante DMI card can be added to 

either a D-Rack or SD-Rack and allows 

the user to connect the I/O rack, via 

CAT5, to a standard PC or MAC. 

Also on show was DiGiCo’s new 

Remote Record Interface, a remote 

recording solution for all applications 

in native Mac or PC formats. 

www.digico.biz 

d&b audiotechnik showcased its 

White range of integration loudspeakers, 

which were launched 

at ISE earlier in the year. Also on 

> 

AUDIO MEDIA MAY 2011 

7

show report 

> 

show was a selection of d&b’s 

established Black range. 

www.dbaudio.com 

Dark Matter Audio launched the 

DMA1, a touch screen audio hub. 

The DMA1 is the medium for a 

planned range of audio apps such 

as guitar effects processors and 

digital patchbays. 

www.darkmatteraudio.com 

EM Acoustics introduced the X3 

horn loaded PA system, the companion 

to the company’s Quake 

subwoofer. The system comprises 

a horn-loaded 15-inch LF drive unit, 

a horn-loaded eight-inch MF drive 

unit, and six one-inch compression 

drivers on a bespoke waveguide, 

creating a horizontal line source 

that allows multiple X3 enclosures 

to form arrays. 

www.emacoustics.co.uk 

Genelec 1238CF. 

L-Acoustics showcased version 1.8 

of its SoundVision 3D Simulation 

software. The new version features 

an updated data product library 

that includes the new architectural 

series. 

www.l-acoustics.com 

RME presented a new Remote 

Control for its Fireface UFX and 

ADI-8 QS audio interfaces, as well 

as a special edition version of its 

babyface interface. 

www.rme-audio.de 

EAW displayed the latest additions 

to its KF, QX, and JF Series. 

Amongst the products on display 

were the latest ten additions to the 

JF Series of high-definition twoway 

loudspeaker systems, four of 

which are integrated NT models. 

The new JF and JFNT models are 

scalable, compact loudspeakers 

designed for small and mediumsized 

sound reinforcement applications. 

www.eaw.com 

Focusrite introduced RedNet 5, the 

latest addition to its RedNet family 

of networked audio interfaces. 

RedNet 5 connects to a Pro Tools 

HD system via DigiLink, making 

use of the low-latency performance 

of Pro Tools HD cards alongside 

RedNet’s audio interfaces to configure 

a flexible mixing system. 

www.focusrite.com 

Genelec presented a new addition 

to its DSP range of monitors. 

The 1238CF is a three-way monitor 

with digital signal processing and 

AutoCal calibration. It is also compatible 

with Genelec Loudspeaker 

Manager control software and can 

be combined with 8200/7200 

Series products in the same con- 

trol network. 

www.genelec.com 

HARMAN Professional intro- 

duced HiQnet Performance 

Manager software, a user 

interface for the design of 

sound reinforcement systems. 

The system is based on 

HARMAN’s HiQnet System 

Architect 2 connectivity and 

control software. It is fully inte- 

grated with JBL’s Line Array 

Calculator II configuration and 

modelling software. 

www.harmanpro.com 

HK Audio’s Elements line of 

modular sound reinforcement 

won an award for Best Portable 

Sound at the 12th annual 

Musikmesse International Press 

Award Ceremony. The Elements 

line consists of six highly portable 

components. 

www.hkaudio.com 

Innovason unveiled the latest 

incarnation of its Eclipse digital 

mixing console, the Eclipse GT. 

The GT model adds some aesthetic 

touches such as red LEDs in the 

side-cheeks and higher quality 

knobs and faders. It has also been 

given Innovason’s signature red 

trackball and a side-rail to make 

the console easier to manoeuvre. 

www.innovason.com 

JBL Professional presented its 

EON515XT active loudspeaker. 

The powered portable speaker 

is a direct replacement for the 

EON515. The new model offers 

increased input sensitivity, a lower 

KRK Systems introduced a new mid-field three-way monitor system. The ROKIT RP10- 

3 is designed to deliver full range professional performance in a mid-field monitor 

package. A rotatable tweeter/mid-range speaker mount plate ensures accurate acoustic 

alignment for vertical and horizontal installation. 

Also on show were two new powered subwoofers, the KRK12sHO and KRK12s. 

The KRK12sHO delivers an intense focused bass response for demanding high-level 

applications, while the KRK12s is a workhorse subwoofer for music production where a 

precise representation of the bass frequency spectrum is a necessity. 

www.krksys.com 

noise floor, and user selectable EQ. 

The entire system has been optimised 

for peak performance and 

enhanced audio precision. Also on 

show was the EON210P, a complete 

portable PA system. 

www.jblpro.com 

Austrian microphone manufacturer 

Lewitt GmbH displayed its 

full range of wireless, recording, 

and performance microphones. 

Amongst those on display were the 

company’s flagship LCT 640 and 

DTP 640 REX models. The LCT640 

is a large-diaphragm condenser 

microphone for studio recording. 

The DTP 640 REX is a dual-element 

cardioid microphone, optimised 

for kick drum applications. It combines 

a high-performance backelectret 

and a dynamic capsule in 

a single mic to capture punch and 

attack as well as the round tonal 

response of the drum’s shell. 

www.lewitt-audio.com 

Line 6 showcased its new XD-V 

digital wireless microphone systems. 

Unlike conventional core 

TV band UHF wireless systems, 

XD-V systems operate in the 2.4 

GHz band, permitting worldwide 

license-free operation and avoiding 

interference. 

www.line6.com 

Mackie presented a complete 

redesign of its MR8 line 

of powered stu- 

dio monitors. 

The mk2 

monitors feature 

all-new 

professional 

transducers 

specifically 

designed to 

match their 

respective 

amplification. 

The 

new models 

employ a 

1-inch neodymium 

magnet-driven 

soft 

dome tweeter 

featuring ferrofluid 

cooling to 

help protect against power compression 

during dynamic playback. 

Two new Onyx recording interfaces 

were on display, the Onyx 

Blackjack and Onyx Blackbird 

combine Onyx mic pre-amps with 

Cirrus Logic AD/DA converters. 

Also on show were two new VLZ3 

mid-format live analogue consoles, 

each with dual internal effects processors, 

dedicated compression, 

and four-track recording via USB. 

www.mackie.com 

Martin Audio's Multi-cellular 

loudspeaker array scooped this 

year's Musikmesse International 

Press Award for Best PA System. 

Held for the 12th year running, the 

award was voted for by more than 

100 magazines worldwide and 

presented to Managing Director, 

Anthony Taylor and R&D Director, 

Jason Baird. “To be recognised by 

the world’s press, the harshest critics 

of all, underpins the faith that 

we and our customers have in this 

incredible game-changing system,” 

commented Baird. The award was 

one of 40 recognised by the panel. 

www.martin-audio.com 

Mayah unveiled five new MADI 

products for recording, stage, and 

broadcast sound. 

“With our MADI products family we 

JBL EON210P. 

> 

8 


Audio Encoding Changed for Good 

Old way to encode audio 

New way to encode audio 

Real Time Codec Auditioning 

The Sonnox Fraunhofer Pro-Codec makes it possible, for 

the fi rst time, to audition and encode to multiple formats in 

real time within a DAW environment. Maximum fi delity is 

assured, as the Pro-Codec helps create compensated mixes 

optimized towards specifi c target codecs for fi nal coding and 

online distribution. 

• All major codecs supported: mp3, AAC, lossless codecs etc. 

• Comprehensive auditioning with glitchless switching 

• AB and ABX mode for blind statistical testing 

• High resolution display and extensive metering 

• Real time encoding, plus offl ine encoding and decoding 

For more details and a free demo visit: 

www.sonnoxplugins.com/procodec

Show Report 

> can emphasise our position in the 

market of studios and live events, 

commented CEO Detlef Wiese. 

“We strongly believe that MADI 

will be applied more and more 

without getting in conflict with 

the Audio-over-IP technology.” 

matching KH120 two-way active 

near-field monitor. The KH810 can 

either be used as a subwoofer dedi- 

cated to reproducing the LFE chan- 

nel, or to provide low frequency 

extension with an increased maxi- 

mum SPL. 

www.mayah.com 

www.neumann.com 

Meyer Sound presented the 

D-Mitri digital audio plat- 

form and Constellation 

acoustic 

system. 

Constellation is a breakthrough 

in flexible acoustics 

that enhances the live 

performance experience for 

both musicians and audiences. 

By harnessing Meyer Sound’s patented 

algorithm, advanced digital 

processing, and miniature transducer 

technology, Constellation 

can be used to replicate acoustical 

environments with the aural 

qualities of the world’s best 

rooms. It enables venues to adapt 

their acoustics for each kind of 

performance they host. 

www.meyersound.com 

Neumann launched an active studio 

subwoofer. The KH810 has 

been released in the wake of the 

Roland Systems Group unveiled its new flagship digital console, the M-480. Like the 

M-400, 380, and 300, the new console functions as a central unit in a full V-Mixing 

System. It has received a powerful new mixing engine and can be integrated with 

Roland’s Digital Snakes, Personal Mixing and Multi-Channel Recording solutions. The 

M-480 V-Mixer features 48 channels, six stereo returns, and an expanded EQ. It also 

has a total of 27 busses, with 16 auxiliaries, eight matrices, and full support for mono, 

stereo, or LCR sound design. With the addition of digital I/O boxes, the console can 

support up to 90 inputs and 90 outputs. 

Also on show from Roland was the R-100, a 48-track recorder/player for live audio 

and sound-checks. The stand-alone unit is designed to work with a V-Mixing system 

and can be connected with any digital console that has MADI output by using the 

Roland S-MADI REAC MADI Bridge. 

www.rolandsystemsgroup.com 

Following Optocore’s strategic 

partnership with Clear-Com, 

two new network convert- 

ers have been developed to 

enable Clear-Com systems 

to uniquely operate on 

Optocore’s digital fiber and 

CAT5 networks. The V3R-FX- 

Intercom for Clear-Com is a four 

I/O channel intercom unit, while 

the X6R-FX-Intercom for Clear- 

Com is an eight I/O channel intercom 

unit. 

www.optocore.com 

PreSonus showcased its new 

StudioLive 16.0.2 digital recording 

and performance mixer. The compact 

16-channel mixer is targeted at 

small bands and personal studios. 

It offers the same audio quality as 

the two larger StudioLive models, 

with high-headroom, 32-bit floating-point 

processing and XMAX 

> 

10 


8030A 8050A 8040A 8020B 

The number one choice of professionals. 

For more than 30 years Genelec has pioneered groundbreaking solutions in active monitoring. Genelec brand stands for 

accuracy, exceptional reliability and consistency. The all-aluminum 8000 Series represents the core of the experience. 

It has become the gold standard for audio professionals around the world. Regardless of size, each Genelec monitor 

is handcrafted and individually calibrated to perfection in Finland. Just listen to hear the difference. 

GET PROFESSIONAL. WWW.GENELEC.COM/8000

Show Report 

> pre-amps. It also has MIDI input and output, 

providing MIDI control over key mixer parameters. 

Using an external MIDI controller or MIDI 

messages transmitted over FireWire by computer, 

users can control the main output level 

and effects output levels, recall effects pre-sets, 

assign effects to the main bus, and recall global 

mixer Scenes. 

www.presonus.com 

Proel presented the latest addition to its Flash 

series of compact loudspeakers. Flash 5 is 

the most compact model in the series. Active 

and passive models are available. It features a 

100 W Class D bi-amplification module and a 

precision-designed crossover filter. Flash 5 is 

designed for short and mid-range applications, 

such as for use with a PC, or as a stage monitor. 

www.proel.com 

Soundcraft expanded its Si Compact 

range with the release of the Si 

Compact 32. The new mixer is capable 

of delivering 40 inputs to mix, while 

maintaining the DSP functionality 

of its predecessors. The Si Compact 

features 14 main busses, four matrix 

buses, four dedicated FX buses, four 

full-time Lexicon effects engines, 

and a range of option cards to 

interface with other systems. Like 

other Si Compact models, it can 

connect via MADI to the new Compact Stagebox. 

Also on offer from Soundcraft was VM2, a new product developed alongside AKG to enable wireless mic monitoring 

in the mixer. It monitors the status of any HARMAN HiQnet compatible AKG radio mic, directly from the surface of a 

Soundcraft Vi Series console. 

www.soundcraft.com 

Radial Engineering displayed the new Q3 module, 

a three-band induction coil EQ designed 

to fit 500 series racks such as the Radial 

Workhorse. It features four easy to use controls; 

a top end boost circuit, a mid-range cut circuit, a 

bass boost circuit, and a gain make-up control 

to offset the typical signal loss that occurs when 

using passive EQ designs. 

www.radialeng.com 

EXCELLENCE 

IN THE FIELD 

FM-4 : FM-3 : FM-1 

Portable Location Mixers & Preamp 

Robust, high specification, professionally engineered portable mixers, 

(and new FM-1 mic preamp), specifically designed for location film & 

TV production, electronic field production and ENG applications. 

Renkus-Heinz unveiled a new medium format 

loudspeaker system. The IC is a powerful, digitally 

steerable system for theatre and club installations. 

Also on display were the expanding 

IC Live family of digitally steerable array loudspeakers, 

and the new CF/CFX101-LA Modular 

Point Source Array, a solution for small and midsized 

venues. 

www.renkus-heinz.com 

Rupert Neve Designs showed its full range of 

Portico and Portico II series modules, the new 

Portico II Stereo Buss Processor, and the 5088 

Fully Discrete Mixer. The Portico II Stereo Buss 

Processor is a stereo compressor and mastering 

limiter with high-voltage discrete signal paths 

and a new stereo field editor design with bandfiltered 

width and depth. 

www.rupertneve.com 

FM-1 

Portable Mic Pre-Amp 

for ENG Applications 

FM-4: 4 Channel Mixer with EQ 

FM-3: 3 Channel Mixer 

sE Electronics presented the finalised version of 

its Egg loudspeaker. Its egg-shaped enclosure 

is intended to minimise distortion by creating 

a near perfectly neutral chassis. The crossovers 

are fully active and have been digitally modelled 

and matched to give near perfect phase and 

transient response. The result is a fast acting, 

accurate speaker. 

www.seelectronics.com 

A high quality mic preamp 

with powerful microphone 

gain limiter. Compact, rugged 

and simple to use. 

3-2-35 Musashino, Akishima, Tokyo, Japan 196-0021 Email: info_sales@fostex.jp www.fostex.com 

Sennheiser showcased its newly developed 

evolution wireless ew100 G3-1G8 series microphone 

systems. They are the first wireless 

systems to transmit signals in the 1800 MHz 

frequency band, which has been approved in 

several European countries for wireless audio 

transmission. Also on show was the company’s 

first side-address large-diaphragm microphone, 

the MK 4. The MK 4 is a cardioid true 

> 

12 


Joshua Blair and Mark Ronson 

(Sphere Studios) 

Deadmau5 

Pete Tong 

Freemasons 

Nic Fanciulli 

The only interface 

for the job 

When looking for a high quality I/O solution there is 

only one choice. 

Orpheus provides Prism Sound's world renowned 

performance, sound quality and state-of-the-art clock 

technology in a dedicated FireWire unit compatible with 

both Windows and MAC OS X. 

Orpheus features line, microphone and instrument 

inputs, selectable RIAA Equalization for turntables, a 

built-in premium-quality monitoring mixer and 

concurrent ADAT and switchable S/PDIF or AES3 digital 

I/O plus support for outboard MIDI devices. The 

Microphone inputs include MS matrix processing and dual 

headphone outputs are provided each with their own 

volume control. 

ORPHEUS 

Professional FireWire 

audio interface 

Contact us now to arrange your Orpheus demo. 

sales@prismsound.com www.prismsound.com 

UK +44 (0)1353 648888 USA +1 973 983 9577

show report 

> condenser microphone, developed 

for professional users in project 

studios. 

www.sennheiser.co.uk 

Shure introduced Axient, a wireless 

management network that can 

automatically change frequencies 

to avoid interference. Also on show 

was the PSM 1000 In-Ear Personal 

Monitoring System, with twice 

the RF bandwidth of the PSM 900. 

Shure also introduced a variety of 

products for ENG and broadcast 

applications: the UR5 and UR3 

portable wireless solutions, VP68 

omnidirectional 

microphone capsule, 

and VP89 and 

VP82 shotgun microphones. 

Sennheiser 

MK4. www.shure.co.uk 

Shure PSM 1000 EM. 

Studiomaster 

presented the 

Studiomaster 

DIGILIVE 24, the 

company’s first digital 

console, and a 

co-development with 

Somix Audio Labs. 

DIGILIVE 24 was 

designed primarily 

as a live mixing console, 

but an optional 

Firewire interface 

provides recording 

and production capabilities. 

Rackmount 

expander modules 

provide for exten- 

sion of the 24-channel mixer up 

to a 40-channel mix system with 

one module and 56 channels with 

two modules. 

www.studiomaster.com 

Sonnox presented a mastering 

solution for online distribution, 

developed alongside Fraunhoffer 

IIS. The new Sonnox Fraunhoffer 

Pro-Codec plug-in makes it 

possible to precisely audition 

codecs in real time, saving time 

that would otherwise be spent 

re-rendering. 

www.sonnoxplugins.com 

Sonodyne launched the SM 300A, 

a three-way compact active midfield 

monitor that follows in the 

footsteps of the SM 50Ak and SM 

200Ak. The SM 300A is designed 

to deliver detailed sound at high 

db levels and over a large frequency 

bandwidth for professional studios. 

www.sonodyne.com 

SPL introduced the NEOS mixer, 

based on the company’s 120 V 

technology. NEOS is designed for 

mixing and monitoring applications 

in computer-based environments. 

The compact 7U 19-inch 

mixer includes 12 stereo buses 

for 24 channels, and a master bus. 

Every stereo bus can be switched to 

mono, and the master bus features 

a complete monitoring section. 

It can be used to mix stereo stems 

and specific mono channels in analogue, 

after computer editing. 

www.spl.info 

> 

Call 01792 702 701 to arrange a trial 

www.rolandsystemsgroup.co.uk 

THE NEW 

M-480 V-MIXER 

FROM ROLAND 

Introducing a 60-channel console built around a world-class 

mixing engine. The M-480 combines power and flexibility 

with a simple, intuitive user interface. And for anyone in the 

hire or rentals business, you’ll get a better return as it’s a lot 

more affordable than you’d imagine. 

SELECTED SySTEM SpECIfICATIonS 

> InpUT: 48 channels + 6 stereo returns 

> BUS: L/C/R, 16 AUX buses, 8 matrix buses 

> Channel input delay: 60 Channels 

> full 4-band pEQ / 48 Gates, 48 compressors and limiters on outputs 

> output delay: 27 (all output buses) 

> Effects and GEQ: six stereo effects, twelve GEQ processors 

> CASCADE: connect two or more M-480 consoles 

Roland’s coRe etheRnet-based technology enabling 

the Rapid, efficient tRansfeR of pRistine digital audio 

s-4000 series 

Digital snake 

s-1608 

stage Unit 

s-0808 

8x8 i/o Unit 

s-4000M 

reaC Merge Unit 

s-MaDi reaC BriDge 

s-4000D sPlitter 

M-48 

Personal Monitor 

14 


Roland Orange 

PANTONE Color: PANTONE 151 

Process Colors: Magenta 60% + Yellow 100% 

Black 

Wh

Show Report 

> SSL launched the X-Panda, a 

24-channel SuperAnalogue 

mixer. X Panda is a small format 

analogue mixer aimed at 

project studio owners. 

It provides eight 

mono channels, each 

of which have Main 

and Alt inputs, and 

four stereo channels, 

giving a total 

of 24 channels at mix 

down. Alongside 

an SSL X-Desk, 

X-Panda introduces 

24 additional channels, 

which feed 

directly into the 

X-Desk Master Buss, 

Cue, and Aux Send/ 

Return system via 

the X-Desk Link connection. 

X-Panda can 

also be used with any 

other mixer to expand the 

channel count. 

www.solid-state-logic.com 

Steinberg presented its new 

HALion 4 software. The VST 

instrument offers a fully integrated 

sound design environment 

that combines sampling, 

synthesizer, mixing and an 

array of effects. It comes with 

44 effects such as the REVerence 

convolution reverb, in addition 

to a vast sound library of over 

1,600 sounds. Steinberg also 

introduced the Yamaha Vintage 

plug-in collection. The new collection 

is made up of Vintage 

Channel Strip, Vintage Open 

Deck, and Vintage Stomp Pack, 

all of which have previously only 

been available as VCM add-on 

effects for high-end Yamaha 

digital mixers. The Yamaha 

Vintage collection is available in 

VST 3, VST 2.4, and AU plug-in 

formats for multi-instance use 

within digital audio workstations. 

www.steinberg.net 

Tannoy showcased its VX and 

VXP Series of loudspeakers. 

The passive VX Series combines 

install-friendly cabinet 

designs with proprietary Dual 

Concentric driver technology. 

Dual Concentric drivers combine 

the high and low-frequency 

driver to create a single true 

point source, thereby improving 

off-axis performance. 

The self-powered VXP Series 

also integrates Lab Gruppen 

amplification. 

www.tannoy.com 

Telefunken Elektroakustik 

introduced the CU-29 

Copperhead, a condenser mic 

with a vintage New Old Stock 

tube. The new microphone 

exhibits similar character- 

istics to those in its R-F-T 

series counterparts, the 

AR-51 and the AK-47 MkII. 

Telefunken also intro- 

duced the M80-WH, a 

wireless microphone cap- 

sule head that was origi- 

nally developed for Green 

Day. It is sonically open 

with a directional pickup 

pattern and wide frequen- 

cy response. 

www.telefunken.com 

TTA demonstrated its 

Stagetracker system, a 

theatre audio solution that 

tracks the position of a per- 

former on stage and applies the 

information to the microphone 

in real time. Mounted above 

the stage, the Stagetracker 

RadioEye receives information 

from up to 32 matchbox-sized 

radio transmitters worn by each 

performer. With the option of 

Zone mode or Pan Between 

Points, and TTA’s SmoothMove 

algorithm, the audience experiences 

the voice of a performer 

accurately originating 

from their location on stage. 

The Stagetracker Cue has also 

been introduced to Figure53’s 

Qlab package, enabling sound 

effects to be intuitively flown 

around the auditorium. 

www.tta-sound.com 

Universal Audio released the 

Brainworx bx_digital V2 EQ 

plug-in and the SPL Vitalizer 

MK2-T plug-in. They are the 

first Direct Developer plug-ins 

for the UAD-2 Powered Plug- 

Ins Platform. The SPL Vitalizer 

MK2-T is an emulation of the 

tube-based Vitalizer hardware 

unit. It provides independent 

bass and mid-hi processing that 

works in both time and frequency 

domains to unmask overlapping 

sounds. 

www.uaudio.com 

Yorkville introduced a new 

line of active studio monitors. 

The YSM Series powered monitors 

are designed for home and 

project studios. Front facing 

ports avoid bass coupling with 

back walls and corners. Also on 

show was the new PX Series of 

high-powered amplifiers. 

www.yorkville.com 

FOR 

REAL 

PRO 

AUDIO 

api 

anthony demaria labs 

apogee 

apple 

avid 

barefoot 

brauner 

TALK 

coleman 

crane song 

dav electronics 

dramastic audio 

TO US 

fmr 

jdk 

lavry 

lynx 

neve 

peluso 

pmc 

prism 

roll music 

shadow hills 

shinybox 

soundfield 

soundman 

towersonic 

email • sales@kmraudio.com 

KMR are Europe’s leading supplier of 

high-end recording equipment. We stock a 

huge range of audiophile gear, available to 

audition in either our North London demo 

rooms or the comfort of your own studio. 

If you like your supplier to know one end 

of a Lundahl transformer from a T4 optocompressor, 

our highly experienced staff 

will help you choose the best equipment 

for your needs. Combining a passion for 

great recording kit with good old-fashioned 

service and competitive pricing, we look 

forward to hearing from you. 

KMR 

web • www.kmraudio.com 

kmr audio, 1375 high road, whetstone, london N20 9LN 

020 8445 2446 

AUDIO 


15 

1011 KMR - 90x262.indd 1 2/3/11 16:56:11

ecording news 

streaming news @ www.audiomedia.com 

STUDIO NEWS 

West London recording facility 

Kore Studios has upgraded its 

equipment to include a Prism 

Sound Orpheus FireWire computer 

interface. Studio owner George 

Apsion explained that the Prism 

Sound unit was bought to function 

as a mobile interface to be used 

with Pro Tools 9 on a laptop and as 

a two-track machine for printing 

high resolution stems and mixes 

for mastering. 

www.prismsound.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

SE POP SHIELD OFFER 

SE Electronics is giving away a 

free Metal Pop Shield worth £59 

with every purchase of an sEX1, 

sE4400a, T2, sE2200T, Z5600a 

II, Gemini II, G3500, 

Gemini 5, or Voodoo 

mics VR1 and VR2. 

The pop shield’s metal 

screen is perforated and louvered 

at a slight angle to redirect ultralow 

frequency breath blasts, which 

are pushed past the side of the 

screen. 

be used directly as a webcam. 

AM quarter www.seelectronics.com 

November 2010 20/10/10 

www.olympus.co.uk 

11:27 Page 1 

Native Instruments Kompletes New Interface 

Native Instruments’ Komplete Audio 6 is now available. Komplete Audio 

6 is a high-performance six-channel audio interface for studio and live 

use. With four balanced analogue inputs and outputs, complemented 

by a digital S/PDIF stereo I/O and an integrated MIDI interface, the unit 

can be used as the centrepiece of a wide range of set-ups. Thanks to 

24-bit/96kHz Cirrus Logic converters and powerful +11dBu analogue 

output stages, Komplete Audio 6 delivers pristine audio quality. Revised 

Mac OS X and Windows audio drivers also enable robust low-latency 

performance. 

The unit features dual microphone pre-amps with XLR connectors and 

phantom power, individually switchable hi-Z inputs for electric guitar and 

bass, assignable headphone section, and a flexible zero-latency direct 

monitoring function with mono switch. 

www.native-instruments.com 

Olympus Launches LS-20 

Olympus has launched the LS-20, a Linear 

PCM digital recorder that captures high quality 

audio and HD video. The LS-20 is designed 

to function as a mobile studio for musicians, 

journalists, and podcasters. It records to an SD 

card in WAV, MP3, and WMA formats at up to 

24-bit/ 96kHz. The line in socket enables the 

use of an external microphone or mixing desk. 

The LS-20 can capture audio at a distance 

thanks to adjustable microphone sensitivity, 

manual/auto recording level, noise cancellation, 

and high sensitivity. Its camera also has a 

4x digital zoom, reverse angle recording, 

and image stabilisation that delivers clear 

images recorded at a distance. It is capable of 

capturing to Internet-friendly formats, and can 

NEW PRODUCT 

Smart Sound demonstrated 

QuickTracks at NAB. The new 

released cloud-based music customisation 

service provides scoring 

for video and broadcast production. 

www.smartsound.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

STUDIO NEWS 

Coldplay bass player Guy Berryman 

recently built a private studio. 

The development included two 

16-channel TG Mixer’s, two Zener 

Mastering Compressors from 

Chandler Limited. 

www.chandlerlimited.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW DISTRIBUTION 

West London-based MSL 

Professional has been appointed 

as the exclusive distributor of TL 

Audio products in the UK and 

Ireland. MSL Professional opened 

for business in April this year. 

www.mslprofessional.co.uk 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

FACILITY UPGRADE 

UK-based audio manufacturer 

and studio design and installation 

company DACS 

has completed work 

on the extensive new 

music recording facilities 

at the Kings Cross 

Centre, part of London’s 

Westminster Kingsway 

College. 

www.dacs-audio.com 

VOTED BEST SOUND PRODUCT OF THE YEAR – ABTT 2010 

Micro Microphones – Macro 

Performance 

Da-Cappo Micro Microphones – now available 

exclusively in the UK from Orbital Sound: 

• smallest in class, highest quality Europeanengineered 

capsule 

• unparalleled resistance to sweat and water 

• compatible with all major radio microphone 

systems 

Reduce premature microphone failure due to 

sweat and damp! 

www.orbitalsound.com 

+44 20 7501 6868 

Sound hire 

Audio sales 

Sound design 

Event comms 

16 


ecording news 


NEW PRODUCT 

Sound Devices introduced its newest 

MixPre-D at this year’s NAB. The 

new portable mixer is intended 

for recording documentary-style, 

sports, news magazine, and corporate-industrial 

productions. 

www.sounddevices.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

Humatic has released TouchDAW, 

the first Android app that enables 

users to remotely control their 

DAW. TouchDAW 

is compatible 

with most major 

DAWs, including 

ProTools, Logic, 

Ableton Live, and 

Cakewalk Sonar. 

www.humatic.de 

. . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . 

STUDIO NEWS 

Producer/engineer Richard X 

has purchased a new U47 large 

diaphragm microphone from 

Telefunken Elektroakustik for use 

on a new album with Will Young. 

www.telefunken.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

AES TALK 

The Music Producers Guild will 

present a panel discussion at the 

London AES Show focusing on the 

emerging challenges for artists, 

small labels, and producers dealing 

direct with manufacture. The 

discussion will run from 11.15am to 

1pm on Saturday May 14. 

www.aes.org 

Lynx Says Hello to Hilo 

Lynx Studio Technology has introduced Hilo, an A/D converter, D/A 

converter and headphone amplifier. Hilo is a two-channel converter 

with 12 inputs and 16 outputs. It provides two channels of mastering 

quality analogue to digital conversion, up to eight channels of digital to 

analogue conversion, a secondary monitor output, and a high quality 

independent headphone amplifier in a compact half-rack unit. 

A touch screen is used for the selection of all parameters and metering 

of inputs and outputs. The LCD offers a choice of bar or VU style meters 

and diagnostic screens such as a real time analyser or phase meter. Hilo’s 

FPGA based design can be updated, meaning that its features will evolve 

over time. At the moment, Hilo’s front panel controls support extensive 

signal routing and mixing, sample rate selection, clock source options, 

levels, metering, and diagnostic features. 

www.lynxstudio.com 

Obituary: Ken Barnsley 

It is with great sadness that we 

announce the death of Ken Barnsley, 

who passed away on April 26, 2011, 

after losing his fight against cancer. 

For over 25 years, Ken led sales 

and marketing efforts for some of 

the biggest companies in the music, 

broadcast, film, and post production 

markets, including AMS-Neve, Solid 

State Logic, Avid UK, and Amek. Ken 

joined Fairlight in 2008 as European 

Operations Director after eight years 

as Head of Sales and Marketing for 

Merging Technologies. 

In recent years Ken discovered a 

passion for horses, taking part in many equestrian events both as a 

participant and as an organiser. He acted as Vice Chair of the Lusitano 

Breed Society of Great Britain until ill health forced him to retire earlier 

this year. 

Ken produced music that helped Britain to achieve several medals at 

the 2008 Beijing Paralympics and the 2010 Kentucky World Equestrian 

Games. It is indicative of his devotion that he delayed his chemotherapy 

in 2010 in order to speak at the British Dressage Judges Convention. 

He leaves behind his partner of sixteen years, Laura Duncalf, and a 

daughter, Diane, who is expecting Ken’s first grandchildren. 

Ken asked that anyone wishing to make a gesture donate to The 

Gambia Horse and Donkey Trust. 

www.gambiahorseanddonkey.org.uk 

SUBSCRIBER PRIZE DRAW 

Congratulations to Four4 Audio 

Design’s Ian Campbell, who 

is this month’s lucky winner 

of the Audio 

Media subscribers’ 

prize draw. 

Each month 

throughout 

2011, one randomly 

selected 

subscriber will 

win an sE 4400a 

microphone. 

To be entered 

into the draw, 

you must have a 

current digital or print subscription. 

To get one, go online to 

the address below. Good luck! 

www.audiomedia.com/subscribe.html 

ROWLANDS HAS CHEMISTRY 

WITH DUALITY 

Chemical Brothers member 

Tom Rowlands is using a newly 

installed 48-channel Solid State 

Logic Duality console in his private 

studio, Rowlands Audio Research. 

Duality will provide the signal routing, 

channel count, and DAW integration 

needed by The Chemical 

Brothers for new projects . “Duality 

gives us what we had with the 

AWS, while delivering the added 

channel count we needed to move 

forward in our work,” commented 

Rowlands. 

www.solid-state-logic.com 


17

oadcast/NAB news 


NEW PRODUCT 

Dolby has launched Media 

Emulator – soundtrack optimisation 

software aimed at aiding the 

production of broadaster-spec 

deliverables by enabling operators 

to easily monitor loudness. For use 

in the major DAWs, Media Emulator 

should provide easy monitoring 

of consumer formats and faster 

workflows. 

www.dolby.co.uk 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

CONSOLE UPGRADE 

An ‘M2’ upgrade for the Studer Vista 

5 console has been announced, 

which incorporates the same 

precision TFT metering system 

introduced on the flagship Vista 9 

console. The metering is capable of 

displaying signal levels from mono 

through to 5.1 channels on each 

input, with a configurable lower 

area for bus assignments, surround 

SSL console enhancements 

Solid State Logic had an incredibly busy NAB this year. First up is V4 

software for the C100 HDS console, including duplex connectivity with 

Reidel RockNet, a new Loop Redundancy mode, and several surround 

production additions. 

Also for the C100, as 

well as the C10, SSL has 

launched C-Play – an 

embedded spot and 

music play-out system 

for the C10 and C100; 

the Alpha-Link Live-R 

console I/O unit that 

adds a set of redundant 

MADI fibre connections; 

and support for Mosart 

Medialab’s Newscast 

Automation System. 

Also new was the SDI- 

MADI 4 x16 channel 

de-embedder (4 x SDI 

to 64ch MADI fibre and 

AES). 

www.solidstatelogic.com 

New MediorNet Speedster 

Riedel communications used this year’s NAB to launch MediorNet 

Compact – the newest member of of the the MediorNet range. Billed 

by Riedel as ‘the cost effective and easy-to-use entry into the Riedel 

MediorNet world of integrated media signal 

distribution and processing’, its 50Gbit/s 

bandwidth provides enough capacity for 

bi-directional transport of 12 HD SDI signals, 

dozens of MADI streams, or hundreds of audio channels or intercom 

ports. I/O includes up to 12 3G/HD/SD-SDI signals, four AES ports, two 

MADI interfaces, four analogue audio I/Os (with mic pres), RockNet 

images, or the History mode. 

Audio Media_Feb11_Layout 1 02/02/2011 12:52 interface, Page 1plus 

more - including extensive data and sync connectivity. 

www.studer.ch www.riedel.net 

NEW PRODUCTS 

Minnetonka announced two new 

products at NAB: the AudioTools 

Loudness Control 

Server (ALCS), and 

a new version of 

AudioTools AWE. 

ALCS is an enterprise 

level software 

suite, while AWE is 

an automated digital asset processing 

system. 

www.minnetonkaaudio.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

French broadcast audio specialist 

Sound4 released its new Voice 

AD three-band, six 

channel voice processor 

for live broadcast 

studios at NAB. It runs 

on the new SOUND4 

PCI express card and includes 

advanced processing, network 

reset management, and has digital 

and analogue I/O. 

www.sound4.biz 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

CONSOLE UPGRADE 

Lawo has announced Extra Faders – 

a new surface layout for the mc²66 

MKII production console. The new 

surface arrangement provides 

more faders and fewer buttons 

close to the console’s armrest. It 

also brings enhanced capabilities 

to the Central Control section and 

improved surround sound mixing 

capabilities. 

www.lawo.de 

Work Faster. Sound Better. 

From our integration of the project studio environment, through to our 

pioneering large-format studio consoles, SSL has defined the hybrid 

approach to modern production workflow where the very best classic SSL 

analogue console technology meets high-speed DAW control. 

Advanced DAW Control :: High Speed MIDI Over Ethernet :: Transparent SSL Mic 

Pre’s :: Classic SSL Analogue Processing :: Depth & Definition With SuperAnalogue 

Summing :: Studio & Artist Monitoring :: Streamlined Session Management 

Nucleus. 

In-the-box pro project studio 

• DAW Controller 

• USB Audio Interface 

• SuperAnalogue Monitoring 

• Bundled Duende Native Plug-ins 

Hybrid workflow solutions. This is SSL.

oadcast/NAB news 


NEW PRODUCTS 

Jünger Audio launched two new 

Combo cards for its modular 

C8000 dynamic 

processing solution 

at NAB, 

incorporating its 

propriety LEVEL 

MAGIC algorithm 

for automated 

loudness control. 

The C8586 is 

a dual combo 

board providing 

two SDI streams, 

each with four channels of audio. 

The C8582 is an eight-channel 

analogue and DSP card that can 

handle four stereo pairs. 

www.junger-audio.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PARTNERS 

Avid used NAB to announce the 

addition of new EUCON partners 

– the control protocol inherited by 

the company after its recent purchase 

of Euphonix. The Artist Color 

product can now be used to control 

the colour grading features of 

Assimilate Scratch, Image Systems 

Nucoda, and Pomfort Silverstack 

SET Edition. 

www.avid.com 

Low Cost IP Console 

Axia showed the brand new Radius IP console at NAB this year – a 

compact networkable mixing desk with four stereo buses, eight faders, 

16 audio I/O ports and a Gigabit-capable Ethernet switch, set to retail at 

just $5,990. Axia claims it as the “world’s first IP 

console under $6k.” Other features include auto 

mix-minus on every fader, talkback facilities, a 

built-in Ethernet switch, GPIO ports, snapshot 

recall, and I/O expansion options. 

Other NAB news from Axia included the 

introduction of Pathfinder Core Pro – hardware 

based control for Axia routing switchers 

(no Windows server required), and the 

announcement of Dalet Radio Suite HD with Axia Livewire networking. 

www.axiaaudio.com 

TC Broadcast Updates 

TC Electronic’s news from NAB included the 

introduction of MKII versions of its DB4 and 

DB8 cross-platform broadcast processors. 

The updated units conform to the new EBU, 

ATSC, and ITU loudness and true-peak level 

standards, and include redundant PSUs, 

inlets, and fans. Also new was an upgrade to 

the TouchMonitor TM7 and TM9 units, adding 

dual radar display to the LM6 meter algorithm, the ability to run multiple 

instances of the Surround Sound Analyser, and improvements to the 

on-screen help, GUI, and performance on the units. 

www.tcelectronic.com 

NEW PRODUCT 

Sanken Microphones showed the 

new head-worn COS- 

11D HWM at NAB. This 

ultra-miniature microphone 

is optimised 

for voice and features 

an adjustable dual-earpiece frame, 

left/right interchangeable boom, 

and Sanken’s Vertical Diaphragm 

design. It’s available in beige or 

cocoa colours. 

www.sanken-mic.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCTS 

Sennheiser showed two new shotguns 

at NAB – the MKH 8060 and 

the MKH 8070. The 8060 is lightweight 

short shotgun aimed at 

camera mounting and boom applications, 

while the 8070 is longer 

and aimed at sports broadcast and 

nature recording. Both are compatible 

with the MZD 8000 AES42 

module. 

www.sennheiser.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

Neyrinck has announced 

SoundCode Exchange MXF, a 

new utility that makes it easy to 

import and export HD/SD MXF 

media in Pro Tools. It includes the 

MXFToProTools utility 

that lets you drag 

and drop MXF files 

directly into Pro Tools 

to import audio and 

video. 

www.neyrinck.com 

Matrix. 

Integrate your analogue outboard 


• Integrated Software-Controlled Patchbay 

• 40 Input Summing 

• Pro Studio & Artist Monitoring 

AWS. 

Mid-scale commercial studio powerhouse 


• 24 SSL Mic Pre’s & EQ Channels 

• Up to 56 Channels On Mixdown 

• Comprehensive Master Section 

Duality. 

Large-scale commercial studio heaven 


• 24, 48, 72 or 96 fader configurations 

• Full channels with Pre’s, Processing & VHD 

• Comprehensive Master Section 

www.solidstatelogic.com

I 

REMOTE DIAGNOSTIC SUPPORT 

I / O PAT C H I N G & D E S K C O N F I G U R AT I O N 

broadcast/NAB news 


XXXX 

RTW has announced loudness 

upgrades for its DigitalMonitor 

10500X-PLUS, SurroundControl 

31900/31960 and SurroundMonitor 

11900 lines of products. 

The upgrade adapts those instruments 

to current guidelines and 

standards and is expected to be 

released in July 2011. All units 

shipped after that time will implement 

the upgrade. 

www.rtw.de 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

XXXX 

Shure had a busy NAB. There were 

four new professional 

shotgun 

microphones: the 

new VP89 (available 

in three interchangeable lengths), 

and the VP82. Also there were the 

UHF-R UR5 Portable Receiver and 

UR3 Plug-on Transmitter, plus the 

VP68 Omnidirectional Wireless 

Capsule, aimed at ENG and field 

recordings of interviews. 

www.shuredistribution.co.uk 

TSL Expands Loudness Product Range 

TSL Professional Products took the opportunity to introduce a new 

member to its PAM2 family of precision audio monitoring devices at 

NAB. The PAM2i-C enables the operator to export bar graph, data and 

loudness screen views from a PAM2 platform to a user-supplied external 

video monitor. 

“The need to monitor sound levels has always 

been of critical importance to the broadcast 

industry,” commented TSL’s Business Development 

Manager, Martin Dyster. “But the field of play has 

now shifted from peak level to loudness. All of 

our bargraph audio monitoring units now feature 

loudness indication to ATSC A85 and EBU R128 recommendations in 

conjunction with traditional peak meter measurement.” 

The PAM1-3G16 also debuted at NAB. The new unit monitors 

multichannel audio with a full 16 bargraph display. It shares many of 

the advanced features of the company’s multi-award winning PAM2- 

3G16, including loudness measurement, preset standard switching and 

advance monitoring mode selection. 

www.tsl.co.uk 

DK Meter Calms the World’s Broadcasters 

DK-Technologies will unveiled the latest addition to its range of 

high-end audio and video metering products at NAB. The DK 

Meter is a Compact Audio Loudness Meter (CALM) that handles 

stereo and 5.1 metering, including loudness. It is available in 

two versions; the DK1 for stereo, and the DK2 for 5.1. 

“In light of the recent CALM legislation in the US - and the 

latest ITU and EBU recommendations regarding audio loudness 

in Europe - broadcasters have been crying out for cost-effective and easy 

to use metering technology,” commented Richard Kelley, Director of Sales 

and Marketing. “This latest addition to our range fits the bill perfectly. 

It draws on DK’s many years of experience in the audio metering 

market and addresses all of the issues broadcasters currently have with 

measuring loudness. What’s more, like all of the meters in our range, this 

new product can be easily updated to accommodate any new standards 

that might be introduced in the future.” 

www.dk-technologies.com 

NEW PRODUCT 

Emotion has introduced File 

Finish, a software application that 

automatically 

analyses and fixes 

audio loudness 

violations in filebased 

media. The 

new application 

ensures compliance 

with the latest ITU-R BS.1770, 

BS.1771, and EBU R128 standards. 

www.emotionengines.tv 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCTS 

Denon Professional showing its 

DN-F450R and DN-F650R Solidstate 

Audio Recorders at NAB. 

The recorders are targeted at 

consultants and contractors, and 

are designed to be highly reliable 

under challenging conditions. 

www.d-mpro.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

NEW PRODUCT 

Marantz Professional exhibited 

its PMD661 

Compact Digital 

Recorder. The 

new recorder features 

XLR inputs 

and an S/PDIF 

digital input. 

It is capable of 

recording in 

24-bit/96-kHz. 


APOLLO, FROM CALREC. 

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CLEAR AND EFFICIENT METERING. TFTS. FULLY CONFIGURABLE. SEAMLESS THIRD-PARTY METERING. COLOR CHANGING POTS TO DISPLAY FUNCTION. INTEGRAL 8192X8192 HYDRA2 ROUTER 

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Today’s broadcasters need more and more audio channels at ever-higher 

resolutions, more power to handle this increased channel count and more 

ergonomic control surfaces to manipulate them. 

Naturally, Calrec has the answer. 

With the same levels of reliability for which Calrec are world-renowned and 

a remarkably intuitive control surface which still manages to add enormous 

flexibility, Apollo is nothing short of revolutionary. Able to operate at multiple 

sample rates, Calrec’s Bluefin2 DSP engine equips Apollo with more than 

1000 channels for 5.1 Surround production and its internal 8192 ² Hydra2 

router turns the console into a powerful networking tool. 

The world’s most successful broadcasters rely on Calrec consoles. 

Apollo is the first of Calrec’s new generation. 

LOW HEAT GENERATION. COMPACT DSP. ASSIGNABLE OR IN-LINE CONTROL.SINGLE 5.1 CHANNELS WITH ELEGANT SPILL CONTROL 

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COLOR CODED CONROL CELLS 

APOLLO

Adapts perfectly 

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sapphire — as versatile as your requirements. Effi ciency in a tool means it handles 

not only changing challenges but also changing users. Like the new sapphire 

from Lawo — the state-of-the-art tool for on-air broadcast and duction. sapphire is a console packed with technology that 

proabsolute 

confi dence in presenters. sapphire impresses sound engineers 

with its remarkable functionality, intelligent networking and smart 

configuration functions. This means you benefit from a highly efficient solution, and 

will even inspire non-technical users; its easy operation instils 

can react flexibly to any new requirement. www.lawo.de 

Lawo | Rastatt / Germany

post news 


BAFTA SUCCESS 

FOR HACKENBACKER 

Hackenbacker Audio Post 

Production has won the 2011 

British Academy Television Craft 

Awards in the Best Sound Fiction 

category. The London facility won 

the award for its work on ITV’s 

major costume drama series, 

Downton Abbey, which aired in the 

Autumn of 2010. The award was 

presented The Brewery in London. 

www.hackenbacker.com 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

WILL GARBUTT FOCUSES 

ON SALES 

Prime Focus has appointed Will 

Garbutt as Senior Sales Executive 

for its UK Broadcast division. 

“During my five years as a broadcast 

producer at Prime Focus, I’ve 

built strong relationships with 

clients,” said Will. “Moving into the 

sales team seemed a natural fit.” 

www.primefocusworld.com 

Re-brand, Expand, Well-Manned 

Audio post-production facility The Voice and Music 

Company has re-branded itself as part of a major 

company expansion. The 21-year-old independent 

company will operate under the new name of Soho 

Square Studios. 

The re-brand coincides with the upgrade of all 

of the company’s sound studios to ProTools 9, and 

the recruitment of two new key members of staff; Sound Engineer Simon 

Capes and Dubbing Mixer James Doyle. 

“The wealth of talent 

and experience that both 

Simon and James bring us 

will seriously bolster our 

established commercials 

business and our everexpanding 

TV and film 

services,” commented 

company co-founder, Kim 

Goody. 

www.sohosquarestudios. 

com 

Cedar Announces Respeed 

Cedar Audio has announced the imminent arrival of Cedar Respeed, its 

new audio restoration and speech enhancement tool. Respeed identifies 

unwanted speed changes in audio. Once these have been determined, 

the track can be processed many times faster than real-time. The result is 

greater pitch stability and, when used on speech 

signals, improved intelligibility. Musical pitch 

variations such as vibrato and glissandos are not 

affected. 

In addition to wow, Respeed addresses random 

speed fluctuations and continuous rises and 

falls in speed caused by problems such as failing batteries in analogue 

recorders. 

www.cedar-audio.com 

FIELD REPORT 

LipSync’s post-production division 

provided audio, online editing 

and DI for United, a dramatisation 

of the tragic Munich Air Crash of 

1958. LipSync was also involved in 

financing the production, which 

enabled the VFX team to advise the 

production team on how to make 

the most of its budget from an 

early stage. 

www.lipsyncpost.co.uk 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

INSTALLATION NEWS 

A new screening room recently 

opened at Universal Pictures’ 

London headquarters. The new 

room houses an Alcons Audio 

system comprising three CR1 front 

system cabinets, a BF181i 1x18” 

subwoofer, six CCS8 two-way coaxial 

surround cabinets and two 

ALC2 loudspeaker controllers. 

www.alconsaudio.com 

22 


Europe’s leading supplier of 

broadcast audio technology 

Broadcasters, post facilities and systems integrators rely on HHB’s unrivalled experience and 

world-class service to ensure maximum return on their investments in audio technology. 

T: +44 (0)20 8962 5000 E: sales@hhb.co.uk 

www.hhb.co.uk 

Soho / Post facilities please contact Scrub: T: 020 7025 6020 E: scrub@hhb.co.uk

TM Audio & Lightco Fit Out De Vorstin 

The media city of Hilversum, 

half an hour from 

Amsterdam, home to 

most of the Netherlands’ 

leading television and radio broadcasters, 

is now the proud possessor of a 

new, highly striking €11.8m concert 

building, with new sound and lighting 

systems from sister Ampco Flashlight 

Group companies TM Audio and 

Lightco respectively. 

De Vorstin Poppodium (‘The Queen 

Pop Stage’), a complex steel structure, 

that looks like a space-age remodelling 

of Manhattan’s Flatiron Building, has 

no internal right angles – good news for 

the acoustics. 

It was designed by Architecten Cie, 

which also has the Heineken Music 

Hall in Amsterdam to its credit, and 

similar attention to detail can be found 

at De Vorstin. High quality finishes 

and a wide range of additional facilities 

including a rehearsal studio add to 

features such as a dedicated artists’ café. 

With an audio and lighting installation 

by Ampco Flashlight Group 

companies TM Audio and Lightco, the 

venue is intended primarily for pop and 

rock bands and is fully equipped with 

plug’n’play outside broadcast facilities. 

Visitors can head either for the 850 

DiGiCo SD9 on the Road with Roger Hodgson 

Supertramp co-founder Roger Hodgson is currently 

touring with Front of House Engineer Howard 

Heckers, a DiGiCo SD9, and a pair of 

DiGiRacks. 

“The reasons we chose the SD9 are its 

sound-quality, flexibility, and its size – it is 

very compact to travel with,” says Heckers. 

“Sometimes we have a flight to catch after 

every other show; the SD9 makes it easy for 

us to travel and still use our own FOH desk.” 

Another feature he likes about the SD9 is 

that they can only use one stage rack if Roger is playing a solo 

show, or use both when he is doing shows with a full band. 

standing capacity Main Hall, 

which alternatively provides 

retractable seating for 260 

people, or the smaller Podium 

Café that accommodates 300. 

The latter displays a sense 

of visual humour with a flown 

mobile made up of a jumble of 

old hi-fi loudspeakers of various 

pedigrees. This is purely 

for show, because in either 

corner of the small stage area, 

designed for small bands, solo performances, 

jazz and the like, is a flown pair 

of Martin Audio W8LM mini line arrays 

with down-fills either side and a WSX18 

subwoofer. 

Martin LE1200 or LE1500 

floor monitors can be provided 

from De Vorstin’s spacious 

equipment store as required, 

while the mixing console chosen 

for this multi-purpose 

space is a DiGiCo SD8. 

Upstairs, the Main Hall 

shares the asymmetrical 

design approach with a balcony 

running around three sides. 

A wide stage 2m high is backed 

by rack rooms for the Martin 

Audio amplifiers, XTA signal 

processing, and an Allen & 

Heath iDR-8 audio distribution 

system. 

The Main Hall’s PA is flown 

The console was supplied by DiGiCo’s Dutch distributor 

TM Audio. “When we delivered the SD9 to Howard’s 

studio, he was familiar with the complete 

console within an hour – it is that easy to 

learn,” says the company’s Jaap Pronk. 

“When Roger and I hooked up the gear 

and listened to it, it sounded absolutely 

gorgeous, really crystal clear,” Heckers adds. 

“In combination with the RME MADIface 

it is also really easy to fine tune the mixes 

after the soundcheck, or even bring the desk 

back to the hotel room after the show and fine-tune all 

my effects.” 

high and wide and comprises seven 

W8LM cabinets a side, while on stage is 

a compact ground stack either side that 

provides near stage infills in the shape of 

Martin Audio’s new W8VDQ cabinets, 

each mounted atop a Martin Audio ASX 

subwoofer. 

Flying hardware is a TM Audio 

custom fixed installation frame, saving 

space and weight compared to the 

standard touring version. Further fills 

are served by Martin H3T+ and S218 

compact subwoofers. Stage monitoring 

is all via Martin LE1200 wedges. 

Two DiGiCo SD8 consoles serve the 

Main Hall, with a Midas Heritage 2000 

as an analogue option. To complement 

this flexibility TM Audio installed both 

digital and analogue cabling systems. 

VITAL STATISTICS – 

THE NETHERLANDS 

FULL NAME The Kingdom of 

the 

Netherlands 

POPULATION 16.7 million 

(UN, 2010) 

CAPITAL Amsterdam; 

seat of 

government: 

The Hague 

MAJOR LANGUAGE 

MONETARY UNIT 

MAIN EXPORTS 

Dutch 

1 euro 

= 100 cents 

Metal 

manufacturing, 

chemicals, 

foodstuffs 

GNI PER CAPITA US $49,350 

(World Bank, 

2009) 

INTERNET DOMAIN 

.nl 

INTERNATIONAL +31 

DIALLING CODE 

24 


geo focus Netherlands 

Golden Earring Celebrates with Yamaha 

MEDIA MATTERS 

2011 will see Dutch rockers Golden Earring celebrating a bugs in all of them – except Yamaha.” 

The Dutch approach to public 

remarkable 50 years in show business. Famed for ‘biker The band plays a wide range of venues and is a regular 

broadcasting is different. 

anthem’ Radar Love, Golden Earring is celebrated as one on the festival circuit, so the M7CL’s small footprint and light 

of Holland’s most enduring rock acts. Although these weight are further bonuses. “The small footprint is very important 

Programmes are made by groups 

days the touring schedule is less hectic 

in theatres and also means I can use my that reflect political or religious 

than in the past, the band is committed 

console of choice at festivals. The weight also currents, or other interests. These 

to delivering the very best live productions. 

makes it easy to move with just two people,” organisations are allocated airtime 

The Hague-based rental company 

he adds. 

on TV and radio, in line with the 

Bourgonje Sound & Lighting (backline 

Arjan uses the M7CL’s onboard processing, 

number of members they have. 

apart) supplies all of Golden Earring’s 

his only concession to outboard being a Crane 

production equipment. 

Song HEDD on the console’s outputs – a 1U unit 

Public radio and TV face stiff 

Front of House Engineer Arjan 

engineered to be musically transparent while competition from commercial 

van Egmond has worked with the band for 23 years, using providing analogue sounds in the digital domain. 

stations. Viewers have access to a 

the Yamaha M7CL mixing console since it was introduced. “The analogue sound of the HEDD is very important for my 

wide range of domestic and foreign 

“The M7CL is easy and simple to operate, its layout is clear and overall mix,” he adds. “In combination with the M7CL, I get the 

channels, thanks mainly to one of 

logical and, most importantly, it always works,” says Arjan. “I have best of both worlds. The sound quality of the console is exceptional, 

tried all the other brands of digital console and came across 

especially when you consider its price.” 

the highest cable take-up rates in 

Europe. Every province has at least 

one local public TV channel. The 

Rotterdam’s Off Corso 

three national public TV stations 

enjoy high audience shares. 

Upgrades with Synco 

There were 14.9 million 

Internet users by June 2010 

The largest live music venue in central Rotterdam, 

the 1,000-capacity Off Corso, has Director and owner Pim Bottema has a long history here.” 

and product launches. 

we used to have 

(Internetworldstats), comprising 

completed a comprehensive sound system in the Dutch club scene, having formerly managed the Dieter van nearly 90% of the population. 

upgrade following a long-term leasing deal Tivoli in Utrecht, Night Town in Rotterdam, and latterly Denzel, Senior 

with the Synco Europe Network. The club joins the 

Milkweg (Milky Way) and Paradiso clubs in Amsterdam, 

and the Tivoli in Utrecht, in providing exclusive 

Synco stage monitors, while Off Corso also now boasts 

a full Synco by Martin Audio line array PA system. 

Off Corso, a multi-functional building, is housed 

in the former Corso cinema in Kruiskade, close to 

the central train station. As well as live music and DJ 

nights the venue also targets corporate events, seminars, 

fashion shows, cultural festivals, awards dinners, 

the nearby Calypso, where he bought his first PA system 

from Ampco, which founded the Synco Network. 

Elements of that sound system were moved to Off Corso 

after the Calypso’s closure and are now incorporated 

into the new Synco PA. 

Bottema comments, “We started doing club nights 

at Off Corso in 2001, and when I bought it in 2005 we 

planned to move into live concerts. Now we’ve chosen 

the Synco system so that we have an internationally 

recognised system that’s acceptable to bigger bands than 

System Designer 

and Account Manager for Ampco, project managed the 

installation. He said, “A lot of bands are used to Synco by 

Martin Audio systems, as well as Synco stage monitors, 

having experienced them at festivals like Lowlands, 

Pinkpop, and Glastonbury, so it’s a great selling point 

for Off Corso.” 

The PA consists of six flown Synco by Martin Audio 

W8LC line array cabinets a side, supplemented by underhung 

W8LM and W8LMD cabinets for front-fill in the 

mosh pit. Six Synco RH-STS 18RRs 

a side provide the subwoofer component, 

and the whole rig is fine tuned 

with Synco-specific XTA processing. 

A full Synco CW152 (15-inch) monitor 

rig provides eight monitor groups 

plus a triple drum-fill with subwoofer. 

Control is via a 48-channel Midas 

XL200 console at front of house and a 

DDA Forum for monitors. 

Among the first artists to play 

through the new system were Fun 

Loving Criminals, Burning Spear, and 

Israel Vibration. 


25

what’s up 

UK 

whatsupuk@audiomedia.com 

Peeling Goodbye, Away Abbey Pinewood Road? 

Investment company Peel has made When a it bid was for announced Pinewood Abbey that will Road perhaps Studios give was the up studio for sale, extra petitions muscle were to help quickly it succeed raised in against difficult it. 

times. KEVIN KEVIN HILTON HILTON ponders finds out the what role this the could studios mean have for played the studio in our in musical its new and 21st-century cultural heritage. role… 

The Beatles are held in great affection by most recordings made at the studios. 

and artists going out on their own. 

Brits, and there was a wailing and a gnashing The immediate fear was that the building at 3 EMI was thrown a lifeline in 2007 when it 

Pinewood 

of teeth when 

Studios 

the news broke 

was 

that 

April 

Abbey 

27, ups 

Abbey 

the value 

Road, 

of Pinewood, 

NW8, would be 

the 

turned 

broadcast 

into 

side 

luxury 

of the business 

was bought 

a 

the by equity group’s investor plans for Terra the future Firma. is 

Road Studios, 

established 

where 

as 

the 

Britain’s 

Fab Four 

very 

recorded 

Shepperton, 

most apartments 

and Teddington 

or offices. 

to 

That 

similar 

was understandable; 

knock. 

In its statement the EMI Project says Pinewood the owner development, “made 

of their 

own 

records, 

Hollywood 

had been 

and 

put 

helped 

up for sale 

£96.1m 

by its 

($159.2m). 

these days 

The 

the 

formal 

actual bricks 

Even 

and 

the 

mortar 

serious 

of a 

financial 

the preservation 

press 

which of Abbey is still Road on hold a priority”, awaiting even the 

owner, 

define 

EMI. 

British 

Except 

cinema 

it wasn’t. 

during 

It almost 

the 

had 

offer 

been, 

states 

property, 

that “each 

or often 

Pinewood 

just the land 

insist 

on 

on 

which 

describing 

it stands, 

Pinewood 

though 

as the 

the studios outcome had of been an appeal losing against money South for 

but 

20th 

not 

century. 

at the 

MediaCityUK 

time BBC Radio 

has 

2 

been 

presenter 

Shareholder 

Chris are 

will 

worth 

be 

more 

entitled 

than what 

to 

goes 

home 

on 

of 

within 

the James 

it. 

Bond 

several 

films, 

years. 

so 

In Buckinghamshire the middle of 2009, District EMI received Council 

Evans 

conceived 

led a campaign 

as an international 

to save the 

film 

studios 

receive 

for the 

200 pence 

But this 

in 

overlooks 

cash per 

the fact 

the 

that 

delay 

there 

in green-lighting 

are few an 

the 

offer 

next 

of over withholding GB£30 million planning to buy permission. 

Abbey Road. 

nation 

and television 

and Andrew 

production 

Lloyd Webber 

centre 

showed 

for Pinewood 

interest 

Share”, 

studios 

plus 

left 

a 2.5p 

in 

dividend. 

the UK big enough 

007 epic 

for 

due 

orchestral 

to the bankruptcy 

This was 

of 

rejected Pinewood because EMI wants believed to build it should what is 

in 

the 

buying 

21st 

it. 

century. 

recording 

This 

sessions. 

improves 

Despite 

on distributor 

the rise of the 

MGM 

project 

was another 

continue 

major 

to own described the studios. as the world’s first purposebuilt 

an “live Abbey work” Road film branded television online 

Both 

The story 

were 

that the only recording studio most studio 

the 

and 

original 

laptop 

deal of 

technology, 

setback. Because 

mainstream 

of these stumbling 

“…That offer 

In July last year 

people 

created 

have 

to be 

heard 

selfcontained, 

of was to be sold broke in the artists 

190p 

and 

a 

producers 

share plus 

still want 

blocks 

strings 

the second 

and brass 

biggest 

mastering 

investor 

service complex, was launched, with sound giving stages, artists audio the 

Financial Times 

almost 

on February was 15, 2010. reassessed 

The paper on recordings, 

the dividend. 

making for 

in 

an 

Pinewood, 

ongoing demand 

activist fund 

chance 

Crystal 

for their dubbing recordings theatres, to and be mastered video editing by 

is 

self-sustaining 

respected and usually well informed, but much outside the 

The 

needs 

Pinewood 

of classical 

Amber, 

labels. 

last year called for 

the 

Grade 

studios’ 

and 

engineers. suites, on Abbey 44 hectares Road’s of operations 

Green Belt 

of 

cities 

the piece 

that 

headlined 

had 

“EMI’s 

after 

long 

controversial 

and winding Through 

board 

all of this 

is 

EMI 

another 

maintained 

independent 

a noncommittal 

director 

have expanded 

to 

land. over The the public years inquiry beyond considering 

recording 

road 

everything 

leads to Abbey Road sale sign” read like a 

recommending 

stance. A statement 

step down. 

finally came on and mastering; an interactive division was launched 

press 

filmmakers 

release. 

and TV Egyptian businessman 

Pinewood’s appeal was underway in 

Sunday, 

that 

February 

shareholders 

21: “In response to recent press for DVD authoring April, and with the closing studios submissions have been used set 

producers 

Soon the 

needed 

news was all over the media. speculation 

accept 

EMI 

the 

confirms 

deal. 

Mohammed Fayed 

it is holding A Ray preliminary Of Light for the Channel for 4 early TV series May. Live After from that Abbey the Inspector Road. 

Chris 

within 

Evans picked 

their 

up the story the following day discussions 

The Chairman 

for the revitalisation Matters of have Abbey improved Road There this year, is also Abbey in charge Road will Live, write a location a report recording to be 

on 

boundaries. 

his breakfast show declared and ran with an it, devoting, interest in with interested 

of Pinewood, 

and appropriate with third the parties.” group opening and a distribution sales sent service. to the Secretary of State for 

with 

Now 

a few 

there’s 

exceptions, his Friday programme to The 

Lord 

future 

Grade 

of Abbey 

of 

Road office Studios in Los was Angeles further to actively The same Communities day that Abbey and Local Road Government. 

was listed 

the likelihood buying Pinewood. Yarmouth, who, 

cemented bring in on production Monday, from by the English US. Heritage, A final decision EMI announced on the planning a range 

that the two will 

as Michael Grade, 

February 22, when English of branded merchandising based around the 

become united The former owner of 

Like other members of the application due either later this year 

was Chairman of 

Heritage filmmaking awarded community, the Pinewood 

studios, making or them early next. even more of a commodity. 

– by ownership 

the BBC, Executive 

Harrods and present 

building has been Grade affected II Listed by This includes t-shirts, laptop cases, If Peel and is notebooks successful 

at least – if Peel 

Chairman of 

status. the recession This is usually but is bearing the Abbey Road name, in its slogans bid such for as 

Acquisitions Chairman of Fulham ITV, and Chief 

“If Peel is 

granted looking to to preserve attract more a ‘Eight Track Mind’ and images Pinewood of the TG12345 it could MkII 

(Pegasus) is 

Executive at 

property inward of architectural 

investment, recording console. use its considerable 

successful in its Football Club was 

successful in its 

Channel 4, said: 

importance, that is productions but in this and The most puzzling thing in development all this is that knowhow 

and muscle 

Listed 

bid to buy all 

“The Board is 

case Abbey Road has been Status was applied for in 2002 by unnamed 

shares in the reportedly considering 

money from overseas bid for Pinewood 

satisfied that the 

listed producers for its “outstanding 

wanting to party. Roger Bowdler, Head to of push Designation with at 

Pinewood group. 

long-term future 

making an all-cash 

it could use its 

cultural make interest movies and in the to English Heritage, admitted Project in an interview Pinewood on if 

Peel Acquisitions 

of these assets, 

ensure UK. Which that recording 

is why the Radio 4’s PM programme on given Tuesday, the February go-ahead. 23, 

is a newly offer for Pinewood which make such a 

considerable 

artists new for LA generations 

branch is an that talk of the studios being MediaCityUK sold “concentrated has taken 

incorporated 

contribution to the 

to come important can continue step. to some minds” and resulted in shape the pending slowly and listing up to 

c o m p a n y earlier this year.” 

development 

growth of the UK’s 

make and Pinewood record music already in being confirmed. 

the middle of last year 

controlled by Peel 

creative industries, 

the same has representation 

rooms as musical know-how A spokeswoman and for English was looking Heritage like being told 

Group, the infrastructure and real will pass into safe hands.” 

icons in of Berlin, years gone Toronto, by”. me that Listed Status provided home “an to extra only layer the BBC of 

estate investment company that also Grade continued that the current 

muscle to push 

That and seemed Malaysia, to and be it. is protection”. She added that and while the this University doesn’t 

operates Peel Media, which runs the management of Pinewood has 

But keen examining to increase the its prohibit a change of use for the building there 

MediaCityUK development. 

moved the business on, pumping in 

on with Project of Salford’s media 

chronology joint ventures of events and would be a “lot more scrutiny” courses. of an Now application. SIS and 

Peel already owns 29.7 percent of money to “re-establish it as a worldclass 

centre for all creative industries”. 

and operating other activity agreements just “But Pinewood…” 

it would probably be difficult Granada to Television find another are 

Pinewood and has been looking to 

before in different and during territories. this use for it,” she said. pledged to move in, 

take a majority stake in the group for While results for the year ended 

media Group roller Commercial coaster Director Abbey Nick Road’s with importance the first BBC programmes in the history of be 

at least the last year. The investment December 31, 2010, published 

raises Smith more said questions. 

the LA office “will recording build on is unquestionable. made there already Even on air. without The 

firm initially offered £88 million for the in March, show revenue up eight 

Cynical the international observers recognition of Beatles of the it would Film be a shrine and TV because has always Sir Edward been 

Pinewood group, which also includes percent to £43.4 million from 

the Pinewood music business brand”, are adding Elgar that “this and the a business, London Symphony but there’s Orchestra 

a nagging 

the film studios at Shepperton and £40.3m in 2009 and operating profit 

convinced strategic that development Abbey will recorded lead to Land thought of Hope that and if Glory Pinewood its Studio is owned 1, 

the Teddington TV production centre, increasing 20 percent to £9.1m 

Road more Studios business had been for the on group”. and Pink Floyd outright created by Dark an investment Side of the company 

Moon in 

as well as the site in Buckinghamshire. (£7.6m in 2009), the last few years 

the market Recent unofficially films shot for or Studios posted 2 and then 3. some of the eccentricities of 

That offer was reassessed after have not been trouble-free. 

years; recently all that at was Pinewood needed are the updated But Led Zeppelin’s British filmmaking groundbreaking will not first survive. album Of 

controversial Egyptian businessman The Hollywood writers’ strike, 

was Gulliver’s the right Travels, offer. starring Jack was Black, laid down course, at Olympic it’s those Studios, idiosyncrasies EMI’s other that 

Mohammed Fayed declared an which ran for three months from 

Like The Chronicles other big of record Narnia: The studio Voyage asset. of I probably didn’t hear partly Chris brought Evans it shout to a parlous when 

interest in buying Pinewood. November 2007, and delays in 

companies The Dawn Treader EMI and has Harry it Potter was closed and in state February in the 2009. first place. However, I like 

The former owner of Harrods and implementing the new UK tax 

been the struggling Deathly Hallows since Part 1. Some good to think has come that the out modern of this equivalent saga – 

present Chairman of Fulham Football breaks for film production seriously 

the late 1990s, hit hard the future of an of important the cast and artistic crew of resource a James in Bond the 

Club was reportedly considering affected the number of films passing 

by the Project downloading On Hold UK has been movie secured and – but a Carry some On suspect film sitting that 

making an all-cash offer for Pinewood through Pinewood and Shepperton. 

revolution There is and still the a considerable rise of a blot of on very murky together things at lunch have in gone the Pinewood on at the 

earlier this year. 

Budget cutbacks by broadcasters and 

lean all independent this, however. labels A central same part time. of ∫canteen can still happen today. ∫ 

Peel’s latest approach, made on declining advertising revenues gave 

14 26 AUDIO MEDIA MARCH MAY 2011 2010

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ut Scene 

pecial 

me Sound Sound Special 

SpecialGame Sound Special 

Sound Game Game Special 

Sound Game Special 

Sound Game Game Special 

Sound Game Sound Special 

Soun 

Stars start to align 

for Develop 2011 

The annual Develop in Brighton Conference will take place this year 

from July 19-21 at the Hilton Brighton Metropole, once again providing 

the European game development community a key opportunity to 

come together and learn from each other, share experiences, be inspired 

by world renowned experts, get up-to-date with the latest development 

tools and techniques, make new contacts and catch up with old ones. 

Organisers, Tandem Events, say the programme (which is shaped by 

an advisory board of leading industry figures) ‘touches all levels of the 

development community from the largest companies to the smallest studios; 

from development directors to programmers.’ 

The popular one-day audio 

track is scheduled for Thursday, 

July 21 and will feature a raft of 

presentations on game audiorelated 

topics by leading audio 

talent from around the globe. 

Though most of the programme remains 

under wraps at the time of writing, conference 

media partner Audio Media can reveal 

that this year’s speaker line-up will 

include Alex Joseph (Senior Sound 

Designer and Producer, whose 

movie credits include Casino Royale, 

Mamma Mia, Harry Potter 1-4). 

In what promises to be a thoughtprovoking 

session entitled 

“Sound Psychology: Using 

Subliminal Sound To Prime The 

Subconscious Mind”, Joseph will 

explore what games might learn from 

Media Mill And International Hobo 

Join Forces For Game Dialogue 

Videogame service companies International Hobo 

Ltd and Media Mill have announced a new 

creative alliance, forming a one-stop shop to 

provide dialogue scripting and voice recording for all 

levels of the global videogames industry. Between them, 

they have two decades of experience on more than sixty 

published titles in the vitally related roles of story 

development and sound design. 

A specialised game design and narrative resource, 

International Hobo delivers award winning game 

design, concept design, dialogue scripting, and 

narrative support. The company has worked on over 

thirty videogames since being established in 1999, 

including million-selling S.T.A.L.K.E.R.: Shadow of Chernobyl and 

Bratz: Rock Angelz titles, cult classics Ghost Master and Discworld 

Noir, and recent AAA titles such as Cartoon Network Universe: 

FusionFall and MotorStorm Apocalypse. 

Meanwhile, Media Mill (formed in 2000 by former 

BBC radio journalist Jerry Ibbotson) provides a range of 

audio services including sound design, voice recording, 

sound effects creation, and audio for animation. 

The company has worked on more than thirty titles 

including Broken Sword, Split Second, Pursuit Force, and the WRC 

film and its established commonly used psychological approaches and tricks, 

and in particular will examine how subliminal sound can be used to prime the 

subconscious mind to enhance the gaming experience. 

Also announced is a session from Outsource Media’s Voice & Casting 

Director Mark Estdale who will team up with US Actor/Director Laurence 

Bouvard (TBC) to give a no-holds-barred, hands-on practical workshop 

on getting the best from actors. 

The session, entitled “Voicing Games: 

The Keys To Unlock Believable 

Performance” will unpack the actors’ 

tool box from Stanislavsky to Method 

and Meisner – and share the keys 

that help dialogue stand out. Using 

practical exercises 

and examples 

from a selection 

of recent titles, 

Estdale will get 

under the skin of 

‘how to get savvy 

with improving 

performances.’ 

For more information, 

visit: www. 

developconference. 

series. Most recently it 

has provided a range 

of audio services for 

MotorStorm Apocalypse, 

Shogun 2: Total War and 

Driver: San Francisco. 

International 

Hobo’s Chris Bateman: 

“Modern videogames 

require high quality 

narrative materials, and allying with Media Mill allows 

us to produce world class voice over materials and 

sound effects for any project.” Media Mill’s Jerry 

Ibbotson, adds: “When we started working with 

ihobo, things just clicked into place. The services we 

provide perfectly complement each other. We’re still 

two separate entities but by working together we can 

offer developers everything from an initial script to the 

final delivery of voice materials. It also means we can 

develop better ways of working, so that creativity stays 

where it needs to be – at the forefront of a project.” 

www.mediamill.co.uk 

http://blog.ihobo.com 

iOS Support 

Included In 

Audiokinetic 

Wwise 2011.1 

Audiokinetic Inc., the 

leading cross-platform 

audio solution provider 

for the video game industry, 

has released latest version 

Wwise 2011.1 which introduces 

new features and 

enhancements, including 

support of portable systems 

such as iOS (iPhone and iPad) 

and previously announced 

Nintendo 3DS. 

“The video game industry 

is evolving, casual and 

social games are becoming 

a focus for more partners. 

This also implies making 

games available on a 

wider range of media and 

devices,” said Simon Ashby, 

VP of Product Strategy at 

Audiokinetic Inc. 

In an effort to make Wwise 

accessible to a wide range 

of developers, Audiokinetic 

has confirmed a new pricing 

model for iOS projects. 

Developers will be able to 

license Wwise for US$500. 

New public discussion 

forums will be made 

available to the community. 

Approved Nintendo 3DS 

developers that want to 

license Wwise will be able 

to purchase a license at 

US$5,000. 

www.audiokinetic.com 

28 


ecord 

FOR THE 

Thought For The Day: 

Rev. Limiter 

Jerry Ibbotson explores a complexity of client relations that goes deeper than you might expect. 

There can’t be many areas of audio work where you risk getting 

a face full of scalding hot steam. Kettle mishaps aside, 

those kind of incidents tend to be very much in the minority. 

So how come I’ve managed to have two steam-related near 

misses in the past few months? Granted, I’ve been doing a 

lot of recording for various driving-based games but until 

recently it had all passed quite smoothly. Okay, so there was 

that one time, years ago, when a rally car I was in caught fire, 

but we don’t like to mention that. 

With any type of recording session, whether it’s a band, 

an orchestra, or a tonne and a half of automotive muscle, 

you’re always trying to get the best result. And you’ve often 

under pressure from outside forces not to settle for second 

best. That’s a fine attitude to take when the worst than can 

happen is the drummer can storm off of a huff, but when 

you’re in danger of blowing something up it takes on a whole 

new perspective. 

Let me give you one example. We were recording a car 

for a very big game that’s for release in the next few months. 

We’d already recorded nearly fifty vehicles for this title, over a 

period of many weeks, using an eight channel recorder. On this 

occasion we’d gone equipped with a Tascam HS-P82, an utterly 

brilliant machine that has superb sound quality and can be set 

up from scratch in about ten minutes. I’d been worried that 

getting to grips with it was going to be the day’s biggest issue. 

But I was wrong... 

The car in question was something of a talking point: a 

1981 Delorean. Yes. The car from Back to the Future. All stainless 

steel and gull wing doors. 88 mph and my clothes are 

suddenly back in fashion. 

The thing is, back in ’81 I was a schoolboy, with a crush on 

a girl called Jenny Pickersgill. A lot of water’s passed under the 

bridge since then and the years have taken their toll. On me 

and this car. I asked the owner how high he revved the engine. 

“To about four thousand,” he said, “though it redlines at six.” 

“Okay, so we’ll take it to four,” I said, nodding wisely. 

At this point the chap from the game developers stepped in. 

“He’s not brought it all the way here not to rev it properly,” he 

said, with a certain firmness. 

I put my case: that the engine was probably older than 

him, but he insisted. Knowing that the owner had signed my 

waiver form, I backed down. We did indeed rev the engine 

to six thousand and all seemed well until the very last part of 

the recording when there was a loud pop. Somewhere on one 

of the tracks you can hear me saying, “Kill the engine. It’s just 

wet itself.” 

And it had. An engine coolant pipe had split, firing hissing 

steam in one direction and furiously bubbling liquid in 

another. And as luck would have it, the car owner and the guy 

from the game developer were standing less than a foot away 

when it happened. Mr Game Developer Man 

looked sheepish. The Delorean owner had an 

expression that said, “I should have listened to 

you, not him.” Both were relieved to still be in 

possession of their eyebrows. 

There’s no right or wrong in this. Should I 

have stood my ground and played it safe, or 

is the client really always right, even when I 

know he’s not? At least I proved myself right, 

albeit at the cost of one failed engine. I’m hired to be a sound 

recordist, not an auto mechanic but surely no recording is 

worth a scalded face? Maybe this is a more dramatic example 

but the client relationship is full of these kind of decisions and 

compromises. What would you do...? 

AUDIO MEDIA NOVEMBER 2005 

20 AUDIO MEDIA MAY 2011 29

ALISTAIR McGHEE argues that 

the Neumann KH120s offer 

up such an unremarkable 

sound, that it is in fact, quite 

remarkable. 

I 

often think to compare the loudspeaker designer’s 

drivers to an alcoholic’s drink: one is too many and a 

million not enough. When faced with this conundrum 

it seems most designers settle prudently for two drivers, 

and it seems to me there is much wisdom in that. I hear 

the arguments made for a minimum of three units to 

cover the audio spectrum with sufficient output power, 

and yet the physical size of a three-drive unit speaker 

combined with the demands on a more complex crossover 

probably involve costs a whole magnitude greater. 

Which is why two is so often the magic number for small 

speaker drive units. 

Revered By A Name 

If there’s nothing surprising about the 

configuration of the Neumann KH 120, 

and two drivers in a small vented active 

box is not revolutionary, then maybe the 

very name is something to give us pause. 

My delivery came sealed with packing 

time now, and this was too good an opportunity to miss. 

I did a simple frequency response and the top end looks 

pretty smooth and the curve revealed no nasty surprises. 

One of the main duties of monitors is to allow you access to 

different elements of the programme material in isolation 

from the rest. That could be the ability to separate out 

instruments in a mix or clearly distinguish the reverb tails 

or provide imaging detail that allows you to hear exactly 

the effect of your pans or delays. Good monitors keep 

you from over doing the EQ and alert you to compression 

artefacts that might otherwise escape your notice. 

In my experience, once you know something is in a mix 

then you’ll probably hear it on most half decent speakers, 

but the trick is to hear it in the first place, that’s where 

quality monitors come in. And the KH 120s are quality 

monitors. The top end offers all the detail with a precision 

that makes it easy to hear what is going on in your mix. 

The mid-range is free from honk and congestion, and 

within the confines of a small two-way monitor bass is 

clean and well articulated. 

NEUMANN KH 120 

Active Studio Monitor 

THE REVIEWER 

ALISTAIR MCGHEE began audio 

life in Hi-Fi before joining the BBC 

as an audio engineer. After ten 

years in radio and TV, he moved 

to production. When BBC Choice 

started, he pioneered personal 

digital production in television. 

Alistair is now Assistant Editor, 

BBC Radio Wales, but is allowed 

out occasionally. 

tape that proudly proclaims Neumann as 

the microphone company, and who can 

argue with that? No one ever got fired for 

suggesting, ‘What about a U87?’, and only 

the other day I came over all nostalgic for 

an SM69 – but that’s another story. 

In fact Neumann and speaker manufacturer Klein and 

Hummel have been part of the same (Sennheiser) group for 

a few years now, and in a world where brand recognition is 

a powerful consideration I guess it made sense to make 

the most of the legendary Neumann moniker. K&H is 

dead, long live Neumann. 

Firing up the 120s the second thing you notice is how 

unremarkable the sound is. Remarkably unremarkable. 

There’s a great temptation in speaker design to add a 

little ‘sparkle’ at the top end. However, what might make 

your speaker stand out in a short demo often leads to 

a tiring top end that makes lengthy listening a pain. 

No such worries with the 120s. The bottom end, too, 

sounds well under control, and surprisingly extensive 

for a five and a quarter-inch drive unit in a sub-ten 

litre cabinet. Of course being active helps, I’m sure, but 

even so the -3dB point at 52Hz is quite an achievement. 

Like most of the competition the Neumann is a reflex 

ported design, but unlike many competing designs the 

bottom stays tuneful and avoids the waffle that afflicts 

many a small system trying to sound big. 

The Sparkle’s In The Detail 

The finish on the aluminium cabinet is, as you would 

expect from a Neumann product, fantastic. A switched 

mode power supply keeps the weight down. Round the 

back you have balanced input on XLR, two gain controls – 

one input and one output – and some switches to control 

room EQ and the first thing you notice when you fire up a 

pair of these. A glorious illuminated Neumann logo that 

you can switch to dim or off – but why would you do that? 

The world needs to know you own classy monitors, it’s half 

the point after all. 

I don’t go much by measurement unless you have 

the right room and really know what you’re doing, but 

I have been playing with the ARTA software for some 

Listening to familiar material was a joy. It’s nice to be 

surprised when listening to a programme that you’ve 

heard a hundred times before. All of a sudden an extra 

guitar part materialises out of the musical mist, or the 

reverb round a kit comes sharply into focus. 

At the same time, a monitor is a tool you’ll be using hour 

after hour and day after day. To do that job successfully 

requires a level of neutrality in presentation that is not 

easily achievable. Whatever a monitor does it has to do 

without being fatiguing – if you’ve been mixing for 12 

hours the last thing you want is a mid-range peak or top 

end zip that wears you down. In the KH120s Neumann has 

delivered neutrality that makes not just a great speaker, 

but a great monitor. 

What’s not to like? Well, you have to plug them into the 

mains and they work best with a proper monitor controller. 

Like virtually all active speakers the controls are on the 

back, and even if you could get at them you’d have to 

adjust each one individually, and where’s the fun in that? 

That’s about it really. 

There are less expensive monitors, and certainly bigger 

ones, for your money. But then size isn’t everything and as 

I said, no one ever got sacked for buying a Neumann. ∫ 

................................... 

£ €587.00 (exc.VAT) 

INFORMATION 

A Neumann GmbH, Ollenhauerstr. 98, 13403 Berlin, 

Germany 

T +49 (30) 41 77 240 

W www.neumann.com 

A UK Distributor: Sennheiser UK Ltd., 3 Century Point, 

Halifax Road, High Wycombe, Bucks, HP12 3SL 

T +44 (0) 1494 551551 

W www.sennheiser.co.uk 

30 


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> InpUT: 48 channels + 6 stereo returns 

> BUS: L/C/R, 16 AUX buses, 8 matrix buses 

> Channel input delay: 60 Channels 

> full 4-band pEQ 

> 48 Gates, 48 compressors and limiters on outputs 

> output delay: 27 (all output buses) 

> Effects and GEQ: six stereo effects , twelve GEQ processors 

> CASCADE: connect two or more M-480 consoles 

Roland’s coRe etheRnet-based technology enabling 

the Rapid, efficient tRansfeR of pRistine digital audio 

s-4000 series 

Digital snake 

s-1608 

stage Unit 

s-0808 

8x8 i/o Unit 

s-4000M 

reaC Merge Unit 

s-MaDi reaC BriDge 

s-4000D sPlitter 

M-48 

Personal Monitor

HOT FROM 


PRODUCT PREVIEW 

A high-specced 

chameleon 

that can take to 

the stage as easily as 

the studio, says 

STEPHEN BENNETT of 

DiGiCo’s new SD 

console. 

DiGiCo’s successful range of SD consoles is 

based on the power and programmability of 

the company’s Stealth Digital Processing, via 

a Super FGPA engine. This has allowed DiGiCo to develop 

a series of smart solutions aimed at the various strata 

of the live, broadcast, and theatre marketplaces, the 

similarity of implementation of features across the range 

making it easy for the user to swap between the various 

consoles and to share peripheral resources. The latest 

additions to the family – which includes the SD7, SD8, 

SD9, and the also new SD11 – are the SD Ten live console 

and its broadcast specific counterpart, the SD Ten B. 

“The SD Ten sits between the SD8 and the flagship 

in our range, the SD7,” says James Gordon, Managing 

Director at DiGiCo. “This is both in terms of price and 

performance, with the SD Ten providing 96 channels of 

full processing – 12 of which are full Flexi Channels – and 

48 assignable busses – far more than you get with any 

other mid-market console currently available.” 

A common design from engine to surface interface 

provides easy access to the console’s audio control. 

The SD Ten works with DiGiCo’s second-generation I/O, 

the SD-Rack, which delivers up to 192kHz, and has the 

ability to connect up to 14 racks and five redundant- 

engined consoles to the system, with 448 audio channels 

on a single redundant loop. “As well as 

talk to output with dim control. 

DiGiCo has also partnered with Israeli Software 

Company Waves to bring its Sound Grid technology onto 

the SD platform. “If you think of quality plug-ins, they are 

the first brand that springs to mind,” says Gordon, “and 

the Sound Grid platform is a very low latency system, 

which was imperative for us.” 

The Waves plug-ins are provided in addition to the 

console’s own Stealth FX, and provide access to much 

of Wave’s renowned software including bundles such as 

Mercury, SSL 4000 Collection, GTR3, JJP Analog Legends, 

Studio Classics Collection, the API Collection, and Gold, as 

well as individual classics such as the L2 Ultramaximizer 

and C4 Multiband compressor. 

All of this makes the relatively diminutive SD 

Ten physically imposing as well as ergonomically 

well equipped. 

Especially For Broadcast 

The ‘B’, when added to the SD Ten moniker, denotes the 

Broadcast version of the console. The hardware remains 

the same, but the software repurposes the control to 

provide facilities specific to broadcasters – it gives the 

ability to be two desks in one. “When you buy the SD 

Ten you’re actually buying the potential for two consoles 

– the live sound version and the broadcast versions, 

DIGICO SD10 & SD10B 

Live & Broadcast SD-Series Consoles 

THE REVIEWER 

STEPHEN BENNETT has been 

involved in music production 

for over 25 years. Now based in 

Norwich he splits his time between 

writing books and articles on 

music technology, running his 

own Chaos studios and working in 

the Electroacoustic Studios in the 

School of Music at the University of 

East Anglia. He’s also a filmmaker 

with several music videos and 

short films to his credit. www. 

stephenjamesbennett.co.uk 

being 

a great 

live sound 

option, the SD Ten 

very much fits into the 

bigger infrastructure for 

our installation business, which 

is an area of growth,” adds Gordon. 

”Having a console that integrates with 

the SD7 and SD8 is important – as is the fact 

that DiGiCo consoles can all share racks, which is a 

significant advantage for installs. For example, on a house 

of worship system, you might be doing front of house, 

monitors, and broadcast, which requires three consoles. 

With almost any other digital console you would need to 

have active or passive splits, which means an awful lot 

more cabling infrastructure. With the DiGiCo system, you 

have just one rack, with all of the consoles able to see all 

of the inputs and able to allocate outputs in blocks of 

eight. This means you can share the resource as if it’s a 

big audio router.” 

Technical Dedication 

The SD Ten comes with a raft of new options that add 

to the general utility of the console, and the SD Ten B 

application specific extension adds a broadcast-specific 

feature set. “We have included 37 touch sensitive faders, 

plus four layers of 10 SmartKey Macros – that’s 40 user 

defined buttons,” says Gordon. “And multi-channel ‘folding’ 

allows configuration of stereo, LCR, 5.1, or up to 11 mono 

channels under a single fader strip, which is a really neat 

solution and extremely useful in broadcast.” 

The SD Ten’s powerful processing includes 

channel delay, single and multi channel presets, HPF 

and LPF, four bands of parametric EQ, compressor 

and gate, dual insert points and access to all bussing. 

Output channel processing includes output delay, eight 

bands of parametric EQ (only available on the SD7 until 

now), compressor and gate, dual insert points, groups 

with buss to buss routing and Auxes which have direct 

depending on which software you’re running,” says 

Gordon. “This changes all of the terminology and much 

of the functionality of the desk and makes it specific for 

the intended market and significantly impacts on return 

on investment: the SD Ten B, for example, could be used 

for a sporting event for several months and could then be 

repurposed as a live console for the rest of the year, adding 

an additional revenue stream.” 

DiGiCo has already had great success with this 

approach via the SD7T, the theatre-specific version of the 

SD7, and the company is confident that the broadcast 

model of the SD Ten will prove just as popular. 

“We have a track record in the broadcast industry 

from our Soundtracs days and broadcasters have seen 

our touring products via their close links with live sound, 

whether that’s actual live events or during the audition 

stages of shows like The X-Factor or Britain’s Got Talent,” 

says Gordon. “They have commented on the ease of 

operation of our live desks, but wanted dedicated 

broadcast facilities. There are a lot of extremely good 

high-end broadcast consoles in the market already, but 

the SD Ten B fits a different tier of budget and still offers 

all the features and functionality of the bigger consoles, 

such as surround sound, channel folding, large scale 5:1 

monitor matrix, and so on. There’s currently no console 

at this price point that offers comparable features. 

The response we had at this year’s NAB launch, and the 

interest from serious names in the broadcast world, has 

been considerable. “ ∫ 

................................... 

INFORMATION 

£ SD10 prices start from GB£35,000, 

SD10B from GB£40,000 (exc.VAT) 

A DiGiCo, Unit 10 SIlverglade Business Park, 

Leatherhead Road, Chessington, Surrey, KT9 2QL 

T +44 (0) 1372 845600 

W www.digico.biz 

E info@digiconsoles.com 

32 



PRODUCT PREVIEW 

HOT FROM 

Launched at the Frankfurt Musikmesse in 2011, Roland 

Systems Group’s M-480 live digital mixing system is 

an update to its successful M-400 digital console. 

It features 48 input channels and six stereo returns 

(making a total of 60 inputs in total), 24 physical faders 

plus a master fader, 16 auxes, and a sampling rates of up 

to 48kHz at 24-bit. Scene snapshots can be saved, channels 

grouped, and there’s a useful monitor and talkback section, 

while the 800x400 colour display provides feedback on all 

sections of the console, including the effect settings and 

metering. REAC (Roland Ethernet Audio Communication 

Protocol) connectivity provides high quality digital audio 

transfer between the stage box and other peripherals, and 

two M-480s can be linked to allow the user to access up 

to 96 input channels. All inputs and outputs are equipped 

with a four-band fully parametric EQ, while a gate and 

compressor is available on all mixing channels. 

To compensate for problems or distances in venues or 

in a broadcast situation, a delay can be inserted on inputs 

and outputs, while effect parameters of the six dual stereo 

effects processors are controlled using dedicated knobs 

and buttons on the control surface. 

REAC technology makes the M-480 a more flexible and 

sophisticated beast than may at first appear. In conjunction 

with the M-48 live ‘personal mixer’, sophisticated multichannel 

monitoring systems can be set up, and means the 

desk will be equally at comfortable with broadcast duties – 

not to mention REAC’s obvious use in a typical CAT5-based 

stage box/front of house system. 

R-1000 Recorder/Player 

Kenning says that the R-1000 recorder is a new product 

born from the need for sound engineers to be able to do a 

‘virtual soundcheck’ at live venues. “The R-1000 is a 48-track 

recorder/player that allows us to record directly from the 

M-480’s preamps and then say goodbye to the band 

halfway through the soundcheck!” says Kenning. “Then the 

engineer has more time to effect the mix digitally without 

placing any stress on the band.” 

This makes a lot of sense, as there’s nothing more 

dispiriting for a band than having to run through large 

proportions of their set several hours before an actual 

performance, and nothing more essential for an engineer 

that they do just that if he wants to get the sound right. 

STEPHEN BENNETT 

finds out more 

about the console 

and recorder that 

make up Roland’s 

first foray into the 

live console arena. 

ROLAND M-480 & R-1000 

Live Digital Mixing Console & 48-Track Recorder/Player 

The R-1000 48 track recorder/player, also announced 

at Frankfurt, records up to 20 hours of up to 48kHz, 24-bit 

audio as standard broadcast WAV files onto its internal 

500GB hard drive and complements the console nicely 

with its REAC connectivity – but Roland hopes it will have 

a bigger impact on the general marketplace. 

M-480 Console 

“We developed the M-480 as a result of feedback from 

the end user community,” says Simon Kenning, Business 

Development Manager of Professional Audio at Roland 

Systems Group UK. “M-400 users were saying to us that 

they needed more graphic EQs and more control over 

parametric EQs – especially that they needed four bands 

rather than two – and that’s the reason that the M480 

has the new EQ modelling on board. Likewise, we’ve 

implemented sample delays on inputs and outputs after 

requests from users. Technology moves at such a pace 

now – chip manufacturing changes constantly allow us to 

add more DSP functions that weren’t available at the start 

of the development cycle. The M-400 was Roland’s first 

entry into what was, for us, a new marketplace, and whilst 

it’s been very successful, the M-480 takes us to a new level. 

Musical instrument sales at this level are getting more 

challenging, so it makes sense for Roland Systems Group 

to move further into the pro audio and video world – we 

see this area very much as the future for us.” 

Although Roland has an enviable reputation in 

some areas, such as musical instrumentation and signal 

processing, it has, until recently, been notably quiet in the 

live console area – a situation Kenning hopes to change 

starting with the introduction of the M-480 and R-1000. 

“We’ve always prided ourselves on the pristine quality of 

the audio, high quality of the technology, and reliability 

of the equipment,” he says. “The REAC protocol that 

everything is founded on is an original Roland-developed 

core technology, which keeps the cost of the products 

down for the end user as we’ve not had to add the cost 

of bringing in a third-party technology, unlike some of 

our competitors. When we brought out the Digital Snake, 

the use of CAT5 was greeted with some suspicion by the 

industry; now most manufacturers are looking for solutions 

based around CAT5, MADI, or fibre – it’s been a fascinating 

process to watch over the last five years.” 

“The R-1000 can of course also 

be used as a 48-track stand-alone 

recorder in tandem with the 

preamps,” adds Kenning. 

“Because you can 

decide to 

use either 

the ‘live’ or 

‘recorded’ 

preamps, you 

can use the R1000 

as a backing track solution 

as well. We keep everything in the 

REAC domain and so essentially you’re 

sitting the R-1000 between the stage box and 

the front of house console – the touch screen-based 

user interface is easy to use and allows the engineer to 

work just as if they have a tape player bolted in there.” 

Kenning says that when coupled with the Roland 

S-MADI unit, the R-1000 can also be used with any other 

MADI-based digital console or recording solution in the 

market and that the latency of the system is so low, that’s 

it’s “not an issue at all.” 

“We are absolutely committed to this market," 

concludes Kenning, "...Both in the UK and worldwide, and 

we are making significant investments in new products 

that will be released into this arena in the future.“ ∫ 

................................... 

INFORMATION 

£ M-480: GB£7,499.00, R-1000: c.GB£3,500.00 (exc.VAT) 

A Roland Systems Group UK, Atlantic Close, 

Swansea Enterprise Park, Swansea, SA7 9FJ 

T +44 (0) 1792 702701 

W www.rolandsystemsgroup.co.uk 

E info@rolandsg.co.uk 

THE REVIEWER 







own Chaos studios and working in 

the Electroacoustic Studios in the 

School of Music at the University of 

East Anglia. He’s also a filmmaker 

with several music videos and 

short films to his credit. www. 

stephenjamesbennett.co.uk 

AUDIO MEDIA MAY 2011 33

Processing without the muddy 

clutter? SIMON TILLBROOK finds 

it is possible, with a little help 

from the Voice of God. 

Jonathan Little of Little Labs has been making quirky 

signal processors and preamplifiers since 1988. 

With an electronics background, and as a studio 

technician in many of Los Angeles’ finest studios, he 

is well qualified and experienced enough to produce 

devices that have an interesting twist to them. 

The Little Labs VOG (Voice Of God) is a unit that fits 

into a 500 series host, such as the API Lunchbox, but there 

are plans for a stand-alone version more akin to other 

devices in the Little Labs’ ever expanding range. 

What is the VOG? 

The Little Labs VOG is, in effect, a bass resonance tool that 

was originally designed with voiceover work in mind. 

The idea was to combat the problems of lost vocal 

definition with microphone proximity effect. You often 

want to use proximity effect to broaden the lower midrange 

for a warmer, sexier feel, but this usually comes 

with additional muddiness that needs to be dialled out. 

taken with just how well the Little Labs VOG worked in 

this application. 

This device is simplicity itself to operate and delivers 

broad low mid resonance with wonderful clarity. It was 

with female or thin sounding vocals where the Little 

Labs VOG was really able to show you what it could do 

and shine. 

Moving onto instrumentation, I took a number of kick 

drums, toms, bass guitars, and synthetic bass sounds to 

see what could be gained from using the Little Labs VOG. 

Across all of the signals that I tried, a real beefing up 

took place, but without the muddy clutter that so often 

accompanies such processing. 

Drums gained depth and clarity with the Little Labs 

VOG installed on them. Toms, in particular, could be 

manipulated in terms of pitch with the Little Labs VOG. 

There was a limit to this, but it is an interesting and natural 

sounding possibility to have available to you. 

You can be very subtle with the amount of process that 

LITTLE LABS VOG 

Analogue Bass Resonance Tool 

THE REVIEWER 

SIMON TILLBROOK is the Principal 

Music Tutor at Islington Music 

Workshop in London. The rest of 

his time is spent as a freelance 

engineer, mainly in the USA. 

The Little Labs VOG lets you focus in on 

the chest resonant frequency and bring it up 

without the additional clouding of the signal. 

This is achieved using a peaking high pass 

filter with a very tight bandwidth that can 

centre with frequencies between 40Hz-300Hz 

with a 24dB per octave slope either side of it. 

The Little Labs VOG is fully balanced 

throughout with a single amplifier circuit for 

optimum signal quality, allowing it to be used 

at the highest sonic levels. 

Control 

With the Little Labs VOG, we have just three 

buttons and two rotary controls with a series 

of LEDs to indicate selections and operation. 

The three buttons are used to select the 

centre frequency range you are going to 

sweep through. One of these is labelled ‘Flat’. 

This is a flat frequency response selection 

and not a bypass, as you may initially think. 

The Little Labs VOG still has an impact to the 

overall feel even in this position. 

The other two buttons are labelled ‘40’ and 

‘100’, with the legend ‘40/200’ sitting between 

them, so you can select either a 40Hz or 100Hz 

centre frequency or, when selected together, 

a centre frequency of 200Hz. 

One of the rotary controls on the Little 

Labs VOG-labelled ‘Frequency’ relates to your 

selection. This rotary control has a scale that 

runs numerically from 1-10. It is the five-position that 

relates to the specific centre frequency you have chosen 

with the buttons. It is from there you can sweep up and 

down to find the fundamental frequency you require. 

The other rotary control available to you on the Little 

Labs VOG is Amplitude, and does exactly what you would 

expect, delivering up to 18dB of additional boost at the 

selected frequency peak. 

Use 

I first took the Little Labs VOG and used it with a variety 

of vocals as per its designed orientation. I was instantly 

you introduce, but I can see the amplitude 

control spending most of its life at the 

higher end of its setting possibilities if 

my experience was anything to go by. 

The Little Labs VOG delivered positive 

results with all the options that I 

tried with it. 

Conclusion 

The Little Labs VOG is a very interesting 

device indeed. I absolutely loved it. It is 

very refreshing to see a company taking a 

slightly different route with processing and 

focusing on areas that are of real benefit to 

us, the user. 

For voiceover work, and virtually any 

sound that could benefit from some low 

frequency treatment, the Little Labs VOG 

is a unit you simply must take a listen to. 

I think you may come to like it just as 

much as me. ∫ 

............................... 

INFORMATION 

£ GB£340.75 (inc.VAT) 

A Little Labs Professional Audio 

T +1 323 851 6860 

W www.littlelabs.com 

A UK Distributor: 

Unity Audio Ltd., The Elms Barn, Baythorne End, 

Halstead, Essex, CO9 4AF, UK 

T +44 (0) 1440 785843 

W www.unityaudio.co.uk 

34 


SShadow Hills Industries has been producing top of 

the line preamplifiers and dynamic processors that 

have found many fans around the world, of which I 

am one. I love the Batcave styling and uncompromising 

build quality of these units, some of which are available 

to mount in the API 500 series hosts. 

The Shadow Hills Mono Optograph is a single 

channel compressor that will occupy two slots of your 

500 series host. 

The Mono Optograph uses the Shadow Hills optical 

compressor cell from the company’s monstrous 

mastering compressor as the basis of its design, with a 

few additional functions. The electroluminescent optical 

attenuator controls the quantity of your audio program 

transients that are processed, and has a two-stage release 

time process where eighty percent of the processed 

audio recovers quickly with the last twenty percent taking 

over a second. The time has a small amount of flexibility, 

based on the amount of gain reduction that has been 

applied. This is all controlled from the two rotary controls 

on the front. 

Use 

I have come to expect a great deal when presented with 

another unit from Shadow Hills. The benchmark the 

company sets itself is always high and, with products 

priced at the premium end of the market, you do need 

to impress. 

The Shadow Hills Mono Optograph does not 

disappoint. As with all Shadow Hills units I have used, 

the Mono Optograph works with the sonic attributes 

of the music to bring the sound or combination of 

sounds together. 

Without the usual array of parameters associated with 

compression you might argue that the Shadow the unit 

lacks flexibility of control, but that would miss the point. 

You do need to spend time with a device such as this 

to appreciate the subtleties and sonic variations that can 

be achieved with the Compression and Makeup Gain 

rotary controls, along with the various side chain filter 

options – and the Desaturation mode adds yet more sonic 

possibilities to the mix. 

The Mono Optograph is very good indeed at pulling 

The standard set by past 

Shadow Hills products is high, 

so how will the new Optograph 

compare? SIMON TILLBROOK 

welcomes the single-channel 

compressor into the Batcave… 

SHADOW HILLS OPTOGRAPH 

Stereo Optical Compressor 

Looking at the Shadow Hills Mono 

Optograph, you have a small retro VU 

gain reduction meter with the two rotary 

controls directly underneath, one over 

the other. These two Elma rotary switches 

have twenty-four notched positions 

each, and are labelled ‘Compression’ and 

‘Makeup Gain’. 

The compression is effectively the 

threshold control, which increases 

the amount of the audio program 

compressed by rotating clockwise, 

and output level is dealt with the 

Makeup Gain. 

Flanking the central gain reduction 

meter of the Optograph are two multiposition 

switches. The left is marked 

‘Condition’. This three-position switch 

moves between Bypass, Engage – to 

activate the Mono Optigraph, or Desaturate. 

This selects a transformer desaturate mode. 

The input of the unit uses a Jenson input transformer 

and the output has a custom nickel-wound transformer. 

This mode relates to the latter by cancelling out distortion 

caused by the transformer when undesirable, a kind of 

transformer bypass mode. There are a series of green 

lights to indicate the condition selected. 

The switch to the right of the Gain reduction VU of the 

Shadow Hills Mono Optograph is a side chain filter selector 

with five positions, including 'off'. 

The other selections are 90Hz, 150Hz, 250Hz, and 

Bandpass. The filter selected determines the point at which 

compression occurs so, for example, if 90Hz is selected all 

content below 90Hz would not be compressed. 

In the case of Bandpass, this is very much dictated 

by the audio signal passing through. It is the signal’s 

midrange that triggers the compression, with high and low 

frequencies ignored. As with the Condition selected, there 

is a set of green lights to show the filter position selected. 

sounds 

together, particularly sounds with a low 

mid frequency detail. I found that with 

vocals, drums, bass, and acoustic guitar, 

the Shadow Hills Mono Optograph 

pulled the sonic elements together and 

added in a little character of its own, 

broadening the lower midrange without 

dulling any of the high frequency 

content. 

With a pair of Shadow Hills Mono 

Optograph units to use for main buss 

or subgroup compression, the range of 

applications would expand once again. 

I tried the single channel. I had to 

get a feel for using the unit for such 

applications, and only ended up wishing 

I had that second channel. 

Conclusion 

The Shadow Hills Mono Optograph 

continues delivering everything I expect from Shadow 

Hills. 

It takes a little time to fully understand and appreciate 

what the Mono Optograph is capable of with apparently 

limited parameter control, but you soon forget such 

things and simply enjoy what this single channel 

compressor can offer your projects. ∫ 

................................... 

INFORMATION 

£ GB£1,100.00 (exc.VAT) 

A Shadow Hills 

W www.shadowhillsindustries.com 

A UK Distributor: KMR Audio 

1375 High Road, Whetstone, London, N20 9LN 

T +44 (0) 208 445 2446 

E sales@kmraudio.com 

THE REVIEWER 







John Broomhall talks to Audio 

Director, Stefan Strandberg, 

about his team’s awardwinning 

work on DICE’s 

acclaimed military firstperson 

shooter 

Strandberg: “We were really, really nervous about recordings we make during the military exercises that take 

getting up on that stage! But it was such a big honour place around Stockholm periodically. Running around the 

– we got this final approval from the upper echelons of forest with shotgun mics ‘recording from the hip’ also yields 

the game audio community – and that feels really great. some fantastic assets… 

We’ve been thinking that we’ve been doing something right “You get back and update your libraries and find stuff 

but when someone says it officially like that… It was a big you just love – and you think, ‘This one sound changes 

deal for us and it’s resonated well within the company too, everything!’ Then you adapt other audio to work with that 

strengthening our way of looking at and hearing things. sound – it’s like you’ve found the Rosetta Stone. For instance, 

We humbly accepted the BAFTA award and we’re very proud we got a much bassier recording of a machine gun and used 

of it.” 

it at different pitches to homogenise a lot of the weapons. 

It really helps to create iconical differences between assault 

A Mere Decade Ago… 

rifles and machine guns. In fact, we’ve worked very closely 

Rewind ten years, and Strandberg was working with fellow with design to make sure there are small sonically unique 

veteran DICE colleague, David Mollerstedt, at a local music identifiers for everything in the game providing important 

studio. However, his spare time was frequently occupied with audio cues which will improve you as a soldier. Though 

they’re not mentioned in the manual, it’s cool how people 

pick up on them – it’s all part of the gameplay depth.” 

Battlefield 

Bad Company 2 

‘And the BAFTA for ‘Use Of Audio’ goes to…’ 

Developer/Publisher 

DICE/Electronic Arts 

The Audio Team 

Audio Director 

Stefan Strandberg 

Sound Design 

Bence Pajor 

Mari Saastamoinen 

Ben Minto 

Stefan Strandberg 

Olof Strömqvist 

Original Music 

Mikael Karlsson 

Dialogue Direction 

Olof Strömqvist 

Audio Programming 

Jonatan Blomster 

Björn Hedberg 

customising the audio content of his favourite computer 

games – so-called modding. It was a pastime that was to 

prove a useful testing ground, as he explains: “Even in those 

days the thing I cherished more than anything else was the 

right source sound – I’m not a sound designer in the sense 

of sound manipulation. This ‘right source’ principle carries 

right through to what we do in DICE nowadays. There are 

two sides to our production: first, we are fortunate to work 

with fantastic sound engine technology and accompanying 

technical sound design talent that totally supports the ethos. 

Second, we are provided with great source audio and have 

a finely-attuned selective ear. This encapsulates the DICE 

approach to game audio – our collective mindset. We’re not 

manipulating as much as people might think. Perhaps if we 

were making a role-playing game with spells and magic it 

might be different, but I’ve always worked with real stuff like 

cars and guns and soldiers.” 

When it came to collecting the right source material 

for weapons, the team were able to take advantage 

of a quite extraordinary gun wrangling and recording 

session in LA and Fort Irwin (complete with mocked-up 

Iraqi village). “I think it’s the biggest gun recording ever 

attempted – a joint venture with the Medal Of Honour 

team. For two days we had movie guys Jean Paul Fasal 

and Brian Watkins there with an 80 microphone set-up 

capturing every weapon sound you can imagine to both 

computer and analogue tape recorders. We even had 

people sync-recording in the mountains 5km away. The 

resulting Pro Tools sessions allow you to create any kind 

of weapon sound you like, though the portrait of the tail 

is a constant, which is why we still like to use ‘guerrilla’ 

Strength In Battle 

One of Battlefield’s obvious strengths is its use of acclaimed 

dynamic mixing system ‘HDR’ (high dynamic range) which 

automatically and ‘intelligently’ governs playback of the 

myriad sound triggers occurring in a complex gameplay 

scene. Just because a 3D sound is calculated as scientifically 

or theoretically within hearing range of the player’s ‘listener’ 

position, does not necessarily mean it’s appropriate or 

desirable that it should actually be heard. Context must 

be considered. In fact, other sound-dense games with a 

relatively thoughtless mixing methodology have frequently 

suffered from fatiguing cacophony – ‘everything, all the 

time’. HDR on the other hand can, for example, use a 20dB 

‘window’ which is moving forward in time reacting to sound 

triggers. A 150dB explosion being triggered will cause the 

‘window’ to pop up to say a 150-130dB range and all sounds 

below will be culled. As the explosion rolls 

> 

36 


off, the window will slide down the dB scale again, according to a 

tweakable release curve, seeking to highlight the lowest volume 

sounds. Therefore, if no high volume level sounds occur after the 

aforementioned explosion, the low level detail of the birds and 

insects or perhaps the player’s movement will appear to come to the 

foreground of the mix. Strandberg: “HDR mixing is a mixing principle 

– that’s just one example but all values can be set to ‘desired’ values 

and customised per setting.” 

The primary mixing rule-set is coupled with a secondary prioritybased 

group classification. The resulting audio output has a pleasing, 

distinctive character that is neither cacophonous or tiring on the ear, 

even given the intense subject matter involved. Rather, Strandberg 

feels it provides a sense of focus: “Sometimes people confuse it with 

compression – because it can sound like a side-chained compressor 

but that’s not how it works. It’s actually about having fewer sounds 

play – say four or five at any given moment – but when ‘nothing’ is 

happening, we can actually bring up the lower sounds in volume . 

Then, as a player, you feel you’re being fed all these lovely sound 

details of the world – they’re beautiful moments. But as soon as the 

warfare starts, those sounds are pushed away.” Strandberg gives it a 

95% rating for success – impressive for an automated 

system. In other words, it may throw up some oddities 

now and again but the benefits are overwhelming. 

Spartan Benefits 

Given the team’s desire for mix clarity, it’s unsurprising 

that Strandberg is unequivocal about keeping music 

use very sparse during Battlefield gameplay itself: “A 

lot of times I hear full-blown orchestral music playing 

on top of action scenes in games – I don’t know what 

to listen to. And where is the orchestra coming from? 

There’s a lack of thought and no-one benefits from 

it – not the sound designers, not the composers, and 

not the end user. It’s just a big mess – if you want 

music on top of your game you have to be really 

careful – make sure you leave dynamic room for it.” 

Also prone to problems in many game titles is 

speech content. Even now, some teams lurch towards 

apparently obviously avoidable pitfalls. The DICE team 

feels its key strengths in achieving good dialogue 

content are simply to encourage plenty of actor improvisation and 

group interaction, recording multiple actors together – still not a 

universally accepted modus operandi in games: “With ensemble 

recording you get a completely different result. We have two 

excellent full-time voice producers working with us and also from a 

sonic perspective, we work a lot on analysing the ‘outdoors’ sound, 

trying to replicate that in the game – in fact nowadays, we’re even 

recording a lot of Marines actually outdoors. Even if the noise floor 

is quite heavy it doesn’t really matter – when you get it into the 

game, believability outrules fidelity. Actually you can tell from all 

of our sound content that this is a guiding principle – in eight out 

of 10 cases we’ll use the sounds that sound real – even if they’re 

of lesser fidelity. We can always pimp them later with extra detail. 

Sometimes, you hear a sound that just kills everything you’ve done 

– or you just want it but it’s considered, from a scientific perspective, 

to be a bad sample in the book of high fidelity nerds – they would 

never choose it. 

“Where do you draw the line ? There’s clip distortion and then 

there’s distortion… To me, it’s like a punk band with a good set 

“…it doesn’t 

matter that 

they’re recorded 

‘improperly’ – 

the message is 

still more vital 

or it has more 

energy or more 

attachment to 

us humans.” 

of songs – it doesn’t matter that they’re recorded ‘improperly’ – 

the message is still more vital or it has more energy or more 

attachment to us humans. I would argue the DICE sound team is 

like a punk band in many ways… 

“Don’t get me wrong – our game sounds great on high fidelity 

systems – we’re audio nerds in many respects. But I really believe 

in getting your games to sound good on inferior systems like 

TVs. A lot of people act like their games are going to be played 

back in THX-certified cinemas but they’re never going to be – that 

sounds obvious to me when I say it, but it’s not obvious to a lot of 

sound designers. The game can sound super-good in their superbalanced 

studios but that’s not the way it’s going to be played. We 

just embrace that fact…” 

Playing Better, Sounding Better 

With the audio technology and systems having been established for 

the original Bad Company title, the team had the distinct advantage 

of concentrating, for the most part, on content. Strandberg: “As 

with any sequel, we dug deeper, expanding diversity and asset 

quality. The game plays better than BC1 – both single and multiplayer 

– and a game that plays better, sounds 

better. We’ve gotten out of the audio rooms and 

worked with other disciplines more collaboratively. 

For example, if you want to make something louder, 

sometimes pushing up the volume slider isn’t 

enough. So we went to the FX artists and said, ‘Look, 

the explosions won’t feel dangerous if we don’t 

shake the camera,’ and in an unusual development, 

we audio guys ended up controlling the camera 

shake so we could ensure perfect synchronisation. 

In fact, not only do we trigger and control the shaking 

x, y, and z parameters from the audio engine, we also 

trigger rumbling of the joypad! It’s all done subtly but 

it makes the explosions seem louder – it’s like we’ve 

got more dimensions to work in.” 

This ‘perception illusion’ of audio-driven camera 

shake and rumble features throughout, in situations 

ranging from say the fairly obvious instance 

of a tank drive-by through to more oblique 

examples like a parachute-opening. 

Strandberg: “It really amplifies key moments – with the 

game’s ‘Destruction 2.0’ you can bring down a whole house 

and so a couple of seconds before it collapses, you’ll hear 

the building starting to creak and moan and the camera 

starts shaking and the pad starts rumbling – all in complete 

sync. It’s what creates that, ‘I gotta get out of here,’ reaction. 

Audio alone is not as powerful. It’s been one of the best things 

we’ve ever done and we’ll develop it further in future. It’s great 

we had more time to do these things – a year-and-a-half. 

Last time around we were building a new engine at the same 

time as making a game which is horrible. We were able to just 

polish – and when everybody is polishing, what it brings to the 

product is amazing.” 

Judging by the reaction in the room at the awards ceremony 

itself, plus subsequent bulletin board discussion around the 

world since, the decision to give the BAFTA ‘Use Of Audio’ award 

to Battlefield: Bad Company 2 is evidently a popular one within 

the wider game audio community. It rightly recognises some 

exceptional work from the DICE audio team. ∫ 


37

audio codec 

plug-in 

Sonnox 

Fraunhofer Pro Codec 

PAUL MAC gets tuned into 

the oft-ignored world of 

quality control in audio codec 

compression. It seems Sonnox 

has the right tool for the job. 

THE REVIEWER 

PAUL MAC is the Editor of Audio 

Media magazine. 

You can excuse so-called experts on TV 

gadget and technology shows for calling an 

iPod an mp3 player, or employing sweeping 

generalisations about quality in codecs – ignoring 

the various incarnations, advances, and quality variants 

in the main AAC and mp3 codec families. After all, gadget 

programme presenter vetting procedures seem to stretch 

only to making sure they know which side of the telly they 

need to look at when the little light comes on, and that 

they are fluent in Clarkson-speak. 

However, there’s no excuse for audio production 

professionals to ignore one of the most significant 

revolutions in audio delivery since Darwin invented the 

ear. We can create as many cliques and head-shaking 

committees to dismiss lossy (and 

lossless) audio compression 

as we like, but in the end the 

responsibility for the quality of 

your production lies with you, 

and if the production will be 

heard mostly on an iPod (other 

compressed audio file players 

are available), then it’s your job 

to make sure it sounds good on 

an iPod. After all, if you check and 

modify mixes according to soffits, 

nearfields, NS10s, Auratones, headphones, 

and hacked radios in surround, stereo, 

and mono – why wouldn’t you mix and 

master with the aid of popular audio 

codecs as well? 

Hands up who, when doing anything 

to mp3 or AAC, simply throws the file 

through iTunes and accepts the result 

without question or comparison? 

Maybe it’s because, up until now, we 

haven’t had the tools available to fully 

come to terms with this medium? 

Well, this might change, because Sonnox 

and Fraunhofer hope their new joint 

development effort will allow you to 

conveniently take the proper time, effort, 

and corrective measures to ensure and 

prove codec compatibility... And a few 

other things as well. 

Overview 

The Sonnox Fraunhofer Pro Codec plug-in, for Pro Tools, 

VST, and AU, is nicely laid out, and packs a lot into one 

plug-in window. Like most, if not all, of the Sonnox plugins 

there is a careful balance struck between a clear, 

attractive, ergonomic interface, and the need to tell the 

whole truth – no patronising and no hidden numbers. 

The plug-in is split into several distinct areas, with the 

main central area defaulting to its online encoder state. 

You can also choose offline encode and decode modes 

with two tabs at the top of the window, for direct file 

processing rather than the realtime processing. 

I’d already been to a couple of demos of this plug-in 

before sitting down to review it, so I was at an advantage 

in terms of operation. I don’t think it’s particularly tricky 

“One of the most 

used buttons on this 

plug-in I suspect will 

be the Diff button… 

you get to listen 

to the difference 

between the input 

signal and the codec 

– the bits that will 

be thrown away.” 

though, and the help ‘flyouts’ that can be user-disabled or 

enabled are very helpful. Once you understand the basic 

layout of the central section, I think everything else falls 

into place nicely. 

Basically, you can load up to five different codec 

variations into slots below the main metering area. 

Each of these codecs can be set-up via a floating ‘Codecs 

and settings’ box that pops up when you select that slot. 

The full range of Fraunhofer IIS co-developed codecs 

is available here, complete with helpful parenthesis: 

HD-AAC (lossless), AAC LC (low complexity), HE-AAC 

(high efficiency), HE-AAC v2 (parametric stereo), 

mp3, mp3 Surround, and mp3 HD (lossless to 16 bits). 

Available settings vary according to the codec type, 

but bit-rate, mode (constant 

or variable bit rate selections), 

and quality (processing speed) 

are the full set of options for the 

lossy codecs. 

Each loaded codec has a 

record-arm button, a Mon button 

(direct audition selection), and an 

over-range indicator for streams 

that will contain overs when 

decoded – that way you can do 

something about this before the 

encode with the useful trim adjustments. 

Above the codec selections is the 

metering area. The main view is a basic 

FFT (dBr) graph, switchable between 

logarithmic and linear scales. In-meter, 

the main lines are the input signal and 

difference views, and you can select 

individual channels or a sum of them, 

plus the NMR (Noise to Mask ratio), which 

shows how well hidden the codec noise is 

below the perceptual mask. Helpfully, the 

meter shades vertical red areas when the 

noise and mask switch places and might 

cause audible artefact issues. 

There’s also an alternative meter 

screen with three lissajous views – Input 

& Output, Output & Diff, and Diff x 5. 

Differently Facilitated 

One of the most used buttons on this plug-in I suspect 

will be the Diff button. Instead of auditioning the result 

of the encode-decode, you get to listen to the difference 

between the input signal and the codec – the bits that 

will be thrown away. What use is this? Well, I found that 

the difference signal helps to focus your ears on potential 

areas for interest. For example, I had one mix running 

through a couple of extremes – a reasonably high bit rate 

AAC and a pretty basic mp3. The differences in this mix 

were not as stark I was admittedly expecting, but a quick 

reference check with the difference signal focused me 

onto the low-mid region where the mp3 codec seemed 

to be most heavy handed. Sure enough, the differences 

between the two became clearer. 

But what if it’s not clear – what if you end up doubting 

your own judgment because you’ve been jumping 

> 

38 


sonnox fraunhofer i pro codec 

> 

around between codecs and are now no longer 

sure which way is up? This is where the A-B and 

A-B X sections can help... 

At its simplest, the A-B tab is a convenient 

way of comparing two codecs, or one codec and 

the input signal. Simply assign codecs to A or 

B, and use the A-B button to switch between 

them – or one codec and the input, if you’d 

prefer. However, we might still be going round 

in circles with tiny differences, 

both real and imagined. 

The next stage is to do some 

blind listening. This is achieved 

with the Hide button, which 

simply turns off any visual 

indication of which codec 

you are listening to, allowing 

your ears to do the work. In 

conjunction with this strategy, 

there is the Both button, which 

displays the FFTs of both 

difference signals so you can see 

which is the most pronounced, 

and where. 

It’s the A-B X tab though 

where things get more serious. 

This tab is designed to help 

you check that what you think 

is going on, really is going on. 

You select two codecs, then 

hit the X button. One codec 

is chosen at random and you 

“…the 

immediacy and 

detail in the Pro 

Codec will be of 

immeasurable 

benefit to 

anybody who 

has, or wants 

to, put away 

the old attitude 

of ignoring the 

dominance of 

audio codecs.” 

have to work out which one. When you 

think you know, hit Choose after a few goes, 

simply click Reveal, and find out how you did. 

The documentation recommends you repeat 

the test from 10 to 20 times, 

then find out your percentage 

of success. Over 95 percent 

is, apparently, statistically 

significant – which means 

you’ve still got it. 

The usefulness of this 

section may not be as obvious 

as other tools in this plug-in. 

It’s true, you don’t normally 

embark on a statistical analysis 

of every decision you make in 

the studio, so why start with 

this? Well, the differences 

between these codecs 

nowadays are often tiny, and 

as noted above, it’s easy to 

enter a cycle of doubt when it 

comes to quality assessments. 

Isn’t it good to test yourself 

and your ears now and again? 

If you’re not statistically 

significant, maybe it’s time to 

go and have that cup of tea? 

Personally, I tried a few 

combinations of A-B X testing 

and learned quite a lot in a 

very short time. The overall 

effect was that I was able to 

really tune into some very subtle 

differences between codecs 

and codec settings – often 

things that I couldn’t pin down 

simply by switching sources 

in the more traditional ways. 

You can carry this honed 

perception, specific to 

“It’s the A-B 

X tab though 

where things get 

more serious. 

This tab is 

designed to help 

you check that 

what you think is 

going on, really 

is going on.” 

the material, with you 

through an exploration 

of more codecs and bit 

rate variations, thus 

learning more about 

that material and 

how it reacts to the 

compression formats. 

There are a number 

of other details in the 

plug-in that make your 

life much easier. A status 

box lets you know what’s 

going on inside the 

codec and if, for example, 

the plug-in has had to use a second codec 

to produce the audition stream where 

down-sampling is necessary in the main 

codec. There are compression ratio, bit 

stream level meters (for that over-range 

prevention I mentioned earlier), a total 

delay indicator, and more. 

Once you’re happy, you can arm any of 

the codecs you have loaded for recording 

to files, and then simply print them with 

the master record button. In the off line 

modes, you drag in or browse for files, 

specify the codec, and allow the software 

to do its thing. There are a number of 

options for file naming conventions, so 

you can keep close control over which 

files are encoded with which codecs and 

so on. Easy. 

Fit For Purpose 

There are two main ways to 

approach the Sonnox Fraunhofer 

Pro Codec. First, you might actually 

be encoding audio files – you might 

be a mastering engineer with a client 

who actually cares about how their 

audio comes across on the currently 

most widely used formats around; 

or indeed anyone charged with 

producing compressed deliverables. 

Second, you might be a mix or 

mastering engineer who wants to 

make sure that the product will 

sound fine in whatever format it ends 

up – rather like checking your mix on 

different monitors to cover a practical 

range of domestic outcomes. The very 

act of adjusting a master track, or even 

the treatment of individual tracks, 

in order to accommodate 

compressed delivery formats is 

both a learning process and an 

enlightened approach. 

If there were any ways in which 

this product could be augmented, 

I’d say that large-scale offline batch 

processing with settings created in 

the online mode would be a good 

place to start. Also, in demos the 

facility for extensive ID3 metadata 

editing and template imports has 

been shown, though it will not 

be in the initial release version. 

Maybe this feature won’t be too far 

away? Archiving, games, library work, 

and so on could all use these kind of 

workflow helpers. 

Either way, the immediacy 

and detail in the Pro Codec will 

be of immeasurable benefit to 

anybody who has, or wants to, put 

away the old attitude of ignoring 

the dominance of audio codecs. 

This plug-in comes without the 

baggage of anti-codec propaganda. 

It’s absolutely honest. Indeed, the 

A-B X test tab is the ultimate in 

honesty. It might dent a few egos, 

but that’s no bad thing. It might 

also affirm some reputations. 

Which would be even better. 

Conclusion 

My limited time with the review copy of the Pro 

Codec has convinced me that I’d like to spend 

more time learning about ways to minimise 

compression artefacts and problems earlier in 

the production process and during the encoding 

stage. Few people lose work by knowing 

too much or having too many tools in their 

toolbox – or owning the best quality means to a 

popular end. ∫ 

.................................... 

INFORMATION 

£ GB£295.00 (exc.VAT) 

A Sonnox Ltd. 

W www.sonnoxplugins.com 


Production Report 

Papa Sangre: 

Gaming In The Dark 

When imagination is the only boundary, and sound the only guide, things can get very interesting indeed, 

says LISA GEE of a frontier-busting game. 

Winner of the Most Innovative Game 

category at the International Mobile 

Gaming Awards was Papa Sangre – an 

iPhone game without video. Players navigate 

through a dark world of binaural sound, 

headphones on, iPhone (or iPad) held landscape; 

left thumb, right thumb tapping the bottom half 

of the screen to walk or run, swiping the top half 

of the screen left or right to turn. 

Nick Ryan – award-winning composer, sound 

designer, and binaural maven – was responsible 

for envisioning and creating the game’s audio 

content. He explains the process. 

“We wanted the engine to procedurally animate 

sound in real-time depending on the player’s 

position in space, but didn’t, initially, understand 

how players would move through that 

space.” 

So Ryan started by producing some basic 

video animations in Apple Keynote. These 

showed an icon rotating around a space, with 

sound that rotated at the same rate. “We could 

touch the animation and pretend to move it.” 

Next, he experimented 

with 3D sound walk-throughs. 

These enabled him to identify 

four distinct species of sound the 

game required. 

The first – footsteps – are fundamental 

to the game play. 

Players use them to ‘echo-locate’ within each of 

Papa Sangre’s 25 levels. Every level has a different 

footstep sound, depending on the size of 

the room, the floor surface – ice, quicksand, or 

the bars of a giant xylophone, for instance – and 

what’s on it (e.g., crunchy bleached bones. Yum). 

Atmospheres – the second sound 

species – are stereo sonic loops 

particular to and constant across each level. 

Then there are, in Ryan’s words, ‘Easter Eggs’: 

sound elements designed to make the game’s 

soundscapes as varied as possible. “These,” he 

explains, “are seemingly random sounds that 

emerge from the landscape – a creaking floorboard, 

a burst of steam, or a bird tweeting in a 

distant tree…” 

Finally, there are two kinds of spatialised 

objects: the tinkling musical notes players 

collect as they navigate each level and – trying 

to stop them – a menagerie of gleefully 

homicidal monsters. 

Limitations of time and the iPhone 

chip’s processing power meant 'spacialising' 

mono soruce material, which wasn’t 

ideal. The process involves imposing an 

HRTF (Head Related Transfer Function) 

on those sounds, which resulted in a 

loss of some low frequency information. 

“High frequency detail did yield more believable 

positioning,” says Ryan. “...But creating monsters 

that lack bass is a bit of a challenge.” 

Ryan pulled everything together in Logic 

and recorded or made all Papa Sangre’s sounds 

binaurally. For recording, he used a pair of 

Soundman OKM II in-ear mics (inexpensive 

> 

Audio Media Junior.indd 1 02/03/2011 09:53:51 

40 


Production Report 

> 

and functional), a B&K 4128 dummy head, and 

a Neumann KU100 dummy head kindly lent by 

Sennheiser UK. 

“The Neumann’s microphone capsules are 

amazing. Also, the head is average-sized, which 

means that the binaural effect should work for 

most people. On the downside, it’s heavy, fragile, 

and very expensive.” 

Time For More? 

Ryan made other sounds by re-recording and 

layering commercially-available effects. He started 

out playing them though a single Genelec 1029a 

speaker, which he moved round the Neumann 

head. This was effective, but finicky and 

time-consuming. 

“So I switched to plug-ins: Wave Arts’ 

Panorama 5 – which creates believable three 

dimensional position information and has 

Prism_TONGSOSjuniorad:Layout 1 27/04/2011 14:55 Page 1 

“Phat and totally essential” 

Pete Tong & Paul Rogers 

The only interface 

for the job 

ORPHEUS 

Professional FireWire 

audio interface 

reverb and binaural early reflection modelling 

– is brilliant. Often if you add reverb to binaural 

sounds, it can lessen the effects, because 

it’s unrelated to the positional information. 

Also, all the parameters are automatable and you 

can record the automation.” 

That was the biggest advantage of using plugins. 

“I could copy the automation for moving one 

layer to the others, ensuring they all coincided. 

Or replace one sound with a better one without 

losing the panning information.” 

Mixing was challenging. “I wanted the game 

to have big dynamic and spectral ranges. 

I had to assume people would listen to it in noisy 

places and they needed to be able to hear everything. 

So it had to be loud. Matching levels for 

different assets was hard. We ended up outputting 

everything into one folder, then batch-processing 

all the files at different levels of gain. 

When looking for a high quality I/O solution there is 

only one choice. 

Orpheus provides Prism Sound's world renowned 

performance, sound quality and state-of-the-art clock 

technology in a dedicated FireWire unit compatible with 

both Windows and MAC OS X. 

Orpheus features line, microphone and instrument 

inputs, selectable RIAA Equalization for turntables, a 

built-in premium-quality monitoring mixer and 

concurrent ADAT and switchable S/PDIF or AES3 digital 

I/O plus support for outboard MIDI devices. The 

Microphone inputs include MS matrix processing and 

dual headphone outputs are provided each with their 

own volume control. 

Nick Ryan. 

When we imported the sounds into the game, 

we went through a balancing process and if 

one element was too loud, we just grabbed a 

quieter version.” 

Ryan mastered with Waves L2 Ultramaximizer 

and Izotope Ozone on the output with the Waves 

LoAir plugin and a bit of Maxxbase. “I used widening 

plug-ins too: Waves Imager and Waves 

Shuffler to make things sound more 3D.” 

The cut scenes – the audio between levels 

– were mastered to -1dBfs to give the engine 

headroom. Because footsteps always play over 

an atmosphere, in-game scenes are quieter to 

compensate for combined gain. 

Ryan used impulse response reverbs: 

Apple’s Logicpro Space Designer, “which was 

brilliant. And I couldn’t have lived without 

Audioease’s Altiverb. There’s something about 

impulse response reverbs that is more immersive 

and works much better with real binaural assets 

than normal reverbs.” 

During play, the sound in Papa Sangre is generated 

by a bespoke engine built using the C++ 

software framework CSL (Create Signal Library) 

and Objective C. “It allows us to spatialise up to 

three sounds around the listener and have other 

sounds playing at the same time”. Every game 

level was constructed from 1x1 floor tiles: each of 

which was used to trigger the relevant sound(s). 

An Unlimited World 

“Making Papa Sangre audio only,” says Ryan, “gives 

each player a completely unique experience. 

The only limits to how horrifying or beautiful the 

game’s world is, are those of an individual player’s 

imagination. So it’s got the best graphics of any 

game, ever. The downside is that I’ve made effects 

that sounded, to me, like particular things, but 

to other people sounded like something else. 

And when you’re dealing with a game in which 

people need to understand where they are, it 

gets very interesting if everyone thinks they’re 

somewhere different… “ ∫ 

Contact us now to arrange your Orpheus demo. 

sales@prismsound.com www.prismsound.com 

UK +44 (0)1353 648888 USA +1 973 983 9577 

Papa Sangre 

www.papasangre.com 

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audio plug-ins 

series 

Waves 

OneKnob 

With a simple interface, 

the Waves Oneknob multi-tasks 

effectively, providing a distinct, 

fuss-free sound, says 

STEPHEN BENNETT. 

THE REVIEWER 







own Chaos studios and working 

in the Electroacoustic Studios 

in the School of Music at the 

University of East Anglia. He’s also 

a filmmaker with several music 

videos and short films to his credit. 

www.stephenjamesbennett.co.uk 

Israeli software company Waves was arguably 

the first company to make professional engineers sit 

up and take computer-based audio software plugins 

seriously. I remember the positive impressions 

that the TDM-based C1 Compressor and Q10 equaliser 

made when first hearing them on my old Pro Tools III 

rig – and the impact that the L1 UltraMaximizer has had 

on the sound of modern music, for good or ill, cannot be 

over stated. 

Waves has continued to develop its plug-ins for both 

DSP-based and Native systems, splitting its development 

between innovative new ways of mangling audio 

and recreations of classic hardware. The company has 

occasionally stumbled into the dark with labyrinthine 

purchase and authorisation procedures – understandable 

as the company’s desirable product has been much 

cracked – but it has now settled down with a sensible 

iLok-based system that is both easy to understand and 

which protects the assets of both company and user. 

While Waves plug-ins have often been offered as 

bundles, the OneKnob series is an unusual step for the 

company and in some ways harks back to the simple 

operational principles that made products such as 

the aforementioned 

UltraMaximizer and the 

Renaissance series such 

a joy to use. 

Download, 

Installation & 

Purchase 

You’ll need a valid iLok 

account to authorise 

and run the OneKnob 

plug-ins, and you’ll also 

need to create a Waves 

online account before 

you can download the 

installer from the Waves 

website. This, when run, 

allows you to select and 

drop the Waves plugin 

files you’ve actually 

bought on to your 

hard drive – in this case 

it’ll be the OneKnob 

series, of course. Once 

these files are on your 

computer, the actual 

installation begins. 

OneKnob plug-ins are 

available in RTAS, AU, 

and VST formats for the 

Mac, and VST and RTAS 

when installed under 

Windows and are, at 

time of writing, running 

under version 8 of Waves’ 

usual Waveshell system. 

An uninstall application 

is also usefully copied to 

your hard drive. 

Though the plug-ins can be purchased at a ‘oneoff’ 

price individually, or as a bundle, you can also take 

advantage of the Waves update plan that enables various 

upgrade discounts and iLok and other software protection 

options, or choose one of its rental schemes. 

The test machines for this review were a 2007 vintage 

Apple Macbook Pro 2.2GHz and a 2010 2.8 GHz Mac Pro, 

both running OSX 10.6 Snow Leopard. 

Knobs Galore 

Once installed, you’re presented with a suite of seven 

OneKnob plug-ins all with, as you’d expect from 

the software’s name, a similar uni-knobby interface. 

Waves suggests that you use the plug-ins on Tracks 

rather than Auxes – though there’s no reason not to do so 

if you wish. 

The plug-ins feature internal 64 bit floating point 

processing, so there’s little chance of clipping when 

instanced on tracks. The plug-ins all feature the Waves 

Toolbar, which sport an ‘About’ icon, a Setup A/B toggle, 

which allows you to compare two groups of settings, 

Preset Load and Save buttons, and a ‘?’ icon which, when 

clicked, loads the relevant PDF manual. 

Double clicking on the lone knob reveals a text box 

where you can type in a number rather than using the 

mouse to adjust the value – which can also, of course, be 

controlled by your DAW’s MIDI controller facilities. I always 

find turning an on-screen knob using a mouse counterintuitive 

and personally, I’d have preferred a ‘OneFader’ 

interface – though that may have upset Wave’s marketing 

department! But the OneKnobs make a good stab at 

positional repeatability and the mouse placement doesn’t 

send the control flying off to random positions like some 

of the software knobs I could mention. 

The plug-ins are not currently 64-bit native on OSX or 

Windows – on the Mac that could be partly because of 

iLok’s tardiness in readying itself in this area, but Waves 

says that the company is working through its extensive > 

Fig 1: Brighter on highs. 

44 


waves i oneknob 

> 

Fig 2: Phatter lows. 

range of products to eventually make them fully 

64-bit compatible. It’s worth checking the Waves 

website to see if there are any issues in using 

your particular DAW-based 64- to 32-bit plug-in 

solution, but the OneKnobs worked flawlessly 

for me under Apple’s Logic 9.1.3 and its rather 

creaky 32-bit bridge. While running under the 

resolutely 32-bit Pro Tools 9, the plug-ins didn’t 

falter once – in fact they took whatever I threw 

at them without complaint over the test period. 

The Knobs In Action 

Brighter: Makes things brighter. Enough said. 

Waves says that it ‘adds brightness from the 

midrange up’ and it certainly seems to do that, but 

it also has a little of a feel of an aural exciter too, 

adding air and definition to vocals and guitars 

without piling on too much harshness or sibilance 

– though it will add both to the wrong source, of 

course. Fig 1 shows roughly the frequency where 

the boost starts to take effect. 

Phatter: I wanted to hate this as I usually want 

to throw anything that has ‘phat’ in its name out 

of the window, but it really does do what it says 

on the knob extremely well. It’s a low/low mid 

bass frequency booster that tends to distortion if 

you add too much. Sonically, it reminds me very 

much of Waves' Renaissance Bass plug-in – which 

leads me to wonder how much of Waves’ existing 

technology underlies these new lean interfaces. 

Fig 2 shows whereabouts the low frequency 

enhancements start to take effect. 

Driver: This is a distortion plug-in, and like 

all distortion effects it’s going to be great on 

something that it flatters and ear-wrenchingly 

horrible on something that it doesn’t. It’s a nice 

extra to have, but if it wasn’t part of the suite I 

wouldn’t miss it. In my opinion, most DAWs have 

better amp/distortion effects these days and 

the best use I found was in conjunction with a 

telephone EQ effect on vocals – and it was okay 

when using a small amount on some parallel 

drum bussing. I wasn’t enamoured with Driver, 

though your mileage may vary. 

Wetter: This had me flummoxed for a while 

(RTFM!) but it’s actually quite a clever idea – 

the different knob positions add various 

combinations of types and depths of ambience. 

Just find one that suits your audio and you’re 

done. Wetter won’t work in every situation, but if 

you find an audio and knob position combination 

that sounds right, it’ll sound really nice. 

I’ve always been a fan of Waves’ Ambience plugins 

since Truverb, and Wetter doesn’t disappoint in 

quality either. 

Louder: This again does what it says on the 

virtual tin – makes things louder when you turn 

up the knob via a combination of peak limiting, 

compression, and automatic gain compensation. 

I wouldn’t use this in the same way I’d use the 

L1 – for maximising when mastering – as it’s too 

coloured for that, but the pumping you get as 

you turn up the knob really adds energy to audio. 

It was really nice on electric guitar, drums, and 

vocals, and it adds up to 24dB of gain too – which 

is pretty useful in these ‘record everything at 

-20dB at 24-bit’ days. 

Pressure: Pressure is like Louder’s evil, bigger, 

smellier twin. It’s the first of the suite to deviate 

from the single knob paradigm in that there’s a 

toggle that switches through Pad, Unity, or Boost 

settings to help match the gain of the input 

source. You just turn it up for more compression, 

more pumping, more energy. This was my 

favourite plug-in – everything sounded better 

when I instanced Pressure and it was so CPU light 

I was tempted to use it on every Track. Even string 

quartets. 

Filter: Filter again has a toggle button, but this 

one swaps between several resonance settings. 

This poses a problem though, as you can’t use 

automation to sweep the resonance as you could 

with a more traditional filter plug-in, making it 

really more akin to a nice sounding EQ. And it 

does sound really good and smooth, allowing 

you to completely remove the audio by using only 

the knob on its lowest setting. I can see it getting 

a lot of use in dance and electronic music – a 

decade ago you’d have paid an arm and a leg for 

a filter that sounds like this. It’d be better with a 

continuous resonance control though! 

Knobby Issues 

The latter two plug-ins, with their extra toggle 

controls, pose the question as to why others in 

the suite don’t also feature some extra parameters. 

Perhaps Driver could have a filter? Or Brighter 

a cut-off? Or Wetter an effect balance knob? 

Or maybe they could all have several more 

controls for more flexibility – no, wait, that's 

feature-creep. Therein lies the conundrum that 

must have faced the team developing OneKnob; 

several of the plug-ins would definitely be 

improved by extra controls – though this would, 

of course, destroy the elegance and simplicity of 

the interface. But then again, having toggles on 

Filter and Pressure already means that these are 

moving the plug-ins away from the intended ‘one 

control’ simplicity, so why stop there? Only Waves 

truly knows. 

I’ll be interested to see what updates Waves 

brings in after users have been using the plug-ins 

for a while. Personally, I’d have also liked to see a 

tape saturation type of plug-in – which would 

perfectly suit the OneKnob ‘turn it up for more 

effect’ paradigm. 

Conclusion 

I do wonder whether the word ‘knob’ has exactly 

the same connotations in the US as it does in 

the UK? But on mentioning that I was reviewing 

this package to my colleagues, the expected and 

predictable double entendres and innuendoes 

came flying in fast and thick. It’s possible that the 

name, coupled with the simple interface, could 

cause casual observers to wonder how serious a 

product the OneKnob bundle is. Then they might 

also then baulk at the price of the package, for 

those very reasons. This would be a pity, as what 

the company has created here is an extremely 

useful suite of tools that gets several jobs done 

in an unfussy fashion, at high fidelity, and at low 

CPU cost. 

So why would you use these instead of your 

‘to go’ plug-ins? Well, apart from their obvious 

ergonomic advantages (especially in a live/ 

recording situation) they also have a ‘sound’ – and 

a very nice one at that. None of these plug-ins 

will make your audio sound worse and, if used 

in the right context, will usually make it sound 

considerably better. ∫ 

.................................... 

INFORMATION 

£ US$320.00 (exc.tax) – OneKnob Series Native 

A Waves Inc. 

T +1 865 909 9200 

W www.waves.com 

A UK Distributor: Sonic Distribution 

T +44 (0)845 500 2 500 

W www.sonic-distribution.com 


firewire dsp system 

Universal Audio 

UAD-2 Satellite 

SIMON TILLBROOK revs up the 

latest UAD-powered turbo 

charger for your DAW. Is it a 

screamer or a steamer? 

THE REVIEWER 






Ihave been a very long time user of Universal 

Audio equipment and, like many, I find that the vast 

majority of sessions that I am involved with use a 

piece of this company’s fabulous range of hardware 

units at some point during the process. 

The move into software emulation of many classic 

pieces of studio processing equipment with the series 

of UAD Powered Plug-ins, via Universal Audios’ UAD 

DSP Accelerator cards, has proven to be very successful. 

First came the UAD-1 and then UAD-2 PCIe cards, and an 

Expresscard option for laptops providing either one, two, 

or four DSP chips. 

Of course, unless you had the appropriately specified 

computer system, you were denied access to this range 

of plug-in emulations, but now Universal Audio has 

introduced a number of DSP Accelerator card options 

mounted in a stand-alone box for connection to your 

system via Firewire – the UAD-2 Satellite system. 

Overview 

The Universal Audio UAD-2 Satellite is an external, slim, 

rectangular silver housing six inches wide, eight inches 

long, and an inch thick that will either contain the Duo 

card with two SHARC processors, or the Quad with four 

SHARC processors. Connection of the Universal Audio 

UAD-2 Satellite to your host computer can be either by 

Firewire 400 or 800. The rear of the UAD-2 Satellite has two 

Firewire 800 ports and a single Firewire 400. 

Currently only OSX Snow Leopard-compatible, Satellite 

offers support for both 32- and 64-bit modes, along with 

sample rates of 44.1, 48, 88.2, 96, 176.4, and 192kHz. Plug-in 

formats supported are VST, AU, and RTAS. 

There is a centrally mounted Link LED that lets you 

know by a constant green light that the UAD-2 Satellite is 

synced to your host system, or flashes red and green when 

sync has not been achieved. 

Retail-wise, you basically purchase either the Duo or 

the Quad with different plug-in sets and vouchers for 

purchase of additional plug-ins from the Universal Audio 

plug-in store on its website. 

All the Universal Audio UAD-2 Satellite options are 

supplied with the Analog Classics set, which includes the 

LA-2A Classic Audio Leveler, 1176LN/1176SE Classic Limiting 

Amplifiers, Pultec EQP-1A, and RealVerb Pro. 

The basic Universal Audio UAD-2 Satellite Duo or Quad 

system comes with a US$50 voucher for additional plugins. 

The Duo or Quad Flexi comes with a voucher with a 

US$500 value, and the Duo or Quad Omni is supplied with 

all UAD-2 plug-ins up to V5.7. 

In addition, those who already own TC Electronic 

Powercore can get an extremely good deal (backed 

by both TC and UA, since TC ceased development on 

the Powercore platform). Until June this year, you can 

exchange your Powercore serial number for a bonus 

bundle of plug-ins worth up to US$1300 (depending on 

the UA product you buy). 

Software 

The Universal Audio UAD-2 Satellite is supplied with a disk 

that contains all of the UAD-2 plug-in installers, manuals, 

and the UAD Meter and control panel – a utility program 

used to control and check the status of the system. 

The set of meters that initially comes up when launched 

locates the UAD-2 Satellite and any other UAD cards that 

are part of your system and lists them in order with four 

basic meters for each. DSP shows how much of the UAD-2 

DSP is in use; PGM indicates in use on-chip memory (each 

UAD plug-in uses the on-board memory to some extent); 

MEM shows how much of the UAD memory is available 

(principally used by plug-ins such as delay and reverb); 

and the final meter is FBW (Firewire Bandwidth), which 

indicates how much of the Firewire buss is available to 

the UAD-2 Satellite and used by other applications on the 

buss. All these meters use percentage units. 

Accessed from this small meter display is a dropdown 

menu that gets us into the real control areas for the 

Universal Audio UAD-2 Satellite. 

Tabs along the top of the window let you select one of 

five options. The last of these is labelled ‘Help’, and from 

here you can access manuals, updates, and authorisations 

for your UAD-2 plug-ins. 

The first selection is System Info and gives us a list and 

spec of all UAD cards that are part of the system with the 

plug-in latency for each card type calculated based on 

your I/O buffer size and sample rate. 

The next selection, Plug-Ins, lists all the UAD-2 plug- 

> 

46 


ni- universal audio i uad 2 satellite 

> 

ins available with their status. This can be either 

an authorised, unauthorized, or demo status. 

From this window you can also purchase and 

authorise as you wish. 

Configuration has a number of global settings 

to align with your host system and DAW of choice 

to manage resources more specifically. 

The last selection we have with the Universal 

Audio UAD-2 Satellite UAD Control Panel interface 

is Firewire. This very informative panel shows 

our current target and link speed along the 

bandwidth allocated to the UAD-2. Based upon 

this and sample rate settings we are given an 

indication of the number of plug-in instances that 

can be run in stereo. 

Plug-in Update 

Universal Audio has an extensive and ever 

growing range of plug-ins for use with its UAD 

Accelerator cards. 

These are predominantly emulations of classic, 

highly desirable, and unusual dynamic processors 

and special effects. 

The process that Universal Audio goes through 

to make sure that its emulations resemble the 

original units much closer than competitors’ is a 

lengthy and detailed affair. According to UA, this 

involves cherry-picking the finest examples of the 

processor. It goes through a detailed analytical 

series of tests to model the unit so it works 

throughout its full operational range, delivering 

however subtle or extreme. 

The selection of UAD-2 plug-ins available 

reads like a fantasy studio wish list. In different 

categories, we have a series of mastering plugins 

developed by Universal Audio in the form of 

the Precision series, which includes a multi-band 

compressor, equalizer, and limiter. 

There are the Manley Massive Passive, Trident 

A-Range, Neve 31102 and 31102SE equalisers 

and compressors, dbx 160, and Fairchild 670. 

A wide range of special effects, such as the Roland 

Dimension D Chorus, Boss CE-1 Chorus, Cooper 

Time Cube Mkll Delay, and the Roland RE-201 

Space Echo show the eclectic array offered. 

When it comes to reverbs, a couple of my all 

time favourites are here – the EMT 140 and 250. 

Console channel strip and section emulations 

come in the form of the Neve Classic Console 

bundle and 88RS Channel Strip. 

There are some Universal Audio UAD-2 plug-ins 

that are not category specific processors. In this 

collection, we have the FATSO Jr and Sr analogue 

tape simulator and compressor, Precision De-Esser, 

Little Labs IBP Phase alignment tool, and the 

Moog Multimode Filter and Filter SE. 

New Additions 

Amongst the newest plug-ins to join 

the Universal Audio list of UAD-2 plugins 

is the Studer A800. This emulation 

of the classic Studer A800 MK3 studio 

workhorse two-inch 24-track machine 

offers up a fabulous number of controls 

over your sound. Not only can you 

control tape speed between 7.5, 15 

and 30ips, but you can select between 

popular tape formulations 3M 250, 

Ampex/Quantegy 456 and GP9, and 

BASF 911. 

The best part is that you can 

really get under the hood and adjust 

the alignment to quite a degree. For 

those familiar with such a procedure, 

the interface perfectly reflects the original multicard 

adjustments found in the draw sets under 

the transport. 

Unlike the real thing, you can open multi 

instances across your session and have different 

setups on a track-by-track basis. 

This Studer A800 plug-in is very close 

indeed to the sound of the original machine. 

Universal Audio has done a great job with this. 

If you have the means to compare (as I did) you 

will be very impressed. 

Also joining the available plug-ins for UAD-2 

are the SSL E Series channel strip and buss 

compressor. 

The SSL E Series channel strip offers a few 

additional functions from later SSL revisions of the 

console, these being seen within the dynamics 

section of the strip. You also get the choice 

between either the brown or black knob equaliser. 

The buss compressor is an exact function-forfunction 

offering and includes the autofade from 

the console’s master section. 

I have used and enjoyed a number of 

emulations of the SSL 4000 console and feel that 

this particular version from Universal Audio is the 

closest I have heard when it comes to delivering 

the feel of the 4K. The equaliser curves are spot 

on to the original, and the buss compressor gives 

that familiar result of pulling the mix together and 

tightening the lower frequencies. 

Another recent addition is the EP-34 Tape Echo 

plug-in. This is a plug-in that takes the combined 

features of the Echoplex EP-3 and EP-4 Tape 

Echo units and adds in a few digital facilities to 

complete the package. 

I am a huge fan of tape echo devices with the 

simplicity of control and the wild and unusual 

sounds that can be achieved with them 

The EP-34 supplies all of this with the 

familiar interface of sliding record head and 

echo repeat control that quickly leads into selfoscillation. 

The sound of the EP-34 is excellent, as 

expected, with all of the nuances of tape echo 

faithfully reproduced. 

The most recent announcements have been 

the introduction of a Lexicon 224 reverb plug-in 

for the UAD system (available imminently), and a 

Brainworx collaborated plug-in, the Brainworx bx_ 

digital V2 & SPL Vitalizer. UA is also working with 

SPL and Brainworx on further future offerings... 

The Universal Audio UAD-2 plug-in range 

offers some mouth-watering options that deliver 

superbly authentic results throughout. 

Satellite In Use 

I know from both my own and my colleagues’ 

experience that UAD plug-ins are somewhat DSP 

heavy – the price of this kind of quality emulation. 

System resource management was going to be 

an issue that would concern most, so this was an 

area I focused on using the Universal Audio UAD-2 

Satellite with both Macbook Pro and iMac systems. 

These systems have a single Firewire 800 port, 

so I kept the Universal Audio UAD-2 Satellite first 

in line and varied other components in the chain. 

There are a number of Firewire repeaters that 

Universal Audio recommends for use in systems 

utilising a number of Firewire devices. 

I think it’s fair to state that these plug-ins will 

see use during mixdown rather than any kind of 

recording scenario. There is a 512 sample buffer 

minimum, but rumours of this dropping to 128 in 

later software revisions are floating around. 

I used the Universal Audio UAD-2 Satellite with 

Pro Tools 9 on both setups. The UAD plug-ins 

appear as wrapped plug-ins in the list on this 

type of system. With the Universal Audio UAD-2 

Satellite first in the Firewire chain, I experienced 

no real issues with latency and was able to control 

and compensate within limits without problems. 

I was very pleasantly surprised as I did expect this 

to be an issue to some extent. 

The UAD Meter and Control Panel software is 

very informative and makes control of the system 

resources very easy with great visual feedback 

of what levels of use and availability are there. 

There is an option to keep this meter on top to 

keep an eye on the resources – a simple thing, 

often neglected. 

The quality of UAD-2 plug-ins is really quite 

exceptional. The process Universal Audio goes 

through to get to this level is clearly reflected in 

the results. UA enjoys manufacturer involvement 

and access to ‘golden’ units to allow for accurate 

detailed modelling. 

Daisy chaining a second Universal Audio 

UAD-2 Satellite is not currently possible, although 

Universal Audio is 'actively working to improve 

performance on multiple Satellite units'. 

Conclusion 

With the Universal Audio UAD-2 Satellite, the array 

of fabulous UAD-2 plug-ins are now available to 

a significantly wider range of users both studio 

bound and mobile. The Universal Audio UAD-2 

Satellite performs just as well as the PCIe version 

when system resources are looked after and 

monitored ∫ 

.................................... 

INFORMATION 

£ UAD2 Satellite Duo: GB£774.17, UAD2 Satellite 

Duo Flexi: GB£1024.17, UAD2 Satellite Quad: 

GB£1290.83, UAD2 Satellite Quad Flexi: 

GB£1540.83, UAD2 Satellite Quad Omni 5.7: 

GB£3832.50 (all prices exc.VAT) 

A Universal Audio Inc. 

W www.uaudio.com 

A UK Distributor: Source Distribution (HHB), Unit 

6, Pembroke Buildings, Cumberland House 

Business Park, London, NW10 6RE 

T +44 (0) 208 962 5080 

W www.hhb.co.uk 

E sales@sourcedistribution.co.uk 


48 

Th e Electro-Voice 

(E-V) RE20 is a mustknow 

microphone 

for every audio 

professional. After all, nearly 

every broadcaster in America 

owns between two and twenty. 

They are regularly placed in front 

of kick drums, bass and guitar cabs, 

not to mention the majority of radio/TV announcers. As a 

matter of fact, the RE20 could arguably be one of the most 

popular microphones ever, neck-and-neck 

with the ubiquitous Shure SM57. 

Thus, we will review the RE20’s 

modern update, the E-V RE320, in a purely 

comparative manner, to help you decide if 

it’s right for you and your own applications. 

For an even broader perspective, let’s also 

throw in real world comparisons with its 

sibling microphone, the E-V RE27. 

Features 

Aesthetically, the RE320 looks very much 

like an RE20 – featuring that striking, classic 

vented chassis – with an updated look due 

to its black gloss finish. As in the E-V RE27, 

neodymium magnets are present, though 

high-pass filters – present in the RE20 and 

RE27 – are not. Another significant difference 

of the RE320 is its selectable EQ filter voiced 

for kick drum miking, which offers a low-mid 

frequency scoop. 

In Use 

I first tried the RE320 in a live environment, inside a 

number of kick drums at a Charlotte rock club, with filter 

engaged. Its performance in a word? Punch. The RE320 

translated a lean bottom, plenty of high-mid 

bass drum shell tone, and a well defined 

“thwack.” The venue’s FOH Engineer said 

he liked it, as it offered “more 

highs than a Beta 52.” Onstage, 

the monitors loved it; my 

bi-amped monitor rig there is 

huge, and the RE320’s absence 

of flab way down low made for the tightest, 

punchiest on-stage kick that I can recall. 

In the studio, I found the RE320 to 

have a sonic signature best suited for rock 

recording, where higher-end note definition 

is arguably as crucial as thump and 

fundamental. In order to create audio clips 

for my evaluation, I placed the RE320 inside 

a 22-inch Pork Pie kick drum (with damping 

rings on heads, but no pillows or blankets 

inside), but obviously no other mic could 

fit through the resonant head’s small hole. 

I did sneak in a Shure Beta 91 (also a 

favourite for rock kick), placing it in the 

bottom centre of the drum, for less than 

coincidence, but very usable, placement. 

In webclips 1A & 1B, the additional bottom 

and sculpted mids from the RE320 is notable, 

while the Beta 91 offers pronounced top. 

On loud electric guitar, the RE320 does a fine job; it 

offers more bottom than a SM57, less high-mids, and 

THE REVIEWER 

ROB TAVAGLIONE owns and 

operates Catalyst Recording in 

Charlotte NC. 

premium dynamic 

microphone 

> 

“Onstage, the 

monitors loved 

it; my bi-amped 

monitor rig there 

is huge, and the 

RE320’s absence 

of flab way down 

low made for 

the tightest, 

punchiest 

on-stage kick 

that I can recall.” 

Electro-Voice 

RE320 

E-V’s updated version of the 

venerable RE20 is a certifiable 

rockin’ hit, says ROB TAVAGLIONE. 


Where It A l Began 

TASCAM has been part o 

recording business for qu 

of years. Having starte 

portable recording 30 yea 

with the Portastudio, 

has had continuous pres 

in bring recording so 

a modest price. The T 

+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ + 



Where It A l Began 

TASCAM has been part of the field 

recording business for quite a number 

of years. Having started the revolution of 

portable recording 30 years ago 

with the Portastudio, TASCAM 

has had continuous presence 

in bring recording solutions at 

a modest price. The TASCAM 

a modest price. The TASCAM 

a modest price. The T 

DAP1 portable DAT recorder 

uality portable 

live within a classroom 

home studio, and has 

of use for even the least 

Once again this used so 

state media, and a lowe 

for high quality 24-bit 48k 

recordings to be made u 

the onboard condenser mi 




Why Compromise On Quality? 

Whether its high quality recording at up to 19 

compressed recording of MP3, portability, 

recording, or syncing to code, TASCAM ha 

live within a classroom, church, or 

home studio, and has the simplicity 

of use for even the leas technica ly 

minded person. 

Early 2008 saw the 

introduction of the DR-1 

portable hand held record 









recording solution. With no compromise betwee 

price and quality TASCAM has made a reputatio 

for quality at an a fordable price. 

Designed from the ground up to excel 

in ‘real-world’ applications, wherever 

you happen to be in the world. 

The PD606 8-track location recorder 



o fers spectacular audio quality, flexible 




recording to 12cm DVD-RAM, hard disk, 




or a combination of both, rock solid 



timecode implementation, extended 



But impressive features are 

only part of the script. Fostex’s 


unriva led pedigree in designing and 



manufacturing world class location 



recorders for over 16 years, and our 




unique understanding of the broadcast, 




film, TV, and audio acquisition 



environments means tha the PD606 



flexible 8-track simultaneous recording 

via AES/EBU (six channels when using 

the analogue XLR inputs), fu l 8-channel 

the analogue XLR inputs), fu l 8-channel 

analogue outputs, and the ability to 

analogue outputs, and the ability to 

digita ly store monitor mix se tings. 

FR2-LE CF-Based Field Recorder 

Here is a compact audio recorder 

10 












PD606 On Location With James Bond 

Chris Munro recently used the PD606 on the new James Bond film. Quantum of Solace 

Quantum of Solace 





is Chris’s fifth Bond movie, having worked on Casino Royale 

Casino Royale 


Casino Royale 


(for which he was awarded a 

















BAFTA), Tomo row Never Dies, The World Is Not Enough 

Tomo row Never Dies, The World Is Not Enough 





and 


Die Another Day. 







Fostex researched the entire production process, and 









gathered extensive user 

gathered extensive user 

comments when designing the PD606. The mach 












ine now takes fu l size DVD discs for 





greater recording time, and has been redesigned for 













simpler operation. Chris explained, 





“Despite what the name suggests, the PD606 is 













e fectively an 8-track machine. Whilst it has six 





inputs, there are also two mix tracks available. 


In the same way tha the PD6 was design-based on 




the DV40, the PD606 is design-based on the DV824, 

an 8-track machine. What’s more, varying numbers 




of tracks can be recorded throughout a single 







and track configuration can be changed at will. If 







only two or four tracks are required, it doesn’t fi l the o 




a real space and time bonus for editors.” 







I was confident in the PD606, 







so importan to have a mach 















A nice look gives you 

grab inspiration a the time of recording. 

Simplicity grants the microphone a long life 

and durability. After having recorded, you 

wi l never be surprised 

by inco rect se tings, as 

there wi l be a chance to 

change them. 

And most importantly, 

and reflections. New tech 

‘Golden Drops’, is used 

capsule microphones from 2008. 

PRODUCTS 

In 2008-2009, Violet introduced several new 

microphones and accessories. 

SOUNDFIELD 

Surround Recording 

From A Single Microphone 





time of recording. 

icrophone a long life and reflections. New tech 

‘Golden Drops’, is used 

from 2008. 

+ + + SOUNDFIELD 

SOUNDFIELD 











+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOL 


Violet Microphones – 

Ears For Your Sound 




A nice look gives you the possibility to 

time of recording. 

icrophone a long life 

communication with the membrane, and 

reduction of parasitic internal resonances 

and reflections. New technology, named 

‘Golden Drops’, is used in a l our large 

from 2008. 

time to: 

Get back to what matters – get into Violet Microphones. 

that is predictable and can be tailored with 

some precision to what is required. 

Physics Versus Emotion 

Despite what many would regard as the 

benefits of the techno-physical approach, 

a great deal of the literature and advice 

on the use of microphones is based on 

apparently non-technical considerations. 

Often a microphone wi l be listed as best 


suited for vocals simply because it has, 


by chance, sounded pleasant on a previous 



occasion or looks similar in shape to one 


that was used in that way. 


tube (valve) microphones give ‘a warm 

sound’ because they become physically 

warm in use – or that large microphones 

yield a bigger ‘sound image’ (whatever that 

means) than smaller designs. This latter 

notion undoubtedly stems from folklore 

that has been fostered by those with 

vested interests in the promotion of largevested 

interests in the promotion of largediaphragm 

microphones. In purely physic 

diaphragm microphones. In purely physic 

diaphragm microphones. In purely physical 

al 

terms there is, of course, no requirement 




for the diaphragm to be large in order to be 




able to respond to low frequencies. 



Making Comparisons 

Every innovation needs to be tested and 




proven – which leads us to the awkward 




problem that some of the steps 


forward are very sma l ones. To hear 

forward are very sma l ones. To hear 

them requires controlled listening 








under good conditions and, above 









a l, with a proper reference; but 





a l too frequently a new product 







or design is assayed in splendid 




isolation. Expectation or fervent 




belief that it must be be ter 






strains judgement, and within 







a short time highly coloured 




opinions are circulating and 






a myth is built which is as 






baseless as it is hard to 




eradicate. 

eradicate. 

There rea ly is no 



alternative to properly 




contro led listening 




tests if audio devices 





are to be compared in 




an impartial way. AB 

the membrane, and 







tests are limited to 






a reciprocal basis where, say, microphones 

have different frequency responses that 

affect perceived loudness. 

Microphones for a Particular Use? 

Although it is extremely common to be told 

that such and such a microphone is good 

for, say, violins, this poses the question of 

why it should be considered to be so. 



Should a microphone be chosen purely on 




the grounds of what the sound source is? 


We don’t, after a l, have more than one set 

We don’t, after a l, have more than one set 

of ears to hear everything, and common 


sense dictates that if the microphone is 


an ideal one it transforms a sound into a 

an ideal one it transforms a sound into a 

perfectly co responding electrical signal. 

That suggests tha the closer a microphone 



is to the ideal, the more neutral it sounds, 


and the more universally it can be used. 



There is certainly a wide variety of very 



di feren top-quality microphones, but it 



would be wiser to see these as physica ly 



suited to a particular application rather 



than a particular sound source. 



As far as the ‘perfect’ mic 

As far as the ‘perfect’ microphone goes, 

es, 

omni-directional capacitor ( 



omni-directional capacitor (condenser) 

designs approach the ideal 

designs approach the ideal 

designs approach the ideal very 

very closely. 

Where you wan to favour sou 



Where you wan to favour sound from a 

single direction and exc 

single direction and exc 

single direction and exclude neighb 

lude neighbouring 

ouring 

instruments or unwanted sou 

instruments or unwanted sou 

instruments or unwanted sound, then of 

course you need a directio 




course you need a directional micr 

nal microphone 

ophone 

which wi l be a li tle furth 



which wi l be a li tle further from perfec 

er from perfection. 

tion. 

For a start, any directional m 




For a start, any directional microphone (such 

ne (such 

as a cardioid) wi l demons 



as a cardioid) wi l demonstrate th 

trate the so-ca led 

e so-ca led 

proximity e fect when use 

proximity e fect when use 

proximity e fect when used close to a 

d close to a sound 

sound 

source. Low frequencies wi l be a 





source. Low frequencies wi l be accentuated. 

ccentuated. 

For a microphone that wi l c 

For a microphone that wi l commonly 

ommonly be used 

be used 

in this situation a compens 

in this situation a compens 

in this situation a compensating freq 

ating frequency 

uency 

getting techno-physical 

reduction of parasitic 


reduction of parasitic 

and reflections. New tech 


and reflections. New technology, named 


nology, named 

in a l our large 


in a l our large 

+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ 



The Swiss Precision Active Monitoring Series: 

More Than A Black Box! 

the sound image ording, mixing 

ich various people, 

fore speaker systems, 

o rections may be applied 

ase i regularities that 

the actual recording. 

rs feature our unique 

nerates a Compensated 

compared ur vision is to be 

recision au 

+ + + KLEIN + HUMMEL+ + + + K 




FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + 

PM Series MkII 

The PM-Series Mk I o fer exceptio 

The PM-Series Mk I o fer exceptional audio 

nal audio 

performance matched to jawperformance 

matched to jaw-dropping good 

dropping good 

looks at an affordable price 

looks at an affordable price 

looks at an affordable price. Fostex strives to 

. Fostex strives to 

design and build studi 

design and build studio monitoring systems 

that enable you to experien 

that enable you to experience your unique 

sound in a l its dimensions. And through 

tireless research and development, endless 

measurements and real-world listening 

tests, Fostex’s engineers have achieved 

this in the form of the beautiful second 

generation PM-Series. 

Capitalising on Fostex’s 


Capitalising on Fostex’s 



supreme 


knowledge of acoustics a 





nd speaker 

nd speaker 


nd speaker 


engineering, and now o fe 





ring a brighter, 


ring a brighter, 


tighter sound, these studi 








o monitors are 


o monitors are 


PM-2 Mk I 

PM-2 Mk I 

Created for larger rooms, 

Created for larger rooms, 

Created for larger rooms, the PM-2 has 

the PM-2 has 

the power (240 wa ts of bi-am 




the power (240 wa ts of bi-amped power 

actua ly) and sophisticati 

actua ly) and sophistication and, most 

on and, most 

on and, most 

importantly, the versatility to ha 



importantly, the versatility to handle the 

most demanding recording 

most demanding recording applications. 

applications. 

applications. 

Equipped with a 200mm 

Equipped with a 200mm low frequency unit 

low frequency unit 

low frequency unit 

and remaining natural and transparent right 

and transparent right 



across the audio spectrum, e 

across the audio spectrum, even at high 

ven at high 

ven at high 

sound pressure levels, the P 








M-2 is great for 









today’s bass heavy music. 









PM-1 Mk I 

PM-1 Mk I 


PM-1 Mk I 


Perfectly proportioned an 


Perfectly proportioned an 

The Swiss Precision Active Monitoring Series: d o fering the type 



of clear-transparent sound th 


of clear-transparent sound th 


at singles 

at singles 

out a great speaker, the 


out a great speaker, the 

The Swiss Precision Active Monitoring Series: PM-1 is capable 

PM-1 is capable 

The Swiss Precision Active Monitoring Series: PM-1 is capable 


of producing extremely high 

of producing extremely high 

SPLs accurately across th 

SPLs accurately across the 

full audio spectrum. With 

full audio spectrum. With 120 

wa ts of bi-amped power 

wa ts of bi-amped power and 

a bass response that’s fu l an 


ur vision is to be 


ur vision is to be 

d 

dynamic, and a crisp highdynamic, 

and a crisp highur 

vision is to be 

dynamic, and a crisp highur 

vision is to be 

end that sparkles with vitali 

end that sparkles with vitality, 

the PM-1 delivers the type 

the PM-1 delivers the type of 

sonic quality that’s usua ly the 

y the 

domain of monitors 

costing thousands. 

ording, mixing 

costing thousands. 

ording, mixing 

PM0.5 Mk I 


PM0.5 Mk I 



PM0.5 Mk I 


The ideal choice for sma le 




o rections may be app 


o rections may be applied 


lied 

r 

studios requiring nearfield 







monitoring, the perfect 










ly 

formed PM0.5 Mk I o fers 







70wa ts of bi-amped power 




nerates a Compensa 


nerates a Compensated 


ted 

and produces great fu l range 

PM0.4 

The ultra-compact PM0 

The ultra-compact PM0.4 now completes 

the lineup of the reputed PM 

the lineup of the reputed PM-series ranging 

-series ranging 

from 4” to 8” woofer size. PM0.4 is natura ly 

0.4 is natura ly 

recommended for desktop use but its superb 

audio performance in compact physical 

size expands its applications to professional 

console top studio monitoring, audio 

insta lation, as we l as portable 

audio monitoring. 

PM0.5-Sub Mk I 

Designed idea ly for use with 

Designed idea ly for use with the PM0.5 

Mk I, the 110wa t, 200mm 

Mk I, the 110wa t, 200mm driver PM0.5- 

Sub produces precise, lo 

Sub produces precise, low frequency 

reproduction and an exce lent 

reproduction and an exce lent deep bass 

output. Easy to set-up (just a si 

output. Easy to set-up (just a single gain 

control and phase reve 

control and phase reverse switch), the 

combination of a pair of PM0 

combination of a pair of PM0.5s and 

PM0.5-Sub provides superb son 

PM0.5-Sub provides superb sonic quality 

ic quality 


ic quality 



ic quality 


at an affordable price. 

at an affordable price. Recommended for 

Recommended for 

use with PM0.4. 

NX-5A 


More Than A Black Box! 

the sound image is highly accurate. 

This technology a lows the design of 

tems with di feren types 

s that maintains an 

various processes (recording, mixing 

and mastering) in which various people, 

locations, and therefore speaker systems, 

wi l be involved, co rections may be app 

due solely to phase i regularities that 

are not present on the actual recording. 

The PSI Audio speakers feature our unique 

compared to Swiss watch designers. Our vision is to be 

recision audio, combining innovation, creativity 

Choosing Nearfield 

Monitors Should Be Easy 

PM Series Group 

After a l, they only have one job to do. The job of monitoring. 

Not enhancing, not diminishing, not in any way altering 

the source material. 


designed from the ground-up to meet 


















recordings to be made u 









recordings to be made using either 


quality of the DR1 at an 

a fordable price. This new unit is ideal 

for anyone wanting to record high 

quality recordings, either using the 

onboard mics, external mics, or line 

a mixer. If you don’t 

, church, or 

the simplicity 

technica ly 





Audio Media is proud 

the addition of two new products 

These new units comp 

TASCAM, providing a solution for every 

instance of field recording. 

The DR07 is a slim-line stereo 

handheld, o fering the same high 

quality of the DR1 at an even more 





and exceed the needs of professionals 

second ‘pre-record’ bu fer, meaning 

there should never be a missed take or 


lost soundbite. 

FOSTEX 

Whether its high quality recording at up to 192k, 















2k, 










































ay from home.” 

.” 




in the field. It records to CompactFlash 

in BWF at 24-bit 96kHz quality, is 

equipped with two professional 

phantom powered XLR microphones, 

and is packed with useful features like 

a one take = one file recording system 

which eliminates overwrites, and a two 



compressed recording of MP3, portability, music 

recording, or syncing to code, TASCAM has a field 

recording solution. With no compromise between 

price and quality TASCAM has made a reputation 







2k, 









music 









music 

s a field 


s a field 







recording, or syncing to code, TASCAM has a field 

of tracks can be recorded throughout a single s a field 

disc, 

s a field 

disc, 

s a field 


















thers with blank space, which is 

price and quality TASCAM has made a reputatiothers with blank space, which is 


price and quality TASCAM has made a reputation 


n 












and kn 


and kn 


ow the Fostex design q 


ow the Fostex design q 


uality won’t let me down. It’ 








ine I c 


ine I c 


an rely on when recordi 




ng on location aw 


s a field 

n 







in BWF at 24-bit 96kHz quality, is 

equipped with two professional 

phantom powered XLR microphones, 



a one take = one file recording system 



Ideal for 

for anyone wanting 

Ideal for 

for anyone wanting to record high 

Ideal for 

to record high 

musicians, 

quality recordingmusicians, 

quality recordings, either using the 

musicians, 

s, either using the 

journalists, and 

onboard mics, ejournalists, and 

onboard mics, external mics, or l 


xternal mics, or l 

a mixer. If you don 



to WMA and MP3 

MP3, the WAV format is 

also on hand to 


ine 


ine satisfy the demands of 

even the most disc 


ine 


ine 



a mixer. If you don’t 


’t erning audiophiles. 

the original sound a 



resulting in a supe 

resulting in a supe 

The integrity of th 

The integrity of th 

maintained by co 

maintained by co 

the system cont 

+ + + 


+ + + 


+ + + 


+ + + 


OLYMPUS 

OLYMPUS 


OLYMPUS 


OLYMPUS 


OLYMPUS 



OLYMPUS 


OLYMPUS 


OLYMPUS 


+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM 












ay from home 




.” 

.” 


.” 













uality won’t let 


uality won’t let me down. It’ 


me down. It’s 


s 


s 



an rely on when recording on location aw 


ng on location away from home 




.” 

.” 


.” 















PUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + + 


The Olympus LS-10: 




Tomorrow’s O ferings 



Audio Media 


Audio Media is proud 


is proud to announce 


to announce 

w products 


w products 






to announce 


to announce 

FOSTEX 


FOSTEX 

High-End Sound Recording On Demand 






technica ly High-End Sound Recording On Demand 

technica ly the addition of two ne 


the addition of two new products 


w products 

from TASCAM, the DR 


from TASCAM, the DR07 and DR100. 


07 and DR100. 



These new units complete the line for 


lete the line for 

ution for every 









TASCAM, providing a sol 



state media, and a lowed 

portable hand held recorder. 

Once again this used solid 

d handheld, o fering 



The DR07 is a slim 

handheld, o fering 




sing either 

crophones 


a fordable price. This new 

for anyone wanting 

quality recording 

crophones 

parate mics. quality recording 

onboard mics, e 








Seize the moment in sound with the em 


TASCAM, providing a sol 


TASCAM, providing a solution for every 



powering ability to record 


high-end audio anywhere at anytim 





The DR07 is a slim 


The DR07 is a slim-line stereo 


-line stereo 

e. The Olympus LS-10 Linear PCM 


Recorder captures superior audio a th 


handheld, o fering 


handheld, o fering the same hi 


the same high 


gh 

even more 


even more e touch of a button – with an 

e touch of a button – with an 

exceptional design that fits comforta 





a fordable price. This new 


a fordable price. This new unit is ideal 


unit is ideal 





quality of the DR1 at an even more 


even more 

unit is ideal 


unit is ideal 

bly in the palm of your hand. 



the original sound are not a fected, 

re not a fected, 

resulting in a superior S/N ratio. 

The integrity of the signal is also 

maintained by completing separatin 

rol (digital) circuitry 







rior S/N ratio. 

e signal is also 

mpleting separatin 
















s Made in Latvia 

to picture today’s 

g industry without 

tions and expressive 

Violet 

nes are 

For a while only price mattered, but now, it is 

Get back to quality, get back to reliability, 

Get back to what matters – get into Violet Microph 

in Latvia 

to picture today’s 

g industry without 

tions and expressive 


grab inspiration a the 

Simplicity grants the m 

and durability. After h 

The benefits of Violet 

Design microphones are: 


















For a while only price mattered, but now, it is time to: 



that is predictable 

some precision 
















Given tha the 

Given tha the 

6 


6 


Violet Design – Microphones Made 

It is almost impossible to picture today’s 

pro audio and recording industry without 

technological innovations and expressive 

designs introduced by Violet 

nes are 


get back to design… 


pro audio and recordin 

technological innova 











rol (digital) circuitryFunction Guide 

Function Guide 

mpleting separatinFunction Guide 

mpleting separating 

Function Guide 

g 



+ + + VIOLET 

VIOLET + + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOL 










Violet Design – M 

It is almost impossible 




get back to design 





















Here we detail the professional four 

channel models plus the ultra 

compact and ultra-cool R-09HR… 

EDIROL R-4 

The R-4 is the first of EDIROL’s 

professional four-channel field 

recorders. The ability to record up to 

four channels simultaneo 

four channels simultaneously gives 

you flexibility in any recor 

you flexibility in any recording situation. 

Selecting four channels 

Selecting four channels rather than two 

gives users the ability to ca 

gives users the ability to capture more 

ambient sounds at a con 

ambient sounds at a concert as we l as 

the main performance, o 

the main performance, or it a lows 

them to place mics on m 

them to place mics on multiple 

participants during, say, a 

participants during, say, a recording 

for a video soundtrack. 


The R-4 has a wide range 


The R-4 has a wide range of other 

features including on bo 



features including on board waveform 

editing, superior sound qu 



editing, superior sound quality, and 

Even a the 

maximum 24-bit/96kHz, you sti l get an 

incredible 17 hours of recording time. 

Other features on the R-4 include 

an on-board limiter to ensure clip free 

recordings and a Pre Record function 

so help avoid missing vital, timesensitive 

recordings – if you think you 

have missed that sound bite, fear not, 

because the R-4 wi l have it captured! 

There are comprehensive EQ sections, 

a noise gate, de-esser and compressor, 

plus connections for a wide variety of 

media including XLR/phone combo 

jacks. Fina ly USB 2.0 support means on 

board audio can be backed up to Flash 

keys, memory cards, or onto the drive 

of a connected PC or Mac. 

The R-4’s compact size, light 

weight, rugged design and price of 

just GB£878.88 have won it homes in 

many prestigious companies including 

the BBC, and it is being used in a wide 

variety of industries and locations 

around the world. 

The EDIROL R-4 Pro 

The R-4 Pro is the next level of 

professional field recording. 

Again it o fers up to four channels of 

simultaneous recording, but adds an 

expanded feature-set and more storage 

capacity compared to the R-4. The R-4 

Pro accepts SMPTE time 

Pro accepts SMPTE time code so it can 

easily be sync’d to video 

easily be sync’d to video equipment as 

equipment as 

equipment as 

equipment as 

the slave device. It’s a gr 




the slave device. It’s a great function for 

eat function for 

eat function for 

video production as up 

video production as up 

video production as up to four channels 

to four channels 

nding out 

time code to slave devices. 

The R-4 Pro comes with 


The R-4 Pro comes with an 80GB 

drive insta led which is e 


drive insta led which is enough for more 

than 100 hours of audio 

than 100 hours of audio 

than 100 hours of audio at 16-bit/48kHz, 

and we l over 30 hours 

and we l over 30 hours 

and we l over 30 hours a the unit’s 

maximum resolution. The 

maximum resolution. The 

maximum resolution. The R-4 Pro is 

equipped with a 4-pin X 

equipped with a 4-pin X 

equipped with a 4-pin XLR DC input 

to enable use of Antonto 

enable use of Antonto 

enable use of Antonto 

enable use of Anton-Bauer style 

VIOLET 

Bauer style 

VIOLET 

external ba tery power 



external ba tery power and also has XLR 

and also has XLR 

VIOLET 

and also has XLR 

VIOLET 

style AES/EBU digital inpu 




+ + + 


+ + + VIOLET 


VIOLET 

VIOLET 


VIOLET 

t and output. 

t and output. 

VIOLET 

t and output. 

VIOLET 

Like the EDIROL R-4, th 



+ + + 


+ + + 

e Pro features 

wave editing, recording re 

wave editing, recording re 

wave editing, recording resolution 


solution 


selection, pre-bu fe reco 

selection, pre-bu fe reco 

selection, pre-bu fe recording, e fects 


rding, e fects 


and a limiter, and is also 

and a limiter, and is also 

and a limiter, and is also USB 2.0 

compatible so you can tr 

compatible so you can tr 

compatible so you can transfer and 

back up files to a compu 

back up files to a compu 

back up files to a computer. 

For video production, the 

For video production, the 

For video production, the original 

R-4 is sti l easily the m 

R-4 is sti l easily the most a fordable 

ost a fordable 

and e fective choice for the 

and e fective choice for the 

and e fective choice for the existing SD 

existing SD 

existing SD 

camera base and the grow 

camera base and the grow 

camera base and the growing number 

ing number 

ing number 

ing number 

of HDV cameras that are 



of HDV cameras that are not equipped 

not equipped 

with time code. It is sti l 



with time code. It is sti l the only fourthe 

only fourthe 

only fourthe 

only fourchannel 

solution equippe 

channel solution equipped with LANC 

d with LANC 




The EDIROL R-4 o fers four- 

The EDIROL R-4 o fers four- 

The EDIROL R-4 o fers fourchannel 

flexibility and high quality 

channel flexibility and high quality 

channel flexibility and high quality 

field recording at a great price. 





The R-4 Pro is a fu ly featured field recorder 



suited for the video industry and recording 



anywhere in the world, even on Everest! 




8 EDIROL 



The Swiss Precision Active Monito

electro-voice i re320 

> more muscle through the low mids. High SPL is 

no problem for the RE320 and, to my ears, it seems 

more faithful than coloured in direct comparison 

to the SM57. Where one might normally use 

a Sennheiser MD 421 on guitar, the RE320 will 

excel with more flatness and more excitement. 

Understandably, the kick drum filter was all wrong 

on this app, as it removed precious tone. 

For a broadcasting applications test, I pulled in 

the big guns. With the help of on-air personality 

Divakar Shukla and station engineer Dave Mitchell, 

we ran the RE320 through a gamut of broadcast 

tests at the 100kW WEND FM in Charlotte. 

To evaluate, the RE320 and an RE20 were placed 

three inches from each other and three inches 

from Divakar: in an equilateral triangle, directly 

on-axis, with no pop filters employed. Technically 

“improper” (as most announcers angle themselves 

across the mic head, preventing plosives and 

excessive mouth noise), this placement was 

required for accuracy in evaluation; some 

popping Ps may also be informative about the 

mics’ plosive performances. 

We found the RE320 to have a little more 

bottom than an RE20, with some scooping at 300 

to 800 Hz and nearly the same top end (RE320 

and RE20, webclips 2A & 2B, respectively). Divakar 

and Dave loved the RE320 and became further 

enthused when they heard the RE320 with the kick 

filter engaged (webclip 3A) in direct comparison 

to the RE20 (webclip 3B). Both commented how 

the RE320 with filter sounded more finished, “as 

if we had our usual processing turned on,” they 

said; the webclips bring with no compression, no 

processing, and no EQ. 

Compared to the RE27 (with a hotter output 

than the RE20 or RE320), the RE20 has less top 

end and flatter mids; the RE320 sounded a lot 

like a RE27, at least with its kick filter engaged. 

Nonetheless, Divakar and Dave still ultimately 

preferred the RE320 with kick filter over the RE27, 

citing its “fullness and warmth,” further revealed 

in webclips 4A (RE320) and 4B (RE27) as well as 

webclips 5A (RE320 with filter) and 5B (RE27). 

Divakar even says of the RE320, “That’s the way 

I’m supposed to sound.” 

Summary 

Assuming you like the RE20, you can’t go wrong 

with the RE320. Its additional bottom end seems 

useful on both kick and VOs; its top end is just as 

smooth and broadcast-worthy as the RE20, its 

Variable D proximity effect control is tuned just 

right, and the RE320 can handle all the abuse of 

rock ‘n roll. Throw in its eminently useful midscoop 

filter (that is equally at home on kick and 

voice) and it seems the RE320 is a black beauty 

of a RE20, with lots more versatility and nary a 

negative. Looks like Electro-Voice just updated 

one of the world’s most popular mics, without a 

hitch. ∫ 

Welcome to the New Standard 

in Recording Technology 

Ultimate sound quality 

Logic and Pro Tools compatibility 

Total I/O flexibility 

Raise Your Standards 

.................................... 

INFORMATION 

£ US$499.00 (exc.tax) 

A Electro-Voice (UK), 4 The Willows Centre, Willow 

Lane, Mitcham, Surrey CR4 4NX, UK 

T +44 (0) 208 646 7114 

F +44 (0) 208 254 5666 

W www.electrovoice.com 

www.apogeedigital.com 


PRODUCT SAMPLER 

Recorders 

They're all recorders, and they all record – the rest is up for grabs. Track count, timecode, portability, format, 

media, metering, built-in mics, I/O; what's your flavour? Here's a taster... 

Aaton’s 

Cantar-X2 

is an overthe-shoulder 

eight-track 

mixer and 

recorder 

with nine rotary analogue faders and six linear 

mixer sliders. It is able to simultaneously record 

the same audio files on both the internal and 

external hard drives. Configurations can be 

saved to a laptop and loaded to any Cantar 

machine. A cold start from zero power to 

recording can be executed in less than five 

seconds. 

www.aaton.com 

The Fostex PD606 is an eight-track digital mixer 

and recorder that records to internal HD or 

DVD-RAM. It features an on-board six-channel 

mixer and a maximum 10 second pre-record. 

Automatic file closing in the background 

every 60 seconds provides fast data recovery 

in the event of a power outage. The PD606 is 

manufactured from durable materials designed 

for a busy life in the field. 

www.fostex.com 

Korg’s MR-2 high-resolution 

mobile recorder features 

multi-format recording and 

playback to and from SD or 

SDHD cards. It also benefits 

from a high-performance 

X-Y configuration stereo 

electret condenser mic, 

capable of rotating 210 

degrees. It can be mounted 

to camera tripods via 

screw mounts on two of 

the recorder’s surfaces 

for flexible and secure 

placement. 

www.korg.com 

AEQ’s PAW 120 is a portable 

recorder with voice 

activated recording and 

XLR adapter for the use of 

external microphones. 

It supports BWF file format 

for easy integration with 

radio automation systems. 

It also appears as a USB 

removable external advice, 

compatible with Windows 

and Mac OS. A mechanical 

switch activates automatic 

gain control. 

www.aeqbroadcast.com 

JoeCo’s BLACKBOX RECORDER is a dedicated 

1U rack-mounted 24-channel recorder. It can be 

connected to live mixing consoles to capture 

audio in Broadcast WAV format to a separate 

USB2 hard drive. The separate drive makes it 

easy to take recorded data to the studio and 

removes the storage limitations of integrated 

drives. The Broadcast WAV format stores a 

timestamp that makes it ideal for transporting 

multi-track audio. 

www.joeco.co.uk 

The Marantz PMD660 is a feature-packed 

mobile recorder that records to Compact 

Flash media cards. Editing can be 

achieved in the field using either 

of two editing modes, or by 

transferring files to a PC 

via the recorder’s USB 

port. The PMD660 also 

features XLR inputs, 

phantom power, and 

two built-in condenser 

mics for stereo recording. 

The unit is powered by four AA 

batteries. 


The Denon DN-F650R is a professional solid 

state recorder that records to and between 

SD/SDHC Flash card and USB external drives. 

It is designed for playback and recording 

applications in AV installation, audio production, 

live sound, theatre, and broadcast. The recorder 

features balanced XLR analogue audio and AES/ 

EBU digital I/Os. 

HHB’s FlashMic 

combines a Sennheiser 

capsule with a broadcast 

quality Flash recorder. 

The recorder makes 

it easy to capture and 

deliver high quality 

recordings, leaving 

journalists free to 

concentrate on the story. 

FlashMic is available 

in four models, with 

a choice of Cardioid 

or Omnidirectional 

capsules, and with or 

without line input. 

M-Audio’s Microtrack 

II is a high-fidelity 

mobile recorder 

that records audio 

to Compact Flash 

memory cards. 

The recorder offers a 

range of input options, 

with quarter-inch TRS 

inputs capable of mic or 

line-level signals, dual 

microphone pre-amps 

with 48V phantom 

power, and a TRS input with 

5V power for use with the 

included stereo electret microphone. 

www.dm-pro.eu 

www.hhb.co.uk 

www.m-audio.com 

> 

50 


PRODUCT SAMPLER | RECORDERS 

Mayah’s Flashman II is 

a portable recorder 

for reporters. It is 

able to record locally 

to SD Card or USB, 

whilst simultaneously 

transmitting audio back 

to the studio. By doing 

so, the reporter is able to 

edit their material after 

transmission for subsequent 

re-use. Proprietary FlashCast technology 

recognises and connects to almost any audio 

codec and format, simplifying operation onlocation. 

www.mayah.com 

The Olympus DS-71 is a 

professional dictaphone, 

capable of recording in a 

44.1kHz/16 bit sampling 

rate. The unit features 4GB of 

internal memory (allowing 

for a maximum of 1,062 

hours of recording) and 

file management software 

that handles WMA and WAV 

file formats. The DS-71 also 

has a built-in monaural 

microphone, and detachable 

stereo microphone. 

www.olympusamerica. 

com 

The SADiE 

PCM-H64 

system is a 

multi-track 

digital recorder 

that benefits 

from SADiE 

6 software. It 

comes in two form factors; the 4u MADI version, 

and the 7U Expander version. The former 

provides digital I/O only on a MADI interface, 

whilst the latter provides an expansion chassis 

that provides flexible combinations of analogue 

and digital I/O options. 

www.sadie.com 

The Nagra VI 

is an eightchannel 

digital 

recorder with a 

120GB internal 

hard disk. Four 

of the unit’s six 

analogue inputs are equipped with traditional 

Nagra microphone pre-amps. The remaining 

two are AES inputs. The VI is fitted with a full 

SMPTE/EBU time code system including a 

chase synchroniser. The unit is supplied with 

detachable supporting legs that adjust the 

viewing angle for on-cart use. 

www.nagraaudio.com 

The Roland R-1000 is a stand alone dedicated 

recorder/player, designed to work with 

the company’s V-Mixing System in any live 

production. The R-1000 can also be connected 

with any digital console that has MADI output 

capabilities via the Roland S-MADI REAC MADI 

Bridge. It is ideal for virtual soundchecks, and 

can be connected inline between a V-Mixer and 

Digital Snake for selectable playback. 

www.rolandsystemsgroup.com 

Sony Professional’s PCM-D50 

is a 96 kHz/24-bit recorder. 

It features a two-position 

stereo microphone and digital 

pitch control. It can record to a 

4GB internal Flash drive or an 

external Memory Stick PRO-HG 

Duo. The device can record 

for 14 hours at 44.1kHz/16-bit 

when powered by four AA 

batteries. Optional accessories 

include a remote control, 

tripod stand, and microphone 

windscreen. 

www.pro.sony.com 

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• Records onto a regular 

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51


> 

52 

PRODUCT SAMPLER | RECORDERS 

Yamaha’s Pocketrak 2G is a 

lightweight mobile recorder 

that runs for up to nine hours 

when recording in MP3 mode. 

It is also capable of recording 

up to three hours of audio in 

a CD-quality linear PCM mode 

to a 2GB integrated drive. 

A USB connector allows for 

easy file transfer between the 

Pocketrak 2G and a computer. 

The recorder comes bundled 

with Cubase AI DAW software. 

www.yamaha.com 

Tascam’s HS-P82 

field recorder 

offers eight 

discreet input 

channels of 

analogue or 

digital AES/EBU 

recording, in addition to a stereo mix down of all 

eight inputs. Audio is recorded in WAV format at 

up to 192kHz/24-bit to a pair of Compact Flash 

cards. The Broadcast WAV files include iXML 

metadata for quick import into editing systems 

via the onboard USB connection or a standard 

card reader. 

www.tascam.com 

The Zoom R8 is 

a scaled down 

version of the 

company’s R24 

recorder, designed 

to capture live 

performances. 

Similarly to its 

predecessor, the R8 combines an eight-track 

recorder, an audio interface, a DAW control 

surface, and a sampler complete with drum pads 

and a rhythm machine. The R8 can playback 

eight tracks of audio at up to 24-bit/48kHz 

resolution in WAV format. 

www.zoom.co.jp 

Zaxcom’s Deva 5.8 is a 10-track hard disk 

recorder for film and television production. 

The display and controls are mounted on the 

top of the unit and it is light enough to be 

used over the shoulder. The unit is a complete 

solution for recording, mixing, and effects, 

featuring eight hardware faders, an integrated 

hard drive, DVD-RAM, and Flash memory slot. 

www.zaxcom.com 

Yellowtec’s iXm is a reporter’s 

microphone with proprietary 

auto-levelling. An adjustable 

pre-roll time makes it possible 

to record up to 30 seconds 

of pre-buffered audio prior 

to the record button being 

pressed. The recorder 

features a choice of three 

interchangeable mic heads. 

The DSP automatically adapts 

to each detected mic head 

without changing any manual 

settings. 

www.yellowtec.com 

The 788T is a member of the Sound Devices’ 7 

Series of digital audio recorders. It is designed 

for production 

sound and 

features eight 

inputs and 

twelve tracks. 

Each input 

accepts either microphone or line-level signals, 

and is capable of providing 48 V phantom 

power for condenser microphones. The 788T 

can record to a 160GB internal SATA hard drive, 

CompactFlash media, or an external FireWire 

hard drive. 

www.sounddevices.com 

daw 2011 

S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + S a d i e + + + + 

ing 

bility a the 

ng list 

ADiE’s 

any audio 

e. 

dustry 

oftware 

age capable 

SIO or 

ardware 

etings with 

dcasters. 

nd looking 

areas. 

to provide 

ay audio 

r SADiE 

y many 

nd the 

ariety of 

ng, or even 

ng need 

y native 

In 2008 the Prism Media Products Group took 

ownership of SADiE, and building on SADiE’s 

already we l established footing in mastering, 

live, and location recording, and post production 

introduced the SADiE version 6 software. 

The SADiE 6 Series 

The cu rent SADiE 6 range consists of the PCM 

4, PCM8, H8, and H16 Studio workstations; the 

LiVE LRX2, H64, and H128 large scale recorders, 

as we l as the newly introduced Solid State LiVE 

recorder workstation. 

A l of the SADiE LiVE series of systems have 

been developed with a significantly expanded 

track count; the LRX2 is capable of recording up 

to 64 tracks via MADI or up to 48 discreet inputs 

via AES or by SADiE’s extremely high quality 

mic pre-amp cards. The LiVE H64 and LiVE 128 

and Solid State system are capable of recording 

up to 128 tracks via MADI, AES, Mic, or Line 

respectively using the same modular I/O cards as 

the LRX2. 

SADiE 6 continues to offer you one of the 

most comprehensive editing packages on the 

market, so whether using the playlist editing 

mode, SADiE’s Trim Editor, Region Editor, Playlist 

Editor, and 3 & 4 point editing tools, you have 

the most powerful set of tools on any DAW 

system at your fingertips, a l of which are applied 

in real time, with no rendering. 

With the flexibility of SADiE’s fu ly 

customisable and automatable mixer you can 

use SADiE’s own built-in EQ or dynamics section 

or the newly developed iZotope plug-in suite 

(bundled with a l SADiE 

6 software). With the aid 

of SADiE 6’s powerful 

built-in PQ editor, creating 

a CD couldn’t be simpler. 

Using the same playlist 

in which you made your 

edits, choose where you 

want your PQ flags (or 

let SADiE automatica ly 

choose for you) and 

generate your PQ list 

before burning your CD. 

Why Choose SADiE? 

Crispin Murray 

of Metropolis 

Studios says of 

SADiE, “The sonic 

quality, system 

stability, and 

intuitive user 

interface has 

ensured that SADiE has stayed a the core of 

Metropolis Mastering. We wouldn’t build a new 

room without it”. 

Equally at home on a Radio producer’s 

laptop, front of house at a concert, insta led in 

an OB truck, or in a mastering studio, SADiE 6, 

used either as software only or on any of the 

powerful hardware variants, was conceived to 

provide the ultimate in workflow-orientated 

precision editing o recording. Jus to put your 

mind at rest, a l of the available SADiE software 

versions include a dedicated mi ro recording 

option that provides the ability to record to two 

simultaneous destinations a the same time. 

The Hardware Packages 

The LRX2 (hardware) comprises an a l-metal 

constructed unit, designed to be the ‘base’ for 

the connected laptop. It houses a l the DSP, I/O 

cards, monitoring, and a sma l assignable mixer 

with motorised faders, as we l as a weighted edit 

contro ler and dedicated edit buttons. It also 

holds the time-code, video, and AES reference 

connections. Power is supplied via a four-pin XLR 

connector or from a 12V camera battery pack. 

, post production, and precision editing are just some of the areas that SADiE 6 

tackle. SADiE’s Series 6 workstation and software packages take on the new 

roduction. 

High-End, Precision, Recording 

ng with an Unparalleled Workflow. 

PROMOTIONAL FEATURE 

THE INTERNATIONAL DAW BUYER’S GUIDE 7 

MY FAVOURITE PLUG-IN+ + + + M Y F A V O U R I T E P L U G - I N + + + + M Y F A V O U R I T E P L U G - I N + + + + M Y F A V O U R I T E P L U G - I N + + + + M Y F A V O U R I T E P L U G - I N + + + + M Y F A V O U R I T E P L U G - I N + + + + M Y F A V O U R I T E P L U G - I N + + + + 

Fairchild emulations, and Waves MP2. With 

any new project, I’d probably start of with 

Melodyne; it rea ly is a life saver. I couldn’t do 

without it. I’ve been using the Renaissance 

compressor for probably more than ten years. 

It came with a bundle, and it’s just great for 

most sources. Mostly vocals and bass, and also 

for dynamic leve ling. 

“I record with a sort of hybrid set-up, so it’s 

a mixture of analogue and plug-ins. It’s tricky 

to pick one, but I’d say my most used six and 

why are: 

SSL EQ – very powerful EQ amongst plug ins 

for shaping the tonality of a l kinds of sound 

sources. 

Waves Renaissance Compressor – much 

used compressor offering the smoothest 

dynamic control. 

Waves R-Bass – low frequency processor for 

adding tangible weight to bass instruments. 

URS Channel Strip – Swiss Army channel 

strip plug in for processing a variety of sources. 

IK Multimedia Vintage Tube Compressor 

670 – another candidate for smooth 

compression, with a little extra mojo. 

Soundtoys Echoboy – emulates an 

unrivalled selection of vintage tape delay units 

and a welcome addition to any mix. 

www.interfaceyourmusic.com/MattFoster 

Adrian Breakspear 

Adrian has been working in recording studios since 

graduating from Salford University in 2001. 

He began his career at Ba tery, and is now managed 

by Miloco studios as an Engineer and Mixer. Adrian 

has engineered for a variety of artists including 

Exit Calm, The Dykeenies, Roisin Murphy, and 

The Saturdays amongst others, as we l as working 

with many unsigned and newly signed bands in a 

production role. 

“I use plug-ins at both the tracking and mix 

stages of a given project. I favour SSL consoles 

when mixing on a large format console, so ‘in 

the box’ I lean towards the Waves SSL Channel 

Strip plug-in – I find it has a similar tactile 

response and sound to the hardware, even if 

it’s not 100% the same. Occasiona ly, I wi l 

vary this approach – for example, 

I mixed a fairly retro-sounding 

project recently, and for this one I 

used the Waves V-series plug-ins in a 

similar fashion. 

“When starting a mix from scratch 

I find it more efficien to think in terms 

of a virtual desk approach, as opposed 

to starting off with an individual 

bespoke plug-in chain for each source. 

In a conventional studio based around 

hardware, you would only have a 

limited amount of outboard to use, you 

wouldn’t usua ly be able to process each 

part of a 16-track backing vocal stack with 

a real 1176, so I take a similar approach 

when mixing within a computer. 

As many multi-tracks are also very large (60+ 

tracks), it is also much 

more time-efficien to 

work this way. Obviously if 

a track requires something 

different, I’m going to 

do whatever i takes, but 

I find sticking to a core 

subset of plug-ins helps 

to get mixes going more 

quickly, and can help 

you as an engineer to 

focus on the music and 

the mix, rather than the 

technology. 

“Away from the 

channel strip plug-ins, like 

many engineers I find 

saturation, distortion, and 

tape emulation plug-ins 

are key to depth and 

realism when mixing 

within the DAW. I like 

the Soundtoys Decapitator, Steven Massey 

Tapehead, Avid Reel Tape Suite, and McDSP 

Analog Channel plug-ins for this purpose.” 

www.miloco.co.uk/engineers/adrianbreakspear. 

php 

Aziz Ibrahim 

Aziz Ibrahim is best known for his work as a 

guitarist with Simply Red, The Stone Roses and 

their former vocalist Ian Brown, in whose support 

band he regularly performs both in the studio and 

live. Ibrahim also scored the music for the Psygnosis 

PlayStation game Eliminator. 

“I’m a guitarist first and foremost but I write 

songs, Playstation game soundtracks, and 

produce bands. My background from music in 

Manchester is diverse, so not necessary guitar 

based. 

“I love Universal Audio plug-ins and 

hardware because of the classic stuff they 

simulate or make. I’m particularly fond of the 

A800 Studer Tape plug-in, along with the Fatso 

Jnr/Snr Analog Tape Sim and Compressor. 

With my UAD-2 Quad PCI-Ex buss card I can 

run a load of stuff including whole virtual desks 

of Neve 88RS or SSL E series. My absolute turnto 

plug-in compressors are the Fairchild 670, 

Precision Multi-band, and 

Neve 33609 Comp/Lim. 

As far as EQ goes I use the 

Neve 1073, 1081, and 31102, 

but depending on the audio 

I’ l switch between those, the 

Pultec Pro, Cambridge EQ, 

Helios, Ha rison 32C, Trident 

A Range, or Manley Massive 

Passive. I use every UA plug-in 

going! Fo reverb I’m spoilt 

with the EMT 140 plug-in, 

but for more modern and 

creative reverb I’ l use the UA 

DreamVerb, IK Multimedia 

CSR, or Logics’ Space 

Designer. 

“When it comes to 

guitar sounds and valves are 

not working, I’ l turn to IK 

Multimedia Amplitube range 

and Line 6 Podfarm 2. They’re 

great for absolutely everything. I also use IK 

Miroslav and M-Audio MTron for strings along 

with IK Sonic Synths and Sampletank. 

Since I acquired Pro Tools 9 I’ve been using 

the Avid and AIR plugging a lot (as they are 

now included). PT9 fina ly has the plug-in delay 

compensation built in, so it means I can use a l 

my UA stuff without having to sub group every 

time and use Me lomuse ATA. I sti l have issues 

with limited ADC per channel so I sti l use Logic. 

Logic’s Sampler and synths are second nature 

to me, along with its plug-ins. 

“A new fave of mine is iZotope Stutter Edit. 

Already using Vinyl and it’s free like Fabfilter. 

I’ve got a new album, Rusholme Rock, out 

soon with my band ‘Aziz’. Unfortunately I 

didn’t have UAD a the time. The recording 

was mostly done between Logic and ProTools 

at Longsight, Granary Barn, and BBC Maida 

Vale Studios. The mastering was done at 

Abbey Road with Peter Mew and he used Sonic 

Solutions in general in the mastering.” 

www.aziz.co.uk 

daw 2011 

Avid Pro Tools 9 HD. 

Celemony Melodyne. 

iZotope Stutter Edit. 

6 THE INTERNATIONAL DAW BUYER’S GUIDE 

DAW MYTHS+ + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + 

T 

hough the workings of analogue 

electronics are based on physics (which 

we a l know ‘canna be changed’), the 

vagaries of componen tolerances, power 

supplies, and the recording engineer’s 

tendency to push devices we l pas their design 

specifications, means that heated discussions 

as to what are the best sounding pieces of 

equipment are sti l raging – even we l into the 

era of digital recording. A causal observer might 

conclude that now we have ‘gone digital’ these 

arguments over the quality of audio output 

and associated equipment can be pu to rest, 

and engineers can fina ly more fruitfu ly spend 

their time by the pool with cocktails rather 

than squabbling over bits and bytes. Tha this 

is not so says quite a lot about engineers, but 

it also demonstrates that while the underlying 

technology of digital audio is empirical, its 

practice sti l engages the industry a the 

highest levels. 

So we asked some of those a the cutting 

edge of the industry to give us their take on a 

few of the pressing issues su rounding DAWs and 

digital recording in general – Dr. B.J. Buchalter 

(Metric Halo), Tony Cariddi, (Avid), Steve Penn 

(Prism Media), Andy Saul (Prism Media), Rod 

Densham (Sonnox Ltd), and Claude Ce lier 

(Merging Technologies.) 

A Bit About Digital 

Some sound engineers feel that a larger bit depth 

has a simila relationship to performance as 

horsepower does in automobiles – the common 

conclusion being tha the more there are the 

better the sound. While that may be true with 

relation to recording bit depth and dynamic 

range, it gets a lot murkier when talking about 

raw processing power. Does 64-bit processing 

produce audibly superio results over 32- 

bit processing? Is floating point better 

than fixed point, and does any of it rea ly 

matter anyway? 

“There are some notable differences 

between the two ways of processing, 

“says Tony Cariddi, Avid Segment 

Marketing Manager, Pro Audio. “One 

advantage of floating-point over 

fixed-point processing is headroom 

– for example, 24-bit processing of 

a 24-bit word wi l deliver 144dB of 

headroom. And while this is a fair 

amount for mixing, you can easily clip 

the output when you start applying 

plug-ins to a hot signal in the digital realm. With 

floating-point processing this is a non-issue – 

32-bit floating-point processing gives you a 

staggering 1,536dB of headroom.” 

“32-bit fixed is not enough, you wi l need 

to go to double precision in certain processing 

areas,” says Rod Densham, MD of Sonnox. 

“64-bit fixed is enough, provided you are in 

charge of the scaling and do so appropriately. 

The Oxford R3 was 32-bit fixed and ran to double 

precision where needed. Using native processing 

with modern computers, there is no advantage 

to fixed. You can probably get away with 32-bit 

float – but why bother? Memory is cheap, CPU 

speeds are up, and so in recent years there is no 

reason no to use 64-bit float.” 

Steve Penn, Senior Support Engineer at 

Prism Media Products Limited (developers of 

SADiE) has a slightly different view. “SADiE has 

always calculated in 32-bit float, and has always 

been noted for its transparen throughput. 

Modern computers are working at higher 

precision anyway and so we are considering 

the pros and cons of increasing. But for our 

core tasks of recording, playback, editing, and 

mixing, 32-bit float is sti l very suitable.” 

“Modern CPUs process floating-point 

numbers in hardware, so there is no penalty 

to using them in a DAW,” adds Andy Saul, 

Software Engineer at Prism Media Products. 

“Whether fixed or floating point numbers are 

used, the dynamic range is determined by 

precision of the number. Fixed-point numbers use 

a l bits for their precision, so a 32-bit fixed-point 

number has a dynamic range of about 192dB. 

Floating-point numbers use some 

bits to store an exponent (which 

modifies the magnitude of the 

number), leaving fewer bits for 

precision. 32-bit floats have 

24-bit precision, which 

gives a dynamic range of 

about 144dB. This is sti l 

greater than a highend 

converter such as 

Orpheus, which has 

a dynamic range of 

115dB on output.” 

“The additional 

headroom you 

get with floating 

point processing 

can also mean 

better sounding mixes, 

especia ly when using a lot of plug-ins”, adds 

Cariddi. “I just got off the phone with Jason 

Goldstein, who is just finishing the Lonely Island 

record – hysterical by the way – and he is rea ly 

excited abou the improved quality they are 

getting using HD Native, which uses a floating 

point architecture, compared to HD TDM 

systems, which use a fixed point design.” 

Mixing & Matching 

Another ho topic rearing its head in professional 

audio circles concerns what happens when 

you merge a l your audio streams together to 

generate your final mix. Some engineers go so 

far as to route stems or whole mixes to external 

(usua ly analogue) hardware because they feel 

that digital summing has a negative effect on 

the audio. 

“Analogue summing in a desk or a summing 

box adds analogue distortions to the process 

and genera ly, these are going to make things 

“warmer” or more glued together,” says Dr. 

B.J. Buchalter, Vice President of R&D at Metric 

Halo. “Straight digital summing does not have 

any analogue distortions (except for maybe at 

the output converter stage, and that would not 

apply if the final mix is bounced). Now, there are 

technologies, like Metric Halo’s Character, that 

provide analogue-like distortions in a contro led 

and selectable way to a digital mix environment, 

and this provides the best of both worlds.” 

“The Sonic quality of some DAW’s can now 

easily rival that of the best of the best in terms 

of their analogue cousins,” says Claude Ce lier of 

Merging Technologies (Pyramix). “And with the 

mix and automation engines contained in the 

same box, the ability to amend and manipulate a 

mix in progress couldn’t be easier.” 

“I would go for digital every 

time,” says Saul. “The e ror signal 

from mixing wi l be substantia ly 

below the noise floor of an 

analogue system. However, 

there may be issues with the 

smoothness o fader controls 

and so on.” 

Cariddi agrees. “A we l-written digital 

summing mixer like the one in Pro Tools 

sounds great and has many benefits 

compared to analogue, including low 

noise and complete reca lability. On the 

other hand, the harmonic distortion 

added by analogue gear – whether it 

be a summing mixer, outboard processor, or 


range, it gets a lot murkier when talking about 

raw processing power. Does 64-bit processing 

than fixed point, and does any of it rea ly 













115dB on output.” 


has a dynamic range of about 192dB. 













“The additional 








mix 

time,” says Saul. “The e ror signal 

from mixing wi l be substantia ly 

below the noise floor of an 

analogue system. However, 

there may be issues with the 

smoothness o fader controls 

and so on.” 

Cariddi agrees. “A we l-written digital 















Industry experts provide an insight into their best tips and tricks right from the cutting edge of the 

DAW scene. 

Exposed! 

DAW Myths… 

4 THE INTERNATIONAL DAW BUYER’S GUIDE 

RSS by Roland introduced its award 

winning REAC based Digital Snake 

in 2006. Since then, REAC (Roland 

Ethernet Audio Communication) has 

provided the backbone for the flexible, 

innovative RSS range of Digital Snakes, 

V-Mixers, and M-48 Personal Monitoring 

products. 

Audio Innovation An Evolv 

Capturing, shaping, and reproducing 

high quality audio with equipment 

that is enjoyable to use is an integral 

part of Roland’s enviable history. 

This heritage is of great benefi to RSS 

and the rapidly growing community of 

worldwide audio professionals using 

and specifying their products daily. 

Snakes Go Digital 

In 2006 RSS launched the S4000 series 

of Digital Snakes utilising REAC (Roland 

Ethernet Audio Communication), to 

transfer multi-channel 24-bit audio 

over Cat5 Ethernet cable. Ca rying 40 

channels at 96khz 24-bit resolution, 

along with MIDI & RS232 control 

data, REAC only showed a hint of its 

fu l capability. Using the easy splits on 

the S4000SP Dual REAC Hub at FOH, 

makes monitor and recording feeds 

instantly available. RSS Snakes offer 

some unique benefits, no the least 

the ability to upgrade the firm 

and 

and enhancements easily. One of the 

underlying principles of REAC is that it 

does not require any specialist networking 

knowledge in order to configure a 

system. 

Early adopters of RSS Digital Snakes 

immediately noticed improved clarity, 

frequency response, and signa 

ried easily and deployed by one 

person. Traditional copper based 

multi-cores often require two or more 

crew jus to manhandle the hefty flight 

case. For distances up to 100m a single 

Cat5 cable can ca ry a l of the audio. 

Using multiple RSS S4000SP or suitable 

Gigabit hubs up to 500m is achievable, 

but using Fibre via the RSS S-OPT distances 

of 2.4km are possible with less 

than 2.4ms latency. No wonder then 

that RSS Digital Snakes were immediately 

pu to use by Outside Broadcasters 

including the BBC, plus theatres and 

houses of worship. 

One theatre 

insta ler commented 

that, 

“Using RSS 

Digital Snakes 

saved six days 

of soldering on 

site, and the reduction in cos that 

represented per multi-core and tie-line 

split won the contract.” 

Snakes Multiply Record & 

Post- Produce 

Shortly after 

fixed format (16-in, 8-return) 

Digital Snake stage and FOH units. 

All the same benefits of the larger 

system were incorporated into these 

rack-mountable, highly portable 

units, including the ability to upgrade 

firmware. Cross compatibility with 

other REAC products being standard. 

One additional feature being a twochannel 

Optical output used 

to synchronise the Digital 

Snakes with Cakewalk 

by Roland SONAR 

Producer edition software. 

Cakewalk by Roland 

SONAR is a standalone Audio & 

MIDI Recording and Post-production 

package which with the addition of a 

REAC ASIO driver becomes capable 

of capturing up to 40 channels of 

96kHz 24-bit audio direct from a 

REAC stream via Cat5 cable. 

V-Mixers, Monitors, Merge 

& Mobility 

Fo lowing the rapid adoption of Digital 

Snakes and recording technology by 

the Professional Audio world RSS made 

the next logical step in launching 

the V-Mixing Solution. The M-400 

V-Mixer, clearly a unique and innovative 

concept, was quickly fo lowed by 

the M-380 with a l the features of an 

M-400 in a 19-inch rack-mount format 

ideal for insta lations. 

The ‘basic’ V-Mixer set up connects 

with two Digital Snake stage boxes 

giving 32 incoming 

channels, 

and 16 returns 

via Cat5 cable. 

It also has eight 

local I/O, plus two channel 

stereo in and two 

channel Optical Out. Featuring LCR, 

8xMatrix, 8xDCAs, and 16xAux, a l 

encapsulated in a compact footprint 

saving space, transport and storage 

costs. Of course you c 

musicians to control 16 channels or 

groups in their own unique monitor 

mix. Up to 8 x M-48s are powered over 

Cat5 using the S4000D hub, and hubs 

can be cascaded for larger systems. 

Stage clutter and noise are greatly 

reduced and an ambient mic 

in each unit prevents 

the isolation often 

experienced when 

using In-ear monitors. 

The latest additions to 

the REAC line include the unique 

S0808 portable Digital Snake, and 

the S4000M REAC Merge unit. With 

eight I/O, power over Cat5 via REAC, 

and battery options, the S0808 is the 

world’s first multi-powered, go-anywhere 

snake. The S4000M a lows up to 

four Digital Snake heads to merge into 

a single REAC stream giving unprecedented 

flexibility to the system. 

Going beyond ‘basic’ REAC technology 

a lows simple splits to 

Digital Snakes and/or cascaded 

V-Mixers providing unique mixes for 

FOH, monitors, broadcast, and recording. 

Every routing, patch, effect, or EQ 

decision can be stored in a unique 

scene, and up to 300 scenes can be 

stored in a project for complete or 

partial reca l. Remote control via USB 

a lows engineers to set up a system 

from within the listening areas or on 

their laptop before the show. 

No wonder so many audio 

professionals are making RSS their 

first choice. 

INFORMATION 

RSS by Roland 

Roland Systems Group 

RSS by Roland 

case. For distances up to 100m a single 

Innovation and flexibility in digital audio 

houses of worship. 

One theatre 

insta ler commented 

that, 

Digital Snakes 

saved six days 

of soldering on 

with two Digital Snake stage boxes 

giving 32 incoming 

channels, 

and 16 returns 

via Cat5 cable. 

It also has eight 

local I/O, plus two channel 

stereo in and two 

+ + + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + 

S 

ince its introduction, Pro Tools 

has garnered a strong reputation 

as the industry standard digital 

audio workstation (DAW), and is used 

in professional recording studios, postproduction 

houses, broadcasting, and 

concert events worldwide. Its success can 

be attributed to several factors – most 

notably, its reliable performance, pristine 

sound quality, unique features, and ease 

of use. 

Pro Tools 9 represents a major shift for Avid. 

Before, you had to use Avid audio hardware 

with Pro Tools software. No longer. Now, you 

can choose to use the software with an Avid 

audio interface, a third-party interface, or even 

standalone – with just your computer. But what 

sets Pro Tools 9 apart is its professional toolset, 

giving you everything you need to create, 

record, edit, and mix music or sound for picture. 

Plus, it comes standard with Automatic Delay 

Compensation (ADC), multitrack Beat Detective, 

AAF/OMF/MXF file interchange support, 

EUCON integration, and a huge library of virtual 

instruments and audio processing plug-ins. 

That said, while Pro Tools software and 

hardware are no longer tied together, there are 

many benefits for pairing Avid audio hardware 

with Pro Tools 9. Depending on what it is you do 

(or wan to do), here’s a look at two such highperformance 

systems – Pro Tools|HD Native and 

Pro Tools + Mbox. 

Pro Tools|HD Native 

If you’re a music or post professional, you need 

a studio-grade system that can handle large 

sessions and complex productions with ease. 

With Pro Tools|HD Native, you ge the highest 

performance and lowest latency from a costeffective 

host-based system. 

The “core” system includes the high-speed 

Pro Tools|HD Native PCIe card, which delivers 

much faster data transfe rates (throughput) 

than any FireWire- or USB-based audio interface 

can. This eliminates distracting latency, making 

it easier for you to create better sounding, 

phase-accurate recordings. The card also serves 

as the bridge for connecting up to 64 channels 

of I/O – using Pro Tools HD Series interfaces – to 

your computer, enabling you to capture and play 

back audio in stunning clarity (more on this in a 

moment). 

Reliability, performance, a 

mass of features and ease 

of use have all helped to 

make Pro Tools the industry 

standard for DAWs today. 

Pro Tools 9 

8 PROMOTIONAL FEATURE 

+ + + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + 

W 

hile the musicality of high quality 

audio circuits is difficul to ignore, 

during the first decade audio’s 

permeation of the market place, its low noise 

and clean consistent sound amazed professionals 

and listeners alike. In the ensuing years, the 

“retro” wave has forced pro audio manufacturers 

to focus on the subjective qualities of analogue 

sound, often by implementing elements of 

imperfection. Musicality and feeling imparted 

by analogue audio components have become 

as important as precision and benefit of digital 

audio. Studios are using vintage consoles 

with their DAWs. Digital miners are routed 

through analogue tape recorders. The hybrid 

of “perfection and imperfection” – musicality 

and emotion on the one side, and science and 

perfection on the other – has become the norm 

in professional audio. 

At DAD, we do not believe that the 

introduction of randomised imperfections is 

the solution to bridging the gap between the 

analogue and digital worlds. 

If you have a perfect source say, a 

Stradivarius with a magnificent voice, we believe 

you should not have to subjec that source 

to imperfect circuitry simply because your 

converters are not able to accu 

the market, including our own first generation 

ADDA2408 converter, lauded among the best, 

if not the best converter available. There had to 

be another solution. 

In co-operation with the finest audio 

engineers in the world we started experimenting 

with sample rates beyond 96kHz, and with other 

parameters of the conversion process. Even with 

sample rates of 176.4 and 192kHz, we could 

hear or sense a difference between the digital 

signal, and the original pristine source. Finally 

sampling at an incredible 352.8kHz, we could no 

longer hear any difference between the direct 

signal and the signal converted to digital audio. 

Every aspect of the original analogue could 

now be heard in the digital signal – original 

dynamics, true harmonics, an accurate sound 

stage and perspective were a l there. 

And most important of a l, the feeling and 

emotion attributed to analogue recordings 

was now a part of the digital recording, but 

withou the noise and distortion. The ultimate 

converter system DAD AX24 was born. 

Unique Results At Any Sampling Rate 

Making the ultimate converter at an extreme 

our cu rent flagship converter product, even 

further ahead of other cu rently available 96/192 

kHz audio converters. In addition, our advanced 

integrated mic pre amps, with analogue and 

digital gain stages, optimise the AD conversion 

process at a l sampling rates. 

Preserve The Unique Sound Of 

The Finest Instruments 

Prices of the very best musical instruments long 

ago surpassed reasonable limits. A Stradivarius 

se ls for more that $2 mi lion. Gibson and Fender 

guitars can se l for up to $100,000. Steinway 

pianos are similarly expensive. Have you ever 

heard these rare instruments compared with their 

modern, inexpensive substitutes? How a $20,000 

violin sounds like a beginner’s instrument when 

heard nex to a Stradivarius played by the 

same musician? 

Experiments and extensive listening tests 

have proven that the quality of a AD converter 

can change the sound of the finest instruments 

beyond recognition, depriving them 

unique qualities. The DAD AX24 

Unique recordings where perfection and emotion become one. 

AX24 Converter System 


m 

y de out in to total silen 

iking. 

Internal clock jitter be ter than 10 PPM 

The quality of a digital signal is to a large extend determined by the level of ji ter. Low ji ter is a must in 

high quality digital audio. AX24 has due to a unique pll design, an amazing internal clock accuracy of 5 

ppm reduced the ji ter below the audible level. 

THD < -115 dB 

This is the level of Total Harmonic Distortion 

(THD) that AX24 offers. With this pristine 

specification the absence of distortion is 

immediately noticeable when listening to 

recordings made with AX24. The true sound of 

especially string and bra s instruments is 

preserved and loud pa sages with many 

instruments playing stays relaxed and natural 

p ates its dual 

esign delivers precision normally 

or much higher sample rates 

daw 2011 

+ + + + + + M E R G I N G T E C H N O L O G I E S + + + + M E R G I N G T E C H N O L O G I E S + + + + M E R G I N G T E C H N O L O G I E S + + + + M E R G I N G T E C H N O L O G I E S + + + + M E R G I N G T E C H N O L O G I E S + + + + M E R G I N G T E C H N O L O G I E S + + + + M E R G I N G T E C H N O L O G I E S + + + + M E R G I N G T E C 

CONTACT DETAILS 

Merging Technologies SA 

Le Verney 4 

CH-1070 Puidoux 

Switzerland 

t +41 (0) 21 946 0444 

f +41 (0) 21 946 0445 

w www.merging.com 

eMerging Ltd. 

Distributed in the UK: eMerging ltd. 

t +44 (0) 208 941 6547 

w www.merginguk.com 

Final Check 

F 

inal Check is Merging’s audio metering 

tool that provides every type of 

meter imaginable including loudness 

measurement and inter-sample True Peak. 

It has the readability found in dedicated 

hardware meters, plus the customisation 

norma ly expected in a software plug-in. Final 

Check has a l 

the EBU R-128 

tolerance 

complian tools 

you’ l need to 

measure dialogue 

and overa l 

loudness (LUFS), 

dynamic loudness 

range (LRA), 

True Peak, as we l 

as international 

PPM and VU 

standards, 

phase, su round imaging, loudness integration 

timing statistics, report printouts, and much 

more. Time sensitive measurements are low-level 

gated, giving only pertinent results at a l times. 

Final Check meters any two busses in Pyramix 

including one 5.1 and one stereo simultaneously. 

MassCore®: The Definitive DSP Ki ler 

MassCore is a breakthrough advancement 

that dedicates the power of today’s multi-core 

CPUs to massive high speed audio processing, 

making DSP chips a thing of the past. More than 

just native audio through a non-realtime OS, 

MassCore reserves entire CPU cores for Pyramix, 

multiplying the processing power of a single 

MassCore over conventional DSP hardware by a 

factor of at leas ten. The equivalent of ten fu ly 

loaded DSP boards in a single CPU Core gives 

Pyramix unriva led power with a 256-bus mix 

engine, 768 live I/O channels with fu ly active 

five-band EQ, and dynamics on a l channels with 

plenty of headroom to spare! 

Ultra High-End Music Production 

Pyramix has long been the reference in the 

elitists’ circles of classical and historical music 

performances. Merging actively participated in 

the creation of the SACD, bringing the pristine 

quality of the DSD and proprietary DXD audio 

signals into a workable multi-track recording, 

mixing, and mastering environment. Merging has 

not only se the world standard in high fidelity 

music production for over a decade, but it has 

pushed the envelope of the role of a DAW to 

succeed its analogue counterparts. 

Audio Post-Production 

Pyramix is a tried and true contender in the field 

of post-production where conditions to meet 

schedules are the toughest and time is crucial. 

To save our clients’ precious energy, Pyramix has 

always had open-ended compatibility in mind to 

help Pyramix blend seamlessly into any workflow 

whether it comes to project interchange, audio 

file compatibility, unrestricted network access, 

mainstream contro ler surface protocols, 

elegant nine-pin control, GPIO interfacing, 

audio streaming, extensive sound libraries, 

and a powerful media re-conforming tool. 

Pyramix’s pro-class dynamic automation 

includes control of a l audio functions and 

plug-ins. There is even the Automatic Dialog 

Recording feature that controls every aspect of 

an ADR session including video and cues. 

Ravenna Audio Over IP Ignited 

Ravenna audio over IP is here and rapidly 

growing as major industry contenders are 

jumping onto the bandwagon, and Merging is 

proud to be one of the key founders of this open, 

non-proprietary standard that wi l bring high 

track count digital audio to low-cost Ethernet 

cabling. Once again, Merging shows how to 

bridge technologies between manufacturers 

so that our clients’ gear interfaces as they so 

choose. Look for our upcoming Ravenna audio 

hardware in 2011 that wi l change the way you 

plug in for good. 

Real-Life Virtual Studio 

Pyramix’s Virtual Studio mixing console has 

a l that you would expec to find in a pro- 

class mixing desk including a fu l monitoring 

section with buss switching, multiple speaker 

sets, master SPL calibrated trim and mute, 

programmable talkbacks, dedicated metering 

outputs, multiple mixing stems from mono to 7.1 

surround as we l as full proprietary VS3, and third 

party VST plug-in automation. 

Broadcast audio is going loudness compliant, and Pyramix 7 is the first DAW with a fully conformed 

EBU R-128 loudness measurement tool, ‘Final Check’, built right in alongside the features that make 

Pyramix the most comprehensive DAW available. 

Pyramix In The Loudness Zone 

Merging as a Company 

For over 20 years Merging’s Pyramix DAW 

has undergone continuous refinemen to 

its features while remaining dedicated to 

the standing commitment of producing 

the industry’s foremost audio workstation. 

Merging’s software products span out 

from Pyramix to include groundbreaking 

advancements such as the powerful DSP 

ki ler technology known as MassCore® as 

we l a myriad of other unique inspirations 

forged in code and designed to mee the 

exacting standards of the worlds most 

demanding audio professionals. 

Merging also produces its own audio 

hardware, ensuring that every link in the 

chain that defines Pyramix is as strong as 

our commitmen to quality. 

Control is Almost Everything 

Pyramix’s “state of the art” Virtual Studio 

philosophy is highly versatile for music 

production or audio post-production 

whethe recording, editing, mixing, or 

mastering a the apex of sound quality. 

Pyramix 7 has come of age providing you 

with powerful tools putting you in control 

so you’ll never need to mix anything ‘out 

of the box’. 


Final Check: Integrated 

Loudness, True Peak and 

Loudness Range detail. 

+ + + + + + S T E I N B E R G M E D I A T E C H N O L O G I E S G M B H + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + S T E I N B E R G + + + + 

The Way You Work in Post 

T 

he core concept of Nuendo 5 is based 

around post-production essentials: 

workflow, speed, versatility, and reliability. 

With its dedicated tools, Nuendo 5 offers 

comprehensive solutions in audio post, including 

an ADR toolse that dramatica ly speeds up 

the dubbing process, the exceptional su round 

mixing tools specia ly made to adapt audio-topicture 

movements, as we l as stunning mixing 

features, such as automatable stem bus routing. 

Bu there’s even more to it. The revolutionary 

Clip Packages function a lows you to organise 

individual clusters of audio clips as one handy 

file to be used at any point of your project, 

such as for film or television. To save valuable 

studio production time, Nuendo 5 also includes 

enhanced Automated Batch Export functionality 

that a lows for exporting multiple files in one go. 

The we l-received automation system already 

featured in the previous version has now been 

extended by tools that are mainly tailored to the 

film mixing process, offering seamless support 

for interfaces and third-party contro lers of the 

likes of Euphonix, Smart AV, and WK Audio, 

plus the vast range of plug-ins that include 

new developments to create unique film sound 

effects, as we l as the VST 3-based Su round 

Matrix Encoder/Decode round ou the vast 

range o features available in Nuendo 5. 

Made for Live Recording 

Valued for its reliability, even in the most 

cha lenging conditions, Nuendo offers 

exceptional tools that 

let you retain fu l control 

of recording processes. 

From sma l gigs to 

festivals to renowned 

shows, Nuendo meets 

a l recording needs 

to the utmost extent. 

The highly flexible user 

interface and native 

system approach a low 

you to use Nuendo 

5 in a seamlessly 

scalable production 

environment. 

For laptop-based live 

rigs or grand-scale 

production environments, Nuendo 5 is the 

answer to a l things live recording. 

New and enhanced features expedite live 

productions. Arming a l tracks at once is easier 

than ever before, now that helpful key commands 

have been made available to further speed up 

the workflow. One of the most important aspects, 

especia ly in live recording, has also been covered 

Nuendo empowers professionals 

working in audio, live, and postproduction 

to higher levels of 

productivity. Post-production editors, 

film mixers, and live recording 

engineers around the world rely on 

the true native approach and industry 

openness that Nuendo provides. 

Exceeding the Demands of 

Post-Production: Nuendo 5 

Steinberg Has It All Covered 

Steinberg has been providing awardwinning, 

technologica ly advanced music 

and media production products for 

musicians and producers of music, video, 

and film since 1984. Today, Steinberg is 

one of the world’s largest manufacturers 

of audio software and hardware, with 

more than 1.5 million users worldwide. 

Steinberg also provides business customers 

with license management and copy 

protection systems. 

The Steinberg range of products 

renown in 


Nuendo 5 mixer with the new Waves Meters. 

S a d i e + + + + S a d i e + + + + S a d i e + + + + 

In 2008 the Prism Media Produc 

ownership of SADiE, and building on 

already we l established footing 

live, and location recording, and pos 

introduced the SADiE version 6 s 

The cu rent SADiE 6 range consists of 

4, PCM8, H8, and H16 Studio works 

LiVE LRX2, H64, and H128 large scale re 

as we l as the newly introduced Solid 

A l of the SADiE LiVE series of system 

been developed with a significantl 

track count; the LRX2 is capable of rec 

to 64 tracks via MADI or up to 48 d 

via AES or by SADiE’s extremely high 

mic pre-amp cards. The LiVE H64 a 

and Solid State system are capable 

up to 128 tracks via MADI, AES, M 

respectively using the same modular 

SADiE 6 continues to offer you one of 

most comprehensive editing packages 

market, so whether using the playlis 

mode, SADiE’s Trim Editor, Region Edito 

Editor, and 3 & 4 point editing tools 

the most powerful set of tools on any DA 

system at your fingertips, a l of which 


customisable and automatable mixer yo 

use SADiE’s own built-in EQ or dynam 

or the newly developed iZotope plug-in 

editing are just some of the areas that SADiE 6 

kstation 




In 2008 the Prism Media Products Group took 

ownership of SADiE, and building on SADiE’s 

already we l established footing in mastering, 

live, and location recording, and post production 

introduced the SADiE version 6 software. 

The cu rent SADiE 6 range consists of the PCM 

4, PCM8, H8, and H16 Studio workstations; the 

LiVE LRX2, H64, and H128 large scale recorders, 

as we l as the newly introduced Solid State LiVE 

A l of the SADiE LiVE series of systems have 

been developed with a significantly expanded 

track count; the LRX2 is capable of recording up 

to 64 tracks via MADI or up to 48 discreet inputs 

via AES or by SADiE’s extremely high quality 

64 and LiVE 128 

and Solid State system are capable of recording 

up to 128 tracks via MADI, AES, Mic, or Line 

respectively using the same modular I/O cards as 

SADiE 6 continues to offer you one of the 

most comprehensive editing packages on the 

market, so whether using the playlist editing 

mode, SADiE’s Trim Editor, Region Editor, Playlist 

Editor, and 3 & 4 point editing tools, you have 

the most powerful set of tools on any DAW 

system at your fingertips, a l of which are applied 


customisable and automatable mixer you can 

use SADiE’s own built-in EQ or dynamics section 

or the newly developed iZotope plug-in suite 



of Metropolis 






interface has 

ensured that SADiE has stayed at 

Metropolis Mastering. We wouldn’t bu 


Equa ly at home on a Radio producer’s 

laptop, front of house at a concert, 

an OB truck, or in a mastering studio, SADi 

used either as software only or on any 

powerful hardware variants, was concei 

provide the ultimate in workflow-ori 

precision editing o recording. Jus to pu 

mind at rest, a l of the available SADi 

versions include a dedicated mi ror recor 

option that provides the ability to reco 

simultaneous destinations a the s 


The LRX2 (hardware) comprises an a l 

constructed unit, designed to be the 

the connected laptop. It houses a l the 

cards, monitoring, and a sma l assig 

with motorised faders, as we l as a weig 


holds the time-code, video, and AES reference 

connections. Power is supplied via a four-pin XLR 

connector or from a 12V camera battery pack. 


kstation and software packages take on the new 





A Bit About Digital 

Some sound engineers feel that a larger bit depth 

has a simila relationship to performance as 

horsepower does in automobiles – the common 

conclusion being tha the more there are the 

better the sound. While that may be true with 











musicians to control 16 chan 

groups in their own unique mon 

mix. Up to 8 x M-48s are pow 

Cat5 using the S4000D hub 

can be cascaded for larger sy 

+ + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + 

notably, its reliable performance, pristine 

sound quality, unique features, and ease 

of use. 



Pro Tools 9 represents a major shift f 

Before, you had to use Avid audio hardware 

with Pro Tools software. No longer. Now, you 

can choose to use the software with an Avid 

audio interface, a third-party interface, or even 

standalone – with just your computer. But what 

sets Pro Tools 9 apart is its professional toolset, 

giving you everything you need to create, 



record, edit, and mix music or sound f 

Plus, it comes standard with Automatic Delay 

Compensation (ADC), multitrack Beat Detective, 

AAF/OMF/MXF file interchange support, 

EUCON integration, and a huge library of virtual 

instruments and audio processing plug-ins. 

That said, while Pro Tools software and 

hardware are no longer tied together, there are 

many benefits for pairing Avid audio hardware 

with Pro Tools 9. Depending on what it is you do 

(or wan to do), here’s a look a two such highperformance 

systems – Pro Tools|HD Native and 

Pro Tools + Mbox. 

Pro Tools|HD Native 

If you’re a music or post professional, you need 

a studio-grade system that can handle large 

sessions and complex productions with ease. 

With Pro Tools|HD Native, you ge the highest 

performance and lowest latency f 

effective host-based system. 

The “core” system includes the hi 

Pro Tools|HD Native PCIe card, which de 

much faster data transfe rates (thro 

than any FireWire- or USB-based audio 

can. This eliminates distracting latency, making 

it easier for you to create better sound 

phase-accurate recordings. The card al 

as the bridge for connecting up to 64 channel 

of I/O – using Pro Tools HD Series interfaces – to 

your computer, enabling you to captu 

back audio in stunning clarity (more on this in a 

moment). 

Digital Snake stage and FO 

A l the same benefits of the larg 

system were incorporated into the 


units, including the ability to upg 

firmware. Cross compatibility with 

other REAC products being standard. 

One additional feature being a twochannel 

Optical output used 

to synchronise the Digital 

Snakes with Cakewalk 

by Roland SONAR 

Producer edition software. 

Cakewalk by Roland 

SONAR is a standalone Audio & 

MIDI Recording and Post-production 

package which with the addition of a 

REAC ASIO driver becomes capable 

of capturing up to 40 channels of 

96kHz 24-bit audio direct from a 

REAC stream via Cat5 cable. 

V-Mixers, Monitors, Merge 

A l the same benefits of the larger 

these 


upgrade 

th 

ndard. 

a twogroups 

in their own unique mon 

mix. Up to 8 x M-48s are pow 

Cat5 using the S4000D hub 

can be cascaded for larger sy 

Stage clutter and noise are grea 

S0808 portable Digital Snake, a 

the S4000M REAC Merge unit. W 

eight I/O, power over Cat5 via 

and battery options, the S0808 i 

world’s first multi-powered, go 

where snake. The S4000M a low 

four Digital Snake heads to me 

And most important of all, the feeling and 

emotion attributed to analogue recordings 

was now a part of the digital recording, but 

withou the noise and distortion. The ultimate 

converter system DAD AX24 was born. 

Unique Results At Any Sampling Rate 


modern, inexpensive substitutes? How a $20,000 

violin sounds like a beginner’s instrument when 

heard nex to a Stradivarius played by the 

same musician? 

Experiments and extensive listening tests 

have proven that the quality of a AD converter 

can change the sound of the finest instruments 

beyond recognition, depriving them 

unique qualities. The DAD AX24 

p ates its dual 

esign delivers precision normally 

or much higher sample rates 




of Metropolis 






interface has 

ensured that SADiE has stayed at 

Metropolis Mastering. We wouldn’t bu 


Equa ly at home on a Radio producer’s 

laptop, front of house at a concert, 

an OB truck, or in a mastering studio, SADi 

used either as software only or on any 

powerful hardware variants, was concei 

provide the ultimate in workflow-ori 

precision editing o recording. Jus to pu 

mind at rest, a l of the available SADi 

versions include a dedicated mi ror recor 

option that provides the ability to reco 

simultaneous destinations a the s 


The LRX2 (hardware) comprises an a l-metal 

constructed unit, designed to be the ‘base’ for 

the connected laptop. It houses a l the DSP, I/O 

cards, monitoring, and a sma l assignable mixer 

with motorised faders, as we l as a weighted edit 



and software packages take on the new 



D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T H S + + + + D A W M Y T 


it also demonstrates that while the underlying 

technology of digital audio is empirical, its 

practice sti l engages the industry a the 

highest levels. 

So we asked some of those a the cutting 

edge of the industry to give us their take on a 

few of the pressing issues su rounding DAWs and 

digital recording in general – Dr. B.J. Buchalter 

(Metric Halo), Tony Cariddi, (Avid), Steve Penn 

(Prism Media), Andy Saul (Prism Media), Rod 






























Industry experts provide an insight into their best tips and 


Exposed! 

DAW Myths… 

daw 2011 

daw 2011 

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Merging Technologies SA 

Le Verney 4 

CH-1070 Puidoux 

Switzerland 

t +41 (0) 21 946 0444 

f +41 (0) 21 946 0445 

w www.merging.com 

eMerging Ltd. 

Distributed in the UK: eMerging ltd. 

t +44 (0) 208 941 6547 

w www.merginguk.com 

Final Check 

F 

inal Check is Merging’s audio metering 

tool that provides every type of 

meter imaginable including loudness 

measurement and inter-sample True Peak. 

It has the readability found in dedicated 

hardware meters, plus the customisation 

norma ly expected in a software plug-in. Final 

Check has a l 

the EBU R-128 

tolerance 

complian tools 

you’ l need to 

measure dialogue 

and overa l 

loudness (LUFS), 

dynamic loudness 

range (LRA), 

True Peak, as we l 

as international 

PPM and VU 

standards, 

phase, su round imaging, loudness integration 

timing statistics, report printouts, and much 

more. Time sensitive measurements are low-level 

gated, giving only pertinent results at a l times. 

Final Check meters any two busses in Pyramix 

including one 5.1 and one stereo simultaneously. 

MassCore®: The Definitive DSP Ki ler 

MassCore is a breakthrough advancement 

that dedicates the power of today’s multi-core 

CPUs to massive high speed audio processing, 

making DSP chips a thing of the past. More than 

just native audio through a non-realtime OS, 

MassCore reserves entire CPU cores for Pyramix, 

multiplying the processing power of a single 

MassCore over conventional DSP hardware by a 

factor of at leas ten. The equivalent of ten fu ly 

loaded DSP boards in a single CPU Core gives 

Pyramix unriva led power with a 256-bus mix 

engine, 768 live I/O channels with fu ly active 

five-band EQ, and dynamics on a l channels with 

plenty of headroom to spare! 

Ultra High-End Music Production 

Pyramix has long been the reference in the 

elitists’ circles of classical and historical music 

performances. Merging actively participated in 

the creation of the SACD, bringing the pristine 

quality of the DSD and proprietary DXD audio 

signals into a workable multi-track recording, 

mixing, and mastering environment. Merging has 

not only se the world standard in high fidelity 

music production for over a decade, but it has 

pushed the envelope of the role of a DAW to 

succeed its analogue counterparts. 

Audio Post-Production 

Pyramix is a tried and true contender in the field 

of post-production where conditions to meet 

schedules are the toughest and time is crucial. 

To save our clients’ precious energy, Pyramix has 

always had open-ended compatibility in mind to 

help Pyramix blend seamlessly into any workflow 

whether it comes to project interchange, audio 

file compatibility, unrestricted network access, 

mainstream contro ler surface protocols, 

elegant nine-pin control, GPIO interfacing, 

audio streaming, extensive sound libraries, 

and a powerful media re-conforming tool. 

Pyramix’s pro-class dynamic automation 

includes control of a l audio functions and 

plug-ins. There is even the Automatic Dialog 

Recording feature that controls every aspect of 

an ADR session including video and cues. 

Ravenna Audio Over IP Ignited 

Ravenna audio over IP is here and rapidly 

growing as major industry contenders are 

jumping onto the bandwagon, and Merging is 

proud to be one of the key founders of this open, 

non-proprietary standard that wi l bring high 

track count digital audio to low-cost Ethernet 

cabling. Once again, Merging shows how to 

bridge technologies between manufacturers 

so that our clients’ gear interfaces as they so 

choose. Look for our upcoming Ravenna audio 

hardware in 2011 that will change the way you 

plug in for good. 

Real-Life Virtual Studio 

Pyramix’s Virtual Studio mixing console has 

all that you would expec to find in a pro- 

class mixing desk including a fu l monitoring 

section with buss switching, multiple speaker 

sets, master SPL calibrated trim and mute, 

programmable talkbacks, dedicated metering 

outputs, multiple mixing stems from mono to 7.1 

su round as we l as full proprietary VS3, and third 

party VST plug-in automation. 

Broadcast audio is going loudness compliant, and Pyramix 7 is the first DAW with a fully conformed 

EBU R-128 loudness measurement tool, ‘Final Check’, built right in alongside the features that make 

Pyramix the most comprehensive DAW available. 

Pyramix In The Loudness Zone 

Merging as a Company 

For over 20 years Merging’s Pyramix DAW 

has undergone continuous refinemen to 

its features while remaining dedicated to 

the standing commitment of producing 

the industry’s foremost audio workstation. 

Merging’s software products span out 

from Pyramix to include groundbreaking 

advancements such as the powerful DSP 

ki ler technology known as MassCore® as 

we l a myriad of other unique inspirations 

forged in code and designed to mee the 

exacting standards of the worlds most 

demanding audio professionals. 

Merging also produces its own audio 

hardware, ensuring that every link in the 

chain that defines Pyramix is as strong as 

our commitment to quality. 

Control is Almost Everything 

Pyramix’s “state of the art” Virtual Studio 

philosophy is highly versatile for music 

production or audio post-production 

whethe recording, editing, mixing, or 

mastering a the apex of sound quality. 

Pyramix 7 has come of age providing you 

with powerful tools putting you in control 

so you’ l never need to mix anything ‘out 

of the box’. 


Final Check: Integrated 

Loudness, True Peak and 

Loudness Range detail. 

+ + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + + + + D A D + 

W 

hile the musicality of high quality 

audio circuits is difficul to ignore, 

during the first decade audio’s 

permeation of the market place, its low noise 

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and listeners alike. In the ensuing years, the 

“retro” wave has forced pro audio manufacturers 

to focus on the subjective qualities of analogue 

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At DAD, we do not believe tha the 

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gap between the 

If you have a perfect source say, a 

Stradivarius with a magnificent voice, we believe 

that source 

ause your 

converter system DAD AX24 

Unique Results At Any Sampling 


Unique recordings where perfection and emotion becom 

AX24 Converter System 




“The Sonic quality of some DAW’s can now 

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> Systems Integration Expo ® 

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video guide 

A Sound Pro’s Guide To Video 

Colour Grading: Part 14 

KEVIN HILTON gauges how 

long-time manufacturer 

of colour grading systems, 

Quantel, stands in relation 

to some of the newer kids on 

the block. 

GLOSSARY 

DPX 

(Digital Picture Exchange) 

This common file format, based 

on ANSI/SMPTE standard 268M- 

2003, is used in DI and visual 

effects post-production, most 

usually to show the density 

of each colour channel of a 

scanned negative film. This is 

presented as an uncompressed 

logarithmic image, in which the 

gamma of the original camera 

negative is saved through being 

transferred using a film scanner. 

Because of this DPX has become 

the internationally recognised 

format for storing still frames in 

the majority of DI facilities and 

film labs, as it is appropriate 

for most raster digital imaging 

purposes. DPX was based on 

the Kodak Cineon (.cin) open 

file format file extension. 

The concept of digital intermediate (DI) ultimately 

gave post-production facilities the freedom to cross 

the boundaries between different disciplines and 

allows material to be worked on simultaneously by 

colour graders, picture editors, and visual effects artists. 

Another equally important side effect has been to give 

manufacturers already involved in digital broadcast and 

post technologies the opportunity to move outside their 

original core market area and into associated sectors. 

A leading example of this is British manufacturer 

Quantel. Founded in 1973 by Peter Michael, who had 

previously set up data conversion specialist Micro 

Consultants Group (MCG), Quantel (the name is a 

contraction of the term Quantised Television, relating to 

the procedure for turning a TV picture into a digital signal) 

made its name two years later by producing the first alldigital 

framestore synchroniser, the DFS 3000. 

In 1981 Quantel introduced the Paintbox graphics 

system, which had an immense influence on how 

TV programmes looked and were made during 

the ‘80s. During the early 2000s Quantel became a 

leading proponent of DI through the iQ workstation. 

This included comprehensive colour correction tools 

together with editing, conforming, effects, compositing, 

titling, retouching, and conversion for delivery functions. 

The reaction in the business was that Quantel had 

made a significant leap in moving into colour grading, 

something it had not previously been known for. 

The reality was that Quantel had first started looking 

into colour correction with its Harry digital compositor, 

launched in 1986. This included what, for the time, was 

considered to be a good range of colour correction 

tools, including the Fettle control. This is a set of colour 

manipulation features for secondary grading, running in 

the Y, Cr, Cb, and RGB colour space. Since then all Quantel 

finishing systems have had colour correction capability. 

New For The ‘Nineties 

Quantel produced new visual effects and non-linear 

editing systems during the 1990s, anticipating the coming 

of DI with the Dylan RAID disk storage, Clipbox multi-user 

video server, and Open Picturenet networking systems in 

1993, 1994, and 1995 respectively. With the turn of the new 

century Quantel began to embrace the new technology 

of what would become known as digital intermediate, 

beginning in 2000 with the iQ, which has a good claim to 

be recognised as the first commercial 2k DI system. 

The iQ was designed initially as a platform for editing 

and compositing but colour correction tools were added 

later to create a full post-production package. QColor 

became part of iQ – and the SD/HD eQ finishing system – 

in 2003. It is a hardware and software option, with a three 

tracker-ball control panel running a colour correction 

program offering tracker-linked mask correction, grading 

layers in context, multi-resolution time-line working, 

multi-shot correction, visual storyboards, print matching 

LUTs (look-up tables), and background networking. 

QColor also has a secondary corrector, Revolver, 

which gives multiple corrections on a single layer as 

one algorithm, which Quantel says produces markedly 

faster processing, supported by the MME (multiple media 

engine). The iQ was later upgraded to 4k operation, in 

addition to its HD, SD, and 2k capabilities. 

Films graded using QColor include Slumdog Millionaire, 

The Fog of War, and Wallace & Gromit: The Curse of the 

Were Rabbit. 

Influence At Every Level 

The influence of computer and digital technology has 

made multi-function workstations like the iQ possible for 

broadcast and post-production work. The problem can 

be, that even with a specifically designed controller like 

the QColor panel, graders – like their editing and effect 

> 

REFERENCES 

Roger Thornton and Quantel 

Digital Factbook 

www.quantel.com 

Laurence Stoll, Marquise 

Technologies 

www.marquise-tech.com 

Quantel was among the first to embrace 3D stereoscopic post 

production methods with the Pablo, used on every frame of Avatar. 

54 


video guide A Sound Pro’s Guide To Video 

Colour Grading: Part 14 

> 

counterparts – still prefer to have something 

designed for one job alone. 

With this in mind Quantel built on the 

groundwork of iQ/eQ and QColor to produce the 

Pablo. This standalone system appeared in 2005 

but an upgrade path was designed to allow iQ to 

have Pablo functions alongside its other features. 

Pablo has the original iQ/eQ and QColor tools, but 

with extra software and hardware functionality 

operated by an interface with a button for every 

individual function, something Quantel says was 

requested by colourists. 

The design of Pablo acknowledges the shift 

in colour correction from hardware running in 

conjunction with real-time video production 

chains to non-linear systems operated by software 

programs to do the bulk of the grading, although 

still with a physical controller designed for the 

job. Pablo can work in both video and data 

environments, with the option for faster than 

real-time speeds. 

Pablo is able to cope with different colour 

spaces, bit depths, frame rates, and resolutions 

natively within its systems. It can accommodate 

a wide range of formats, from low-resolution 

web files and MXF (Material eXchange Format) 

material up to SD, HD, and higher res graphics. 

Breaking The 3D Boundary 

Quantel was among the first established 

manufacturers to embrace 3D stereoscopic postproduction 

methods. In 2007 a Stereo3D toolset 

was launched for Pablo that was used by the 

FotoKem film and DI facility in Burbank, California 

to post-produce the stereoscopic Miley Cyrus/ 

Hannah Montana Best of Both Worlds live action concert 

film for Disney. The system has since been used on 

every frame of Avatar, directed by James Cameron, 

who has been instrumental in getting 3D into all 

aspects of filmmaking, from shooting to post to 

projection. Avatar was posted at another Burbank 

facility, Modern VideoFilm. 

The Pablo has continued to develop since its 

inception. A new controller, the Neo panel, was 

introduced in 2008 to provide what has been 

claimed to be the ultimate colourist interface. 

The Neo gives graders the choice of working in the 

traditional way, using tracker balls to control each 

colour group, or with the standard Quantel pen 

and stylus set-up or keyboard shortcuts. 

Creation of the Neo panel was sub-contracted 

to industrial design company Rubicon ID, which 

is based not far from Quantel’s headquarters in 

Newbury, Berkshire. It is built from machined 

aluminium, machined plastic, vacuum formings, 

and different kinds of injection mouldings. 

Neo includes three products already designed by 

Rubicon ID, including the Optical and Illuminated 

Push Button controls. Quantel supervised the 

design in a project management capacity. 

The latest incarnation of Pablo is the PA, a 

software-only version of the colour correction 

system. Pablo PA can run on computers with 

a minimum spec of: Quad Core i7 2.0GHZ, 4GB 

dual channel memory, direct X9 graphics, a 

7200rpm SATA or SAS drive, Windows compatible 

sound card, a 1000baseT network, Windows 7 

64-bit Professional, and a keyboard, mouse, and 

17-inch monitor. 

Pablo PA offers features for colour, import, 

news 

German post-production group 

OMNIMAGO has installed a DFT 

SCANITY film scanner at its scanning 

and colour correction facility in 

Wiesbaden. The new machine is 

being used to scan a broad range of 

film stocks, both for production of 

new feature films and archiving and 

restoration work. 

The SCANITY has taken over from 

the Spirit DataCine, FDI Quadra and 

Cintel URSA Diamond that were 

previously used for OMNIMAGO’s 

scanning projects. The scanner 

has been integrated with colour 

correction, digital restoration, and 

editing systems, together with DFT 

BONES Dailies software. The core of 

the installation is a DVS Digital Video 

System SAN. 

export, archiving, and conforming, together 

with 3D capability and support for RED camera 

workflows and DPX (digital picture exchange, see 

glossary). It also has the MLTFX (multiple effects) 

module, which allows pre-visualisation of multieffects 

in context as they appear on the timeline. 

This feature can also perform DVE (digital video 

effects), colour, keying, blur, graphics and text 

functions, with access to plug-ins. Other features 

include still store, storyboard, multiple cascade 

colour layers, Revolver secondary grading, Fettle, 

printer lights, selective keyer, and shape selectives. 

This software-only version was designed both 

so that facilities on smaller budgets could work 

with the Quantel system but also as a support 

system for iQ, eQ, and Pablo itself. 

The New And The Old 

Quantel is among the longer-serving developers of 

colour grading systems, joining da Vinci (now part 

of Blackmagic Design) and Pandora International, 

as well as telecine veteran Cintel. The newest on 

the block is Marquise Technologies, although this 

Swiss company does have more of a lineage than 

its mere two years on the market might suggest. 

Marquise was founded by current Chief 

Executive Laurence Stoll with Dan Tatut, founder 

of Chrome Imaging and developer of the 

Matrix compositing and colour grading system. 

Based in Geneva, Chrome Imaging had been 

working in the market for ten years, supplying 

leading European post houses, including Swiss 

facility Freestudios. 

Matrix’s primary colour correction features 

include film-style density controls, including 

printer lights; telecine-style controls for lift, 

gamma and gain; colour balance with tonal 

range distribution curves; and colour re-mapping 

using RGB and HSL curves. Among the secondary 

functions are 12 independent secondaries per shot; 

trackable hierarchical shapes (free-form, elliptical, 

and rectangular); combinable shapes and keyers 

for secondary and spot corrections; and RGB, 

CMY, HLS, and HMS colour range selection with 

Commenting on the installation, 

Olaf Legenbauer, head of the 

film department at OMNIMAGO, 

said, “The fast scanning speeds 

of SCANITY, in combination with 

grain reduction and a defect-map 

generated by an infrared camera, 

were all very convincing arguments 

for us. The automatic features for 

focus and D-Min-operations allow 

us to calibrate optimal images even 

faster. Our colourists also appreciate 

how easy SCANITY is to understand 

and operate.” 

Peter Fries, Managing Director 

of OMNIMAGO, added, “A new 

technological era starts at 

OMNIMAGO with the SCANITY film 

scanner. Our investment not only 

transforms our internal production 

and post production processes, it will 

help us solidify new clients in existing 

and new markets with technology 

and service offerings that encompass 

higher standards of quality and 

flexibility.” 

Among OMNIMAGO’s archiving, 

restoration, and preservation 

work is a collaboration with the 

Friedrich-Wilhelm-Mamau-Stiftung 

Foundation, which involves restoring 

two silent fantasy films made in 1922, 

known as Die Nibelungen, which are 

important for their use of visual 

effects and lighting. 

softness values. Other features include support for 

linear and logarithmic colour spaces; capability 

to handle 8/10/16/32-bit colour depths; real-time 

4k interactivity, with real-time playback up to 

2k; colour correction set-up memory; animated 

pan and scan; and tools for comparing different 

versions. 

Due to this background the newly founded 

Marquise Technologies was able to get products 

on the market quickly. First to be launched 

was M I S T (Media Ingest Stream Transcode), a 

software package aimed at conforming and 

management of dailies. It is intended to be 

a back-up workstation for the main creative 

grading workstation. 

Next to appear was R A I N (Radically Advanced 

Imaging N-gine), a colour correction system 

designed for grading sessions during which the 

client would be present. Based on the concept 

of constant real-time operation, the system was 

designed to deliver the necessary speed and power 

in addition to advanced technical features. 

As part of this R A I N does not rely on rendering; 

instead it is able to accept material in real-time and 

display it immediately. It is designed for grading 

commercials and music promos as well as feature 

films and is able to handle multiple secondary 

layers at high resolution. 

Secondary grading tools include logarithmic 

and linear corrections, a grade library, multiresolution, 

bit-depth and frame rate capability, and 

multiple format handling (DPX, TIFF, R3D, ARRIRAW, 

and Apple ProRes). Among other features are realtime 

image transport using 3G SDI, digital camera 

production chains (ARRI, RED), and 3D stereoscopy 

at 4:4:4. 

Next month’s Video Guide will look at Marquise 

Technologies’ O C E A N telecine controller, 

designed for the Sondor Alta TK machine 

and now available for Cintel and DFT models. 

This examination of colour correctors will 

also include desktop systems, including Apple 

Final Cut Pro Color, and how da Vinci and 

Pandora responded. ∫ 


Est. 2000 

win! 

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AUDIO MEDIA APRIL 2011 57 

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EuCon: Connect and Control 

EuCon, Euphonix’s proprietary high-speed 

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we l as applications such as Pro Tools that 

support HUI. EuCon for the Artist Series 

works on Mac OSX; EuCon for the Pro 

Series works with Mac OSX and Windows. 

EuCon can manage multiple networked 

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Music and Audio Post-Production 

Euphonix provides audio production solutions 

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A l Euphonix control surfaces are 

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Euphonix improves the quality of any project, 

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System 5 

The fl agship digital audio mixing system 

Euphonix System 5 features high quality 

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Its modular design can be tailored to any 

application, from commercial and project 

music a l the way through large systems 

for live venue music recording and mixing. 

The complete mixing solution includes 

control surface, I/O, DSP SuperCore, router, 

monitoring, fu l automation, and machine 

control. With the EuCon Hybrid option, 

to control its own DSP channels 

as channels from multiple external DAWs 

simultaneously. S5 Fusion boasts pristine 

sound quality, powerful automation features, 

and extensive surround sound mixing 

capability that easily satisfy the rigorous 

demands of music production. 

MC Pro 

Thanks to EuCon, the MC Pro is truly the 

fi rst universal workstation controller; its 

surface instantly changes to match the 

cu rent active application. It has faders, 

knobs, jog wheel, fu l-sized keyboard, 

touch-screen, and a professional monitoring 

section. It works equa ly we l with audio and 

video applications. The 56 programmable 

LCD SmartSwitches send out keyboard 

commands and can be tailored to your way 

of working – no more ‘keyboard shortcuts’ 

that are impossible to remember. 

System 5-MC 

Take an MC Pro and add the powerful 

les to make a 

Euphonix consoles and control surfaces provide 

unriva led integration with the industry’s leading audio 

and video applications. 

Euphonix: 

Reach a New Level of 

Creativity 

+ + + classic consoles+ + + + classic consoles+ + + + classic consoles+ + + + classic consoles+ + + + classic con- 

It’s a Classic 

T 

he artistic Audio is one of the few areas 

of technology where older designs 

are not only revered by discerning 

people, but actively sought out and traded for 

high prices on the second-hand market. 

No one is going to lust over a 1970’s TV 

camera and, while classic cars are admired, 

not many of us would wan to drive an Austin 

Riley on their daily commute. Technology 

moves on and improves – or does it? 

The first problem you come across when 

trying to pu together an article on classic 

consoles is how to define exactly what a 

classic is. I could have spent many hours on 

research and pondered over what should 

or should not be considered a classic, 

but instead I chose to sidestep the issue 

completely and ask someone else. 

Mark Thompson runs Funky Junk in 

London (www.proaudioeurope.com), 

supplier of classic and not so classic hi-end 

gear to the famous and upcoming alike. 

O fering consultancy, a repair and restoration 

workshop, a retail shop, and sophisticated 

demonstration facilities with an acoustica ly 

accurate control room, Funky Junk has 

become Europe’s premier focus for those 

interested in classic consoles – so he should 

be in a decent position to define exactly 

what a ‘classic console’ is. 

“Genera ly, if you were to describe 

a console as ‘classic’ it would be built 

before 1980 using discrete components 

(i.e. no integrated circuits) and it would 

be made in a kind of sub-modular way,” 

says Thompson. “The classic EMI, Helios, 

and Neve consoles of the 60s and 70s 

were made so tha the EQ was a separate 

module and the routing was a separate 

module and so on – and the same applies 

to the classic German ones such as the 

Neumann and Telefunkens. In other words, 

the individual modules including the 

mic preamps and the line amps were a l 

‘casse tes’ that plugged into a mainframe. 

Of course, it is a slightly semantic problem 

as certain SSLs, for example, are often 

described as ‘classic’ – but if you take the 

example of cars, an old Ro ls or Ferrari 

might be described as a classic, but the 

same epithet might also be applied to a 

more modern car – bu the word then has a 

different connotation. It might be a classic 

of design or a modern classic – bu that’s 

very different from a true classic car!” 

American humorist Carol burnet 

described comedy as ‘Tragedy plus time’ 

so might ‘classic’ just actua ly mean 

‘certain design criteria plus time?’ 

Not according to Thompson. “The state 

of the analog(ue) audio art was probably 

reached in the 1970s and you have to bear 

in mind tha this was on the end of a 60 

to 70 year development period – so it’s 

not surprising tha the state of the digital 

art has not yet been reached! I’m of the 

opinion that all the developments since 

the 1980s have been solely with the aim of 

reducing manufacturing costs and genera ly 

improving the ease of manufacture, rather 

than improving audio quality – with 

one or two minor exceptions. 

These are usually to do with 

automated processes – and I don’t 

just mean console automation.” 

Rupert Neve 

In about 1965, a serious young man turned 

up at Penny & Giles, which was then a 

military equipment manufacturing company, 

with a box full of bits and said ‘Can you 

make me one of these?’ They were the 

parts for a plastic conductive fader and 

the young man was Rupert Neve (www. 

rupertneve.com). These components are 

now part of a multi million-dollar business 

and no serious console would sport 

anything else. Similarly, many of Neve’s 

audio designs have never been superseded 

to this day, and Rupert Neve’s own 

company is sti l making modules brimming 

with circuits which first saw the light of day 

in the 1960s – and which are still regarded 

as offering the ultimate sound quality. Of the 

classic Neves, the 8078 is considered by 

most to sit a the zenith of Neve’s mastery 

of the audio signal path and arguably at the 

zenith of desk design. Used on countless 

records in the 1970s, it’s a hand wired 

40-channel design that would be tota ly 

uneconomic to manufacture today. 

Only a handful remain in lucky studios 

such as Konk in London’s To tenham Lane 

and the Vi lage Recorder in Los Angeles. 

The console’s 31105 four-band combination 

pre-amplifiers/EQ are much sought after 

and often found racked separately – it’s a 

trend noted by Thompson. “I’ve recently 

been hunting out a vintage API for a ‘name’ 

band and have recently supplied classics 

to a number of other people. While the 

consoles in the ‘70s were rather large, 

these days, people with Pro Tools are 

happy with the limitations of routing and 

other facilities common on classics but 

want desks with smaller footprints. We’re 

now cu ting down classic Neves and even 

‘modern classics’ like SSLs to smaller 

channel counts.” Neve’s 8048 console was 

the last of the 80 series ‘hand wired’ desks 

and features the Neve 1081 EQ module – 

again much extracted, racked, and copied 

these days (www.ams-neve.com). 

Stephen Benne t asks what 

makes a classic console 

‘classic’, and to wha they owe 

their lasting appeal. 

+ + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROT 

Technology Snapshot: 

Digital Network & Transmission Protocols 

P 

rotocols – don’t you love ‘em? 

Just as you’ve got used to one, 

along comes another younger, 

be ter, faster, and sexier standard to knock 

the socket on the back of your desk into 

touch. With the increased popularity of 

digital consoles in the live and broadcast 

worlds, faster and more capable interfacing 

has proliferated. However, it’s common for 

many manufacturers to have different ideas 

of what constitutes the perfect connection 

for their digital audio gear. 

Protocol Genealogy 

The great granddaddy of connection 

protocols was, of course, MIDI (Musical 

Instrument Digital Interface). It’s hard to 

imagine in these days of digital cooperation 

what a revelation the ability to connect and 

control the equipment from many di ferent 

manufacturers was. It’s proved amazingly 

resilient to the developments in audio 

technology, and is sti l used to control 

DAWs and other software and hardware 

directly from control surfaces. Of course, 

MIDI is an 8-bit data-only protocol, so 

when you wan to distribute digital audio 

along with your data, things need to be 

speeded up a bit. S/PDIF (Sony/Philips 

Digital Interconnect Format) and the AES/ 

EBU (Audio Engineering Society/European 

Broadcasting Union) protocols were 

created to distribute stereo audio data at 

varying sample and bit rates, while Alesis’s 

ADAT connection allows for the transfer of 

eigh tracks at 48kHz down a single fi bre 

optic cable. 

A l are we l 

established 

– bu today’s 

multi-channel, high data rate world requires 

new improved protocols to ge the audio 

from A to B via C, and possibly D. 

The advantages of using digital 

transmission for multi-channel audio 

over the long distances used in live and 

broadcast applications are tha the signals 

are immune to radio frequency and mainsborne 

interference because the systems 

don’t need to use thick, expensive, audio 

grade multi-core cables – usua ly just a 

simple CAT 5 cable wi l do. Lower cost 

is also a factor, with some companies 

implementing the less expensive solutions 

(or their own propriety protocols) in their 

cheaper consoles and other hardware. 

Most of these technologies are based 

on bog-standard Ethernet hardware and 

audio transmission, and can often work 

together with existing distributed networks. 

However, the need for asynchronous multichannel 

data transfer requires software and 

hardware that needs to be able to cope with 

these transmissions without drop-outs and 

at useable low latencies. 

Physica ly, most of the available systems 

are similar, but di fer in their software 

implementations, with some using standard 

networking protocols, some proprietary, 

and some ‘standard’ transmission 

protocols. They are usua ly available 

directly via consoles, on computer-based 

cards or as stand-alone rack mount 

hardware. Data is sent via standard CAT 5 

Ethernet cables or fi bre optics. On either 

end of the system lurks a mixing console 

and/or stage or distribution boxes, or 

hardware interfaces for 

direct connection of 

line, microphone, and 

digital signals. 

MADI 

MADI (Multichannel 

Audio 

Digital Interface) 

is an obvious 

successor to the 

basic stereo interfaces described above. 

The AES document AES10-2003 describes 

the protocol that has features in common 

with AES/EBU, and is capable of coping 

with up to 64 channels of 24-bit audio at 

sample rates of up to 96kHz over various 

cable types and over long distances. 

Use of optical fi bres makes transmission 

of large numbers of channels a doddle, and 

several companies feature MADI in their 

consoles including Studer, AMS, 

Neve, Fairlight, and Lawo. 

REAC 

Roland’s S-4000 series of digital 

snakes use the REAC (Roland Ethernet 

Audio Communication) protocol (www. 

rolandsystemsgroup.net/en/0111d.htm). 

The REAC specifi cation provides a high 

quality, redundant digital audio transfer 

system that can be easily insta led or 

integrated for any audio snake application. 

REAC is a ‘plug and play’ system that is 

easy to confi gure and requires no complex 

setup via computer operation. Running 

over Ethernet, REAC has extremely low 

latency and is capable of transfe ring up to 

40 channels of 24-bit linear audio at 96kHz 

while generating a latency of only 0.375ms. 

CobraNet 

Ci rus Logic’s CobraNet (www. 

cobranet.info) was the fi rst successful 

implementation of multi-channel audio 

transmission over Ethernet. Sixty four 

channels of uncompressed audio can 

be transmi ted over a single CAT 5 

cable, and Cobranet is particularly useful 

in networked or distributed systems. 

However latency in CobraNet is relatively 

high (1.33 to 5.33ms) which may make 

it unsuitable in live situations. CobraNet 

is a licensed technology and OEM 

implementations are available for use in 

third-party products such as Yamaha’s 

MY-16 compatible digital consoles, 

D&R broadcast digital consoles, and 

SoundCraft’s Vi Series. 

Ge ting sound from one place to another is a lot more complicated than it sounds. Luckily, 

quite a few clever people have done the hard work for us, and there are now a good choice 

of systems and protocols for the digital journey. Stephen Benne t picks ou the gems… 

8 PROTOCOLS 

consoles 2010 

14 CALREC AUDIO THE INTERNATIONAL CONSOLE BUYER’S GUIDE 15 

+ + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AU- 

In 2006 Calrec’s Bluefin High-Density 

Signal Processing changed the way 

broadcasters regarded DSP. A truly 

revolutionary technology, it provided 

vastly superior levels of signal 

processing in a fraction of the space 

of conventional systems. 

Bluefin was the world’s first 

implementation of Field Programmable 

Gate Array (FPGA) technology for total 

DSP processing, providing enough 

processing on one DSP card to power 

an entire mixing console running 

su round-sound productions. 

Bluefin2 is the next generation of 

Calrec’s FPGA technology, and has 

been designed for su round operation 

at both 48kHz and 96kHz from the 

outset. It gives the Apollo console a 

staggering 1020 channel processing 

paths, and the Artemis console up to 

640. It provides up to 16 Main and up 

to 48 Group outputs (from a pool of 128 

resources), up to 96 track busses (64 

on the Artemis), up to 48 Aux busses 

Hydra2 links the Apo lo and Artemis 

consoles to their 8192² routers, 

and on to more complex networks 

if required. O fering up to 512 bidirectional 

channels of I/O per copper 

or fibre connection, Hydra2 o fers true 

‘one-to-many’ routing and a lows the 

require closing the system down to reboot, 

Calrec provides on-line redundant hardware 

for ALL critical systems as standard. 

Takeover is automatic and seamless, and all 

these elements are hot-pluggable for easy 

replacement. DSP, router, router expansion, 

processing, and PSU cards all have spares 

as standard, and are all contained within a 

solitary 8U rack. With this rack, Calrec is also 

helping to reduce weight, space, and power 

consumption for its customers. 

Unusua ly, multiple control surfaces can 

also be connected to the same rack to 

allow multiple operators access to the same 

processing resources. It is also possible 

to have a separate submix created in a 

separate location which feeds audio directly 

into the same buss output as the main mix 

without ever leaving the same system. 

This gives broadcasters increased fl exibility 

withou the need for additional hardware. 

Using these innovative new technologies, 

Calrec consoles provide unparalleled 

processing power and a signifi cantly 

smaller physical footprin than any other 

product in the broadcast audio market. 

This technology’s fl exible architecture means 

tha the control surface can be updated to 

display anything Calrec’s customers require. 

The DSP architecture is similarly designed 

to upscale to handle any possible changes 

in multi-channel audio broadcast standards, 

for example 7.1 surround. 

Today, broadcasters need more and 

more digital audio channels at ever-higher 

resolutions. They need more and more 

processing power to handle the increase, 

and more assignable, more ergonomic 

control surfaces to deal with the increased 

workload that HD broadcasting demands. 

Natura ly, Calrec already has the answer 

to all of these concerns. 

+ + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + 

Forever changing the sound industry, 

plug-ins allow ICON consoles to remain 

untethered to a single equaliser or 

dynamics type. The sheer horsepower 

of Pro Tools|HD® and available plug-in 

selection have opened the door to 

endless creative possibilities. 

3. Extend Life Expectancy 

The Pro Tools session format lives on, 

a lowing mixes to be recalled from as far 

back as the mid 90s. 

4. Core Creative Cu riculum 

Based on its position as the industry 

standard fo recording, editing, and 

interchange, the educational world has made 

Pro Tools an integral part of its core creative 

curriculum. Command|8®, C|24, 

and/or ICON consoles with Pro Tools 

not only excite students about learning 

how to record, edit, and mix, but lead them 

to more fi nancially rewarding real-world 

opportunities after school. 

5. Customise Your Mixing World 

Pro Tools has evolved into an extremely 

powerful mixing solution that has ‘virtually’ 

defi ned the idea of customisation. Appealing 

to the heart and soul of the mixer, the tactile 

ICON surface adds to that by allowing you to 

slide any channel wherever you want it, layout 

any group o faders in any order, and custom 

map any group of knobs and faders to layout 

a plug-in. Maps created on ICON can also be 

exported for transportation and sharing. 

6. Sound Quality 

Even with all its fl exibility and functionality, 

Pro Tools|HD preserves the highest order 

of sonic integrity. Delivering pristine clarity, 

quality, and fi delity, Pro Tools|HD provides 

a 48-bit mixing architecture, high-resolution 

24-bit/192 kHz audio interfaces, and nearly 

300dB of dynamic range that make clipping 

and distorting the internal summing bus 

nearly impossible. 

7. Speed and Control Through Automation 

Pro Tools with ICON gives you the speed 

you need with moving faders, touch-sensitive 

knobs (and encoders), and automation 

of nearly everything. Choosing to tie your 

automation to the audio regions offers you 

the perfect system for dealing with big song 

or movie changes. Incorporating time-tested 

Big (Six Figure) Mixing console features like 

Auto-Join, Join, Capture, Snapshots, Punch 

Capture, Preview, Suspend Preview, Punch 

Preview, and Touch-Latch a lows you to work 

without a mouse or even a Pro Tools screen. 

It’s the perfect mix of traditional technology 

and automation innovation. 

8. Ultimate Recall 

Everything can be recalled in a ma ter of 

seconds, from settings and automation 

moves to alternate takes and multiple 

versions of every mix. And the best part is, 

you can take it all with you wherever you 

want to mix, send it over the Internet to other 

people, and have them return it back to you 

mixed even further. It’s a game-changer 

that buys back a signifi cant portion of your 

creative life by letting computers do what 

they do best – remember huge, detailed 

pieces of data with unpara leled exactness. 

9. Work Lean and Green 

Yesterday’s console is never powered down. 

It just goes on consuming a tremendous 

amount of power, which, even in a passive 

state, requires a copious amount of cooling. 

ICON and Pro Tools, on the other hand, 

are extremely energy effi cient. 

10. Pro Tools + ICON = Integrated Console 

ICON gives you the deciding advantage over 

any other console. With an editor/recorder/ 

composing/video playback tool that is 

completely integrated with touch-sensitive, 

confi gurable, and customisable surface, 

ICON lets you do things other non-integrated 

consoles just won’t let you do. The bottom 

line is, today’s client is more tech-sa vy and 

cost-conscious than ever before, so you need 

the kind of workfl ow that helps customers get 

the most out of their ‘paid studio experience’. 

Avid Digidesign ICON integrated console system 

and VENUE live sound environment provide the 

most creative, fl exible, and comprehensive set 

of tools for the music, post, broadcast, and live 

sound industries. 

Consoles For Studio 

& Live Sound 

14 AVID 

24 LAWO 

+ + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LA 

Power, Flexibility, Intuitive Operation, 

and Modern Design – The mc2 Series 

With more than 8000 by 8000 crosspoints 

and even more in networked systems, 

the mc² series is prepared to handle all 

requirements for OB vans and studios. 

Transfe ring snapshots from an mc²66 to 

a mc²56, loading a snapshot from a console 

imported providing a completely di ferent 

DSP capacity or fader count, underlines the 

principle of the mc² software architecture. 

We understand that fl exibility is one of the 

major contributors to cost savings, due 

to easy and fast adaptation, whatever 

the production. 

The Lawo-developed ‘Dual Star 

Technology’ has found its way into mixing 

console design. With this technology, Lawo 

has established a further milestone in 

reliability and redundancy for mixing consoles 

and HD cores. The mc² series impresses with 

its precise signal processing. Changes to 

the DSP path are possible without any clicks, 

and even delay se tings can be 

made noiselessly during runtime. 

A completely new decentralised control 

operation function – Iso Bay Access – 

gives you maximum control, even during 

two-man operation. 

Inte ligent use of colour and style, and the 

open design of a l the audio modules, gives 

the user a fantastic overview, even in critical 

live situations. The ‘assign-at-destination’ 

concept inspires with its particularly short 

learning curve, and mc² operation is 

virtua ly self-explanatory. With modern LED 

technology to colour code fader modules and 

channel strips, even with the maximum 200 

faders, you’ l never lose control. 

For modern productions that require 5.1, 

the mc² console is the ideal answer. 

Up to eight channels (7.1) can be contro led 

with one fader, which couples all channel 

parameters and eight-segment metering. 

Thanks to Lawo’s hyper-panning, a su round 

group can be rotated through 360°, and the 

Reveal function opens up a su round or VCA 

group over dedicated faders, enabling direct 

access to a l the individual channel parameter 

se tings. Further key points are: Dynamic 

Automation with TC-Cut, Audio-Fo low-Video, 

GPC with Camera Mic. 

Thanks to comprehensive plug-in 

integration with the Lawo Plug-in Server, it is 

now possible to use the live mixing facilities 

of the mc² series, while easily accessing the 

widest range of outboard FX. This innovation 

opens up completely new possibilities in 

audio production, o fering undreamed-of 

fl exibility for live and studio sessions. 

mc²90 – 

Optimum Control and Maximum Flexibility 

The mc²90 o fers a modular central control 

section to position the most signifi cant 

modules there where you need them. 

In addition, external control devices can 

be integrated smoothly. No compromises 

regarding fl exibility. 

mc²66 – Inspired by your Needs 

Due to its lightweight construction, low 

power consumption, and compact 

dimensions, the mc²66 is idea ly suited 

for OB vans, studios, broadcast, and live/ 

theatre applications. Sizes from 24 to 104 

faders are available. With remote fader 

bays, the desk can easily be split into two 

parts for effi cient use and transportation. 

Lawo specialises in the manufacture of 

digital mixing consoles and routing systems 

fo radio and TV broadcasters, and for 

the live domain. High quality standards 

and innovative technology are supported 

by 40 years of experience in the fi eld of 

professional audio technology. 

Lawo 

– Networking Audio Systems 

Lawo develops and builds digital audio 

mixing consoles fo radio, broadcast, 

production, and live applications, 

together with the necessary software. 

Lawo also builds matrix systems and 

audio networks, carries out project 

engineering, and acts as main contractor 

fo radio OB vans. 

Throughout its history, the company 

has always kept learning and looking 

ahead, making it a pioneer in digitising 

radio and TV. After the first analogue 

consoles, Lawo developed the hybrid 

PTR, analogue signal processing with 

digital control. Milestones of the ‘90s 

were the development of the fu ly 

digital mc series, the takeover and relaunch 

of the diamond console, and 

the presentation of the mc² series. The 

latest developed products are the mc² 

consoles of the third generation, idea ly 

suited for broadcast and production 

studios, OB vans, and the theatre/live 

domain. Over the years, Lawo has also 

developed a range of routing systems for 

applications of almost any size as we l as 

solutions for networked systems. 



Unusually, multiple control surfaces can 









THE INTERNATIONAL CONSOLE BUYER’S GUIDE 





Natura ly, Calrec already has the answer 

to a l of these concerns. 



Preview, and Touch-Latch allows you to work 

14 AVID 

24 LAWO 

oadcast, and live/ 


faders are available. With remote fader 

bays, the desk can easily be split into two 

parts for effi cient use and transportation. 

t any size as we l as 

solutions for networked systems. 

, even in critical 

live situations. The ‘assign-at-destination’ 

concept inspires with its particularly short 

learning curve, and mc² operation is 

virtua ly self-explanatory. With modern LED 

technology to colour code fader modules and 

channel strips, even with the maximum 200 

faders, you’ l never lose control. 

For modern productions that require 5.1, 


GPC with Camera Mic. 

Thanks to comprehensive plug-in 

integration with the Lawo Plug-in Server, it is 

now possible to use the live mixing facilities 

of the mc² series, while easily accessing the 

widest range of outboard FX. This innovation 

opens up completely new possibilities in 

audio production, o fering undreamed-of 

fl exibility for live and studio sessions. 

mc²90 – 

Optimum Control and Maximum Flexibility 

The mc²90 o fers a modular central control 

section to position the most signifi cant 

modules there where you need them. 

In addition, external control devices can 

be integrated smoothly. No compromises 

regarding fl exibility. 

mc²66 – Inspired by your Needs 

Due to its lightweight construction, low 

power consumption, and compact 

dimensions, the mc²66 is ideally suited 

for OB vans, studios, broadcast, and live/ 


faders are available. With 



Unusually, multiple control surfaces can 









display anything Calrec s customers require. 


to upscale to handle any possible changes 

in multi-channel audio broadcast standards, 

for example 7.1 surround. 

Today, broadcasters need more and 

more digital audio channels at ever-higher 

resolutions. They need more and more 

processing power to handle the increase, 

and more assignable, more ergonomic 



a lowing mixes to be reca led from as far 


4. Core Creative Cu riculum 

Based on its position as the industry 

standard fo recording, editing, and 

interchange, the educational world has made 

Pro Tools an integral part of its core creative 

cu riculum. Command|8®, C|24, 

and/or ICON consoles with Pro Tools 


7. Speed and Control Through Au 




of nearly everything. Choosing to tie your 

automation to the audio regions o fers you 

the perfect system for dealing with big song 

or movie changes. Incorporating time-tested 

Big (Six Figure) Mixing console features like 

Auto-Join, Join, Capture, Snapshots, Punch 


Preview, and Touch-Latch allows you to work 

14 





x systems and 


engineering, and acts as main contractor 

fo radio OB vans. 

Throughout its history, the company 

has always kept learning and looking 

ahead, making it a pioneer in digitising 



radio and TV. After the fi 

consoles, Lawo developed the hybrid 

PTR, analogue signal processing with 

digital control. Milestones of the ‘90s 

were the development of the fu ly 

digital mc series, the takeover and relaunch 

of the diamond console, and 

the presentation of the mc² series. The 

latest developed products are the mc² 

consoles of the third generation, idea ly 

suited for broadcast and production 

studios, OB vans, and the theatre/live 

domain. Over the years, Lawo has also 

developed a range of routing systems for 

applications of almost any size as we l as 

solutions for networke 

Delivered to over 140,000 

professionals in print and 

digital format. 

The Buyers Guide is 

the place to be seen. 

+ + + + EUPHONIX+ + + + EUPHONIX+ 

Euphonix: 

Euphonix consoles and control surfaces 

unriva led integration with the indust 

and video applications. 

Euphonix: 


AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + 












processing, and PSU cards a l have spares 

as standard, and are a l contained within a 






Tof technology w 

not many of us wo 

Riley on their d 

moves on and 

The first problem you come a 

trying to pu to 


consoles 2010 



In 2006 Calrec’s Bluefin High-Density 

Signal Processing changed the way 

broadcasters regarded DSP. A truly 

revolutionary technology, it provided 

vastly superior levels of signal 

processing in a fraction of the space 

of conventional systems. 

Bluefin was the world’s first 

implementation of Field Programmable 

Gate A ray (FPGA) technology for total 

DSP processing, providing enough 

processing on one DSP card to power 

an entire mixing console running 

su round-sound productions. 

Bluefin2 is the next generation of 







processing, and PSU cards a l have spares 

as standard, and are a l contained within a 




processing power and a signifi cantly 

smaller physical footprint than any other 

product in the broadcast audio market. 

This technology’s fl exible architecture means 

tha the control surface can be updated to 

display anything Calrec’s customers require. 


consoles 2010 

plug-ins allow ICON consoles to remain 

untethered to a single equaliser or 

dynamics type. The sheer horsepower 

of Pro Tools|HD® and available plug-in 

selection have opened the door to 

endless creative possibilities. 

3. Extend Life Expectancy 

The Pro Tools session format lives on, 

a lowing mixes to be reca led from as far 






















, whatever 

Technology’ has found its way into mixing 

console design. With this technology, Lawo 

has established a further milestone in 

reliability and redundancy for mixing consoles 

Lawo develops and builds digital audio 

mixing consoles fo radio, broadcast, 

production, and live applications, 

together with the necessary software. 

Lawo also builds matrix systems and 




Tare not only reve 

people, but acti 

high prices on 

No one is goi 

camera and, wh 

not many of us wo 

trying to pu to 

consoles is how t 

classic is. I could have spent m 

uld have spent m 

research and pondered over 

or should not be considered a 

but instead I chose to sidestep t 

consoles 2010 

consoles 2010 

consoles 2010 




AUDIOMEDIA 


T H E W O R L D ’ S L E A D I N G P R O F E S S I O N A L A U D I O T E C H N O L O G Y M A G A Z I N E 

LIVE SOUND 

TECHNOLOGY 

2010 

+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + 

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shot from a console 

made noiselessly durin 


operation function – Iso Bay Access – 

gives you maximum control, even during 

two-man operation. 

Intelligent use of colour and style, and the 

open design of all the audio modules, gives 

the user a fantastic overview, even in critical 

live situations. The ‘assign 

1) can be controlled 

ouples a l channel 

ment metering. 

-panning, a su round 

rough 360°, and the 

Reveal function opens up a surround or VCA 


access to a l the individual channel parameter 

settings. Further key points are: Dynamic 


GPC with Camera Mic 

to handle all 

s and studios. 

an mc²66 to 

shot from a console 

letely di ferent 

count, underlines the 

are architecture. 

is one of the 

cost savings, due 

, whatever 



ON FROM THE NEWBAY MEDIA GROUP 

LIVE SOUND • MULTIMEDIA • POST PRODUCTION • 

LIVE SOUND 

TECHNOLOGY 

2010 

2010 

1) can be controlled 

ouples a l channel 

ment metering. 

-panning, a su round 

rough 360°, and the 

up a surround or VCA 

Ge ting sound from one place to 

ature MADI in their 

Use of optical fi bres m 

of large numbers of chann 


new improved protocols to 

from A to B via C, and possib 

vantages of using digital 

lti-channel audio 

in live and 

cable types and over 

of systems and protocols for the 


quite a few clever people 




made noiselessly durin 


Reveal function opens 

to handle all made noiselessly durin 


Reveal function opens 

to handle all 




AUDIOMEDIA 


T H E W O R L D ’ S L E A D I N G P R O F E S S I O N A L A U D I O T E C H N O L O G Y M A G A Z I N E 



• 


LIVE SOUND 

TECHNOLOGY 

2010 

2010 

2010 






• RECORDING 


consoles including Studer, AM 


of digital 

snakes use the REAC (Rola 

Audio Communication) prot 

rolandsystemsgroup.net 



several companies feature MADI in their 



REAC 

Roland’s S-4000 series of digital 




rotocols – don’t you love ‘em? 

got used to one, 

along comes another younger, 

be ter, faster, and sexier standard to knock 



the socket on the back of 

touch. With the increased popularity of 

digital consoles in the live and broadcast 


common for 

i ferent ideas 

new improved protocols to 

from A to B via C, and possib 

The advantages of using digital 

transmission for multi-channel audio 

over the long distances used in live and 

broadcast applications are tha the signals 

are immune to radio frequency and mainsborne 

interference because the systems 

don’t need to use thick, expensive, audio 

grade multi-core cables – usua ly just a 

simple CAT 5 cable wi l do. Lower cost 

is also a factor, with some companies 

ensive solutions 

rotocols) in their 

cable types and over 



several companies fe 



P 

rotocols – don’t you love 

Just as you’ve got used to one, 

along comes another 

be ter, faster, and sexier stan 


touch. With the increased 

digital consoles in the live and 




TECHNOLOGY 

2010 

2010 

2010 

2010 



LIVE SOUND 

TECHNOLOGY 



LIVE SOUND 

LIVE SOUND 

TECHNOLOGY 

TECHNOLOGY 

2010 

TECHNOLOGY 

2010 

2010 

LIVE SOUND 

LIVE SOUND 

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and HD cores. The mc² 

its precise signal processing. Changes to 

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Up to eight channels (7.1) can be controlled 

with one fader, which couples a l channel 

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Thanks to Lawo’s hyper 

group can be rotated through 360°, and the 

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ive Operation, 

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fo radio and TV broadcasters, and for 

uality standards 

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Lawo specialises in the man 

digital mixing consoles a 

fo radio and TV broadcaste 

the live domain. High quality standards 


Lawo 




company is still making modules brimming 


in the 1960s – and which are sti l regarded 


as o fering the ultimate sound quality. Of the 




company is still making modules brimming 





TECHNOLOGY 

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LAWO 

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Lawo 



and no serious console would sport 





and no serious console would spor 


TECHNOLOGY 

in live situations. 

ed technology an 

implementatio 

third-party produc 

MY-16 compatib 

dcast digital con 

’s Vi Series. 


MADI (Multihigh 

(1.33 to 5.3 

it unsuitable in live situations. 

ed technology an 

implementatio 


MADI 

MADI (Multi- 




is an obvious 

successor to the 

implementatio 


MY-16 compatib 

D&R broadcast digital con 

SoundCraft’s Vi Series. 




is an obvious 

orked or distribute 

atency in CobraN 

high (1.33 to 5.3 


atency in CobraN 

high (1.33 to 5.3 


optic cable. 


as o fering the ultimate sound quality. Of the 

varying sample and bit r 

ADAT connection a lows for the transfer of 


optic cable. 

created to distribute stereo au 


ADAT connection a 

eigh tracks at 48kHz down a 

optic cable. 


AUDIO MEDIA 

PRODUCED BY 

and HD cores. The mc² 


by 40 years of experience in the fi eld of 

professional audio technology. 


by 40 years of experience 

professional audio techno 


the live domain. High q 


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The REAC specifi cation pro 

tal audio transfer 

system that can be easily 





quality, redundant digital audio transfer 




has proliferated. However, it’s common for 

many manufacturers to have di ferent ideas 

rfect connection 

don’t need to use thi 

grade multi-core cables – 

simple CAT 5 cable wi l do 

is also a factor, with some co 

implementing the less expensive solutions 

(or their own propriety protocols) in their 


e based 


touch. With the increased 


worlds, faster and more cap 

has proliferated. However, it’s 

many manufacturers to have d 

of what constitutes the pe 

for their digital audio gea 


The great granddaddy of co 

protocols was, of cou 

Instrument Digital Interface). I 

imagine in these days o 

what a revelation the abili 



LIVE SOUND 

LIVE SOUND 


control the equipment from 

manufacturers was. It’s p 

resilien to the develop 

technology, and is sti l u 

DAWs and other softw 

LIVE SOUND 

LIVE SOUND 


integrated for any audio snake 

play’ system that is 

easy to confi gure and req 

setup via computer operation 

over Ethernet, REAC h 

latency and is capable of tr 

40 channels of 24-bit l 

while generating a latenc 

s CobraNet (ww 

was the fi rst suc 

of multi-chan 

on over Etherne 

compressed aud 

be transmi ted over 

t hardware and 

often work 

ributed networks. 

r asynchronous multiquires 

software and 

able to cope with 

ithout drop-outs and 

vailable systems 

in their software 

ome using standard 

e proprietary, 

mission 

protocols. They are usually available 

n computer-based 

rack mount 

a standard CAT 5 


quality, redundant digi 


integrated for any audio snake 

REAC is a ‘plug and play’ system that is 

easy to confi gure and req 

setup via computer operation 

over Ethernet, REAC h 

latency and is capable of tr 

40 channels of 24-bit l 

while generating a latenc 

CobraNet 

Ci rus Logic’s CobraNet (ww 

cobranet.info) was the fi rst suc 

implementation of multi-chan 

transmission over Etherne 

channels of uncompressed aud 



of what constitutes the perfect connection 

for their digital audio gear. 


The great granddaddy of connection 

protocols was, of course, MIDI (Musical 

Instrument Digital Interface). It’s hard to 

imagine in these days of digital cooperation 

what a revelation the ability to connect and 

control the equipment from many different 


ments in audio 

sed to control 

is also a factor, with some co 

implementing the less exp 

(or their own propriety p 


Most of these technologies are based 

on bog-standard Ethernet hardware and 

audio transmission, and can often work 

together with existing distributed networks. 

However, the need for asynchronous multichannel 

data transfe requires software and 

hardware that needs to be able to cope with 

these transmissions without drop-outs and 

at useable low latencies. 

Physically, most of the available systems 

are similar, but di fer in their software 

implementations, with some using standard 

networking protocols, some proprietary, 

and some ‘standard’ transmission 

protocols. They are usually 



of what constitutes the pe 

for their digital audio gea 


The great granddaddy of co 

protocols was, of cou 

Instrument Digital Interface). I 

imagine in these days o 





resilien to the developments in audio 

technology, and is sti l used to control 

DAWs and other software and hardware 

directly from control surfaces. Of course, 

MIDI is an 8-bit data-only protocol, so 



(Sony/Philips 

these transmissions w 

at useable low latencie 

Physically, most of the a 

are similar, but di fer 

implementations, with s 

networking protocols, som 

and some ‘standard’ trans 


manufacturers was. It’s p 

resilien to the develop 

technology, and is sti l u 

DAWs and other softw 

directly from control surf 

MIDI is an 8-bit data-only pr 











hardware interfaces fo 


line, microphone, and 


However l 

high (1.33 to 5.3 

it unsuitable in live situations. 

is a licensed technology an 

implementatio 



Ethernet cables or fi bre opti 

end of the system lurks 

and/or stage or distri be transmi ted over 

Cobranet is particu 



hardware. Data is sent via standard CAT 5 

Ethernet cables or fi bre optics. On either 

end of the system lurks a mixing console 


hardware interfaces for 


transmissi 

channels of un 


cable, and Cobranet is particu 

in networked or distribute 

However latency in CobraN 

high (1.33 to 5.3 





hardware. Data is sent vi 





and/or stage or distri 

Digital Interconnect Format) 

EBU (Audio Engineering 

Broadcasting Union) protocols were 

created to distribute stereo audio data at 

ates, while Alesis’s 

speeded up a bit. S/PDIF 






speeded up a bit. S/PDIF (Sony/Philips 

Digital Interconnect Format) and the AES/ 

EBU (Audio Engineering Society/European 

rotocols were 

dio data at 

ates, while Alesis’s 



directly via consoles, o 

cards or as stand-alone 

hardware. Data is sent vi 



when you wan to distr 

along with your data, things ne 

speeded up a bit. S/PDIF 



Broadcasting Union) p 


varying sample and bit rates, while Alesis’s 

ADAT connection a lows for the transfer of 




Broadcasting Union) p 



LIVE SOUND 

APPLICATION 

2010 – 2011 

01-live-sound-application-2010-cover.indd 1 1/9/10 10:07:09 

call Graham Kirk on +44 (0) 1480 461555 


www.audiomedia.com

lassic 

cut 

No Country for Old Men 

It is in this film where the 

definitions of music and 

sound converge, says 

STEPHEN DEUTSCH, as 

he looks at how both are 

integral to the piece rather 

than a last consideration. 

F 

rom their first feature, Blood Simple, 

to their most recent success, True Grit, Joel and 

Ethan Coen have created a range for films that 

marry wit with polish, and combine surprise with 

familiarity. They have produced, written, and directed 

films in a variety of genres, from screwball comedy 

(O Brother Where are Thou) to gangster film (Miller’s Crossing), 

from remake (The Ladykillers) to film noir (The Man Who 

Wasn’t There). 

The critical success of most of their films is due primarily 

to the skill of their scriptwriting and the deftness 

of their direction. They also have an instinctive knack 

of surrounding themselves with talented and loyal 

collaborators, in particular their Cinematographer, 

Roger Deakins (a British alumnus of the National Film 

and Television School, Beaconsfield), as well as the 

team of Composer (Carter Burwell) and Sound Designer 

(Skip Livesay), who have been with the Coens from the 

beginning. It should here be noted that the third member 

of the post-production team, the Editor, Roderick 

Janes, does not actually exist, the role being taken by the 

Coen Brothers themselves. 

Developing Style 

Burwell and Lievsay have developed a style of working 

that can be called ‘convergent’. In many of their 

films, most notably this one and Barton Fink, music 

and sound seem to come from the same place, from 

inside the weave of what we are seeing. It is sometimes 

difficult to pick out what is music and what is 

sound. Most Hollywood films are produced in such a 

way that sound effects and particularly music are the 

last part of the production process. Often a composer 

will not become involved with the film until final cut. 

Sound Design is consistently done in isolation from the 

score, and somehow all gets assembled in the final dub. 

It is hardly surprising that some directors have either 

used source music (Scorsese, Tarantino) or composed 

their own music (Chaplin and Mike Figgis, who has 

gone on record that the reason he writes his own music 

is that it takes him two years to make a film, and he isn’t 

going to let some ‘idiot composer’ ruin it in six weeks). 

Livesay and Burwell collaborate on each film early in 

development, usually at script stage. They discuss the 

script with the Coens, deciding where music or sound 

(or both) should go. They often distribute their contributions 

according to the texture of a scene. Burwell might 

provide mainly high sounding gestures while Livesay 

provides a low drone. In this way they are able to achieve 

a balanced soundtrack, often complex but rarely cluttered. 

a captive bolt pistol used by the hit-man Chigurh as a 

murder weapon, was produced by a pneumatic nail gun). 

Unlike most thrillers, there is very little music, much of 

it created by non-traditional instruments, particularly 

“singing bowls”, normally used in Buddhist meditation. 

One particular scene demonstrates this subtle convergence 

between sound and music. It begins with a 

long shot of a lonely filling station on an empty dusty 

road. We hear (but do not see) a squeaky windmill, and 

sense a bit of wind (but do not see much movement). 

Inside the shop, Chigurh is about to pay for petrol and a 

candy bar. We know that he has just murdered a police 

officer and an unlucky motorist. We understand just 

how dangerous he is. The garage owner does not, and 

engages Chigurh in banal conversation, to the hit-man’s 

increasing annoyance. The scene is accompanied by 

slightly more wind than we might expect to hear, and 

raised FX, for example the empty candy-bar wrapper 

unscrunching on the counter-top. 

By the time the garage owner is asked, “How much 

have you ever lost on a coin toss?” we know that he is 

in great danger of being killed, even if he himself is 

unaware of his peril. At that moment a chord is mixed 

into the wind, thickening this lonely sound with subtle 

menace. We are so engrossed with a morbid fascination 

by the garage-owner’s imminent grisly death, that we 

ignore these sounds. Luckily, the coin’s toss is correctly 

guessed. The garage owner is safe, the wind and chord 

dissipate into the atmosphere of our relief, and even a 

bit of humour rises with Chigurh’s eyebrow. 

It is through the combination of all the sounds of 

this scene, into a tight mesh of congruent elements, 

that helps to hold the audience so tightly. We become 

captive of the quiet sounds of loneliness, occasionally 

assaulted by sharp sonic explosions, shards of violence 

imposed on a bleak desert world. 

Readers interested in similar articles might wish to 

look at The New Soundtrack, a journal with contributions 

from some of the most eminent writers on sound. 

http://www.euppublishing.com/journal/sound 

Converging In Texas 

No Country for Old Men is faithfully based on a crimethriller 

novel of the same name by Cormac McCarthy. 

Set in West Texas in 1980, it concerns stolen drugs 

money and a ruthless homicidal pursuit for its return. 

It centres on three main characters, Bell, an ageing sheriff 

played by Tommy Lee Jones, Moss, the hapless thief 

played by Josh Brolin, and Chigurh, the psychopathic 

hit-man, played to icy Oscar-winning perfection by Javier 

Bardem. The minimalist soundtrack includes engine 

noises and prairie winds, as well as more emphatic 

sounds such as gunshots (one notable sound, that of 

➤ 

58 


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AUDIOMEDIA 





MONITORING & 

HEADPHONES 

2011 

PRODUCED BY 

AUDIO MEDIA 


INTERNATIONAL EDITION

2 MONITORING & HEADPHONES DIRECTORY 

ACOUSTIC ENERGY 

www.acoustic-energy.co.uk 

ADAM AUDIO 

www.adam-audio.de 

+49 30 863 00970 

AKG 

www.akg.com 

+43 1 866 540 

ALESIS 

www.alesis.com 

+1 401 658 5760 

AMBIANCE ACOUSTICS 

www.calcube.com 

+1 858 485 7514 

ATC 

www.atc.gb.net 

+44 0 1285 760561 

AUDIO-TECHNICA 

www.audio-technica.com 

+44 0 113 277 1441 

AUDIX 

www.audixusa.com 

+1 503 682 6933 

AVID 

www.avid.com 

+1 650 731 6100 

B&W 

www.bowers-wilkins.co.uk 

+44 0 1903 221500 

BAG END LOUDSPEAKERS 

www.bagend.com 

+1 847 382 4550 

BEHRINGER 

www.behringer.com 

+49 2154 9206 0 

BEYERDYNAMIC 

www.beyerdynamic.com 

+49 7131 6170 

BLUE SKY 

www.abluesky.com 

+1 516 249 1399 

CANFORD AUDIO 

www.canford.co.uk 

DENON 

www.denon.co.uk 

+44 (0)2890 279830 

DYNAUDIO ACOUSTICS 

www.dynaudio.com 

+45 87 427 000 

EARTHWORKS 

www.earthworksaudio.com 

+1 603 654 6427 

EDIROL 

www.edirol.com 

+44 0 1792 702701 

EMES 

www.emes.de 

+49 0 8222 965954 

ESI 

www.esi-pro.com 

+49 0 7152 398880 

EVENT ELECTRONICS 

www.event1.com 

+61 2 9648 5855 

EXIGY 

www.exigy.co.uk 

+44 0 1256 381944 

FAR 

www.atd2.com 

+32 85 318 123 

FOCAL 

www.focalprofessional.com 

+33 0 477 435700 

FOSTEX 

www.fostex.com 

+81 42 546 4974 

GENELEC 

www.genelec.com 

+358 17 83881 

GRADO LABS 

www.gradolabs.com 

GRIFFIN AUDIO 

www.griffinaudiousa.com 

+1 914 248 7680 

HARBETH 

www.harbeth.com 

+44 0 1444 484371 

HOT HOUSE 

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+1 845 691 6077 

JBL 

www.jblpro.com 

+1 818 894 8850 

KRK 

www.krksys.com 

+1 954 949 9600 

LEGACY AUDIO 

www.legacy-audio.com 

+1 217 544 3178 

LIPINSKI SOUND 

www.lipinskisound.com 

+1 916 273 9726 

MACKIE 

www.mackie.com 

+1 425 892 6500 

M-AUDIO 

www.m-audio.com 

ME-GEITHAIN 

www.me-geithain.de 

MEYER SOUND 

www.meyersound.com 

+1 510 486 1166 

MISSION 

www.mission.co.uk 

+44 0 845 458 1122 

MITCHELL & TODD 

www.excelaudio.co.uk 

+44 0 208 354 0820 

MK SOUND 

www.mksoundsystem.com 

+1 818 439 3577 

MUNRO ACOUSTICS 

www.munro.co.uk 

+44 0 207 403 3808 

NADY SYSTEMS 

www.nady.com 

+1 510 652 2411 

NEUMANN 

www.neumann.com 

+49 30 41 77 240 

NHTPRO 

www.nhthifi.com 

+1 707 747 0122 

PMC 

www.pmc-speakers.com 

+44 0 1582 405694 

PSI AUDIO 

www.psi-audio.com 

+41 0 24 426 0420 

QUESTED 

www.quested.com 

+44 0 1404 41500 

ROLAND SYSTEMS GROUP 

www.rolandsg.co.uk 

+44 (0) 1792 702701 

SAMSON AUDIO 

www.samsontech.com 

+1 631 784 2200 

SE MUNRO 


+44 (0)845 500 2 500 

SENNHEISER 

www.sennheiser.co.uk 

+49 5130 6000 

SHURE 

www.shure.co.uk 

+1 847 600 2000 

SLS LOUDSPEAKERS 

www.slsloudspeakers.com 

+1 417 883 4549 

SONODYNE 

www.sonodyne.com 

+44 0 1923 693770 

SONY 

www.sony.co.uk 

+1 608 256 3133 

SOUND PROJECTS 

www.soundprojects.com 

+31 0 36 539 4570 

SURROUNDTEC 

www.surroundtec.de 

+49 7131 797 54555 

SUPERLUX 

www.superlux.com 

+1 404 525 0700 

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www.tannoy-speakers.com 

+44 0 1236 420199 

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www.tapcoworld.com 

+1 425 892 6511 

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www.tascam.com 

+1 323 726 0303 

TRUTH AUDIO 

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ULTRASONE 

www.ultrasone.com 

+49 0 8158 90780 

UNITY AUDIO 

www.unityaudio.com 

+44 0 1440 785843 

WESTLAKE AUDIO 

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+1 323 851 1222 

WHARFEDALE PRO 

www.wharfedalepro.com 

+44 0 1480 447707 

YAMAHA 

www.yamaha.com 

+44 0 1908 366700 

Monitors & Headphones 

Manufacturers Directory 

+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + 






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The Microphones 

In the early nineties, Gibbs Pla 

In the early nineties, Gibbs Pla 

In the early nineties, Gibbs Platen and two friends 

ten and two friends 

founded Horch Audio with t 

founded Horch Audio with t 

founded Horch Audio with the ambition to build a 

microphone in the same vein a 

microphone in the same vein a 

microphone in the same vein as the M49, but improved. 

That’s where the Horch RM2 

That’s where the Horch RM2 

That’s where the Horch RM2 came to life. In the 

beginning, the RM2 was bu 

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Clarity and consistency come as standard 

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AIR 

It makes great sense to compar 

It makes great sense to compare the AIR 

sound with any other speaker y 

sound with any other speaker you own or 

suppor this. Contact your dealer or our 

representative in your country to arrange 

a demo. 

Bear in mind though, that an AIR System 

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righ there for you to use from the menu 

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for storing and reca l of factory and user 

presets taking into account THX and Dolby 

recommendations, reference levels, LFE 

sensitivity, and so on. 

The calibrated volume knob of A 

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any AIR setup. The AIR remote is po 

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The optional 

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Dynaudio Acoustics monitors are designed to speak the truth. You get exactly what you need 

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With it you can enjoy the lux 

controlling you 

levels at all times 

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Getting Techno-Physical 

he artistic viewpoint sees the microphone 

almost as a musical instrument – an 

extra member of the orchestra or an 

a companis to a singer. With such a view it 

can be very difficul to judge the microphone 

objectively. Elements o fashion, nostalgia, 

of sympathetic magic can lead 

to a very subjective choice that owes li tle to 

rationality. The techno-physical approach is 

the reverse of this – a who ly reasoned and 

objective view that requires a basic knowledge 

of physics. Within certain restrictions, the 

choice of microphone wi l produce a sound 

able and can be tailored with 

some precision to what is required. 


















majority of users of microphones have very 

little engineering background and are far 

more familiar with the world of art, this 

should not be surprising. They have no other 

guidelines to fo low. 

Art and emotion do, without question, 

have a central position within music but, 

equa ly, the key to the successful recording 

of it is a technical understanding of the 

devices that need to be used. Trying to 

muddle up both approaches in some 

haphazard fashion is no help either. 

That leads to quaint notions, such as that 

tube (valve) microphones give ‘a warm 

sound’ because they become physically 

warm in use – or that large microphones 

yield a bigger ‘sound image’ (whatever that 

means) than smaller designs. This latter 

notion undoubtedly stems from folklore 

that has been fostered by those with 

vested interests in the promotion of largevested 

interests in the promotion of largediaphragm 

microphones. In purely physical 

















distinguishing the better of two options, but 

they alone can reveal what differences there 

are and if, indeed, they actua ly exist. And 

‘properly controlled’ should not be skimmed 

over lightly – for instance, adjusting levels 

needs to be ca ried out with great precision 

since, with signals of equally high quality, 

even an almost imperceptibly higher level 

on one wi l skew judgements in favour of it. 

Such experimental pernicketiness has to 

be refined even to the extent of intentiona ly 

adding a sma l imbalance of levels but on 


have di ferent frequency responses that 














We don’t, after all, have more than one set 




Jörg Wuttke o fers his take on attitudes to microphone selection, testing, and plac 

Should we trus the heart, or the mind? 

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Getting Techno-Physical 

T 

he artistic viewpo 

almost as a mu 

extra member o 

a companis to 

can be very dif 

objectively. Elem 

and a degree 

to a very subject 

rationality. The 

the reverse of th 

objective view t 

of physics. Within 

choice of micro 

that is predictable and can be t 

some precision 















Jörg Wuttke o fers his tak 

Should we trus the hea 

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The Sound Of Emotion: Horch 

aten is very familiar with 

e Mouzon, The United 

Jazz + Rock Ensemble, etc. He also freelanced for TV 

and broadcast productions. 

wide variety of microphones, b 

for vocal recordings was the 

microphone. However, Platen fel tha 

old microphones had lost som 

excellence by this time. Here, 

story begins. 


990s by a sm 

was to create a micr 

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After a l, they only have o 

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During this time, Platen becam 




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excellence by this time. Here, Horch Audio’s 

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During this time, Platen became familiar with a 

e familiar with a 

wide variety of microphones, but his a l time favourite 

ut his a l time favourite 

for vocal recordings was the Neumann M49 tube 

Neumann M49 tube 




a l team of dedicated 

was to create a microphone able to 

are large-diaphragm 






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From the highly innovative R-09HR to the compact and lightweight powerhouse that is the 

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MONITORING & 

HEADPHONES 

2011 

AUDIO MEDIA 

PRODUCED BY 




THE Buyer’s Guides for Professional Audio 

All you need to know for Monitors, Microphones, Recorders, Consoles and Live Sound. 

All available to download as PDF’s from our website

contents 

2 Directory .................................................. 

.................................... 

4 Monitoring Matters . ................................... 

6 Good Vibrations ......................................... 

8 MONITORS ADAM Audio ................................. 

10 MONITORS Focal Professional ........................... 

12 MONITORS Genelec ........................................ 

14 MONITORS KRK Systems ................................. 

16 MONITORS PMC ............................................ 

18 MONITORS SE Munro ..................................... 

20 Headphones Buyers Guide ........................... 

21 HEADPHONES AKG .......................................... 

Welcome to Monitors & Headphones 2011, 

an overview of the professional monitor 

and headphone market for the production 

professional. 

Last year, this was just a guide to monitors. Now it’s an updated 

and refreshed collection of promotional articles looking at 12 

of the world’s leading monitor and headphone manufacturers 

and their product ranges. Inside you’ll find the stories behind 

the drivers – the ethos’ and design ethics that go into producing 

these critical audio production components, and details of the 

products themselves. 

Monitoring provokes much debate, much passion, and 

possibly more subjective wrangling than any other node in the 

signal chain. Whether it’s the box, the magnetics, the materials, 

the electronics, the room, or even the ears that make the 

difference, the term ‘reference’ is never used lightly amongst 

those who rely on hi-fidelity, accurate and natural voicing, spoton 

transients, and a little ‘something’ extra. 

Hopefully this guide will provide a good foundation 

for your monitor and headphone buying homework during 

2011, and push back the boundaries of your considerations. 

To complement the profiles, we’ve included an article that 

takes a cross section of audio professionals and surveys their 

monitoring preferences, a special headphone primer feature 

with expert advice, plus a great foundation article based on the 

wise words of White Mark’s David Bell. 

This, and the other Buyers Guides in the series (Microphones, 

Recorders, DAWs, Consoles, Live Sound Technology, and Live 

Sound Application) are Audio Media projects, designed to 

help you find your way through the information explosion 

and find the product that suits your needs. Audio Media is an 

internationally distributed magazine that deals with professional 

audio production in film, TV, radio, music, games, and stage. 

It’s available in both print and digital editions. For more details, 

go to www.audiomedia.com. 

Paul Mac, Editor. 

22 HEADPHONES Audio-Technica ........................... 

23 HEADPHONES Beyerdynamic ............................ 

24 HEADPHONES KRK .......................................... 

AUDIO MEDIA www.audiomedia.com 

(UK) Tel: +44 (0)1480 461555 - Fax: +44 (0)1480 461550 

Sales Manager 

Graham Kirk 


Editor In Chief 

Paul Mac 

p.mac@audiomedia.com 

Editorial Manager (Europe) 

Lanna Marshall 

l.marshall@audiomedia.com 

Design & Production Manager 

John-Paul Shirreffs 

jp.shirreffs@audiomedia.com 

25 HEADPHONES Sennheiser ................................. 

26 HEADPHONES Shure ........................................ 

www.nbmedia.com 

27 HEADPHONES Ultrasone .................................. 

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether 

mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to 

ensure accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its 

contents or any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. 

The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. 

© 2011 NewBay Media. All rights reserved.

+++MONITORING MATTERS++++MONITORING MATTERS++++MONITORING MATTERS++++ MONITORI 

Monitoring Matters: 

Monitoring Practice Preferences 

Monitoring is a very personal thing – it comes down to working methods both taught and grown from 

experience. But how does everybody else do it? We approached a select group pf producers, musicians, 

and engineers to find out how the rest of the world prefers to hear. 

Pete Lockett 

Pete is one of the most versatile multipercussionists 

in the world, having immersed 

himself in percussion and drums from every 

part of the globe, from Indian to Arabic and 

from Japanese to Latin. He has a 

number of collaborative projects 

and has released five albums. 

The wide range of artists he’s 

worked with reflects the diversity of 

his playing, including Björk, Peter 

Gabriel, Robert Plant, Dido, and 

more artists that we don’t have 

space to list. 

“One rule of thumb I like to 

adhere to when in other studios is 

to work fairly quietly. Working on 

the main speakers too much can 

tire you quickly and also give you 

a false perspective on how good 

your recorded material is. If you 

need an ego boost then pop them on for half 

an hour! However, most of my recording is done 

in my own studio and on smaller near-fields or 

headphones. 

When I start to fine tune and place stuff I 

try and listen on numerous different sources, 

including different headphones. My main 

studio monitors are HHB’s Circle 5 active studio 

monitors and they really give me a good idea of 

the overall sound spectrum with an accurate and 

detailed perspective. I am used to listening to a 

lot of different music on these speakers, and this 

gives me a really good reference. I also like to 

have a cheap radio in line so I can see what it is 

like at the lowest end of the spectrum. If it works 

there then it works anywhere!” 

Jake Jackson 

Fresh from winning the Music Producers Guild 

Breakthrough Engineer award, and primarily 

working out of Air studios for past 13 years, 

Jake has recorded, mixed and engineered for 

award winning projects including Sweeney 

Todd, Toast, Being Human, Silent Witness, 

and Doctor Who, to name but a few. 

“I’ve got two ways of working really. 

I’m freelance, but mostly work out of Air studios. 

So I use the big Dynaudio monitors they have 

there, so that’s always a nice way when 

mixing to have those. For near-field, I’ve recently 

been given a pair of Genelec 8240s, which 

are fantastic. 

“I tend not to be too fussy. I’ll usually have 

one pair that I know, and one 

pair that I’m maybe not so 

familiar with. I find it pretty easy 

to tune in to speakers and get 

their characteristics pretty much 

straight away after the first half 

hour, and be confident that it 

will be good when I listen to it 

somewhere else. 

“When it comes to main and 

near-fields, since I rattle through 

mixes, I’ll probably alternate 

every five minutes or so, and do 

that maybe three or four times. 

If I’m doing 15-20 mixes a day, 

which often happens on projects 

like Doctor Who, I’ll listen on 

another set to get a balance. It’s also very 

important to give the ears a break. 

“If I’m working somewhere I haven’t been 

before, I’ll always go in to AIR the next day to 

double check. In most situations there is likely 

to be something that I’ve used before, but, 

for example, I’ve never really tended to use 

Genelecs until I was given this pair, and they 

have DSP in them, so I can take them 

to places I don’t know, and it works 

smoothly. My personal guide is to 

have two or three sets of speakers 

and swap them around all 

the time, for different 

reference points.” 

Matt Foster 

Matt worked his way up the 

ranks of studio personnel 

working as an assistant 

for a few of the top 

London recording studios 

(Townhouse, Strongroom, 

The Dairy). He now works in 

the industry as an Engineer/ 

Producer with Miloco Studios 

management company, Interface, mostly 

working with commercial pop music and TV 

and film projects. 

“When working on a mix I like to listen pretty 

quiet on near-fields most of the time, and just 

get into a headspace where you can listen 

intently without burning your ears out or get 

an overly hyped impression of the mix. 

Things almost always sound good loud, but 

the trick is to nail it when monitoring at lower 

levels. Then five to ten minutes out of every 

hour I’ll have a loud blast on some soffitmounted 

monitors to get a feel for how the 

low end is working. 

“When mixing in commercial recording 

studios, I look for similar things in the monitoring 

setup as most people. Which would be a decent 

selection of small and larger near-fields, and 

some room shaking main monitors – much 

needed for modern pop/dance records. I also 

take with me a small hi-fi and Sennheiser HD-600 

headphones for extra listening sources. 

“Of course room acoustics are massively 

important, and a room with good frequency 

response and controlled reflections are vital. 

For tracking, main monitors aren’t as necessary, 

and even just a decent pair of fairly large nearfields 

can be all that is needed. A setup that I’d 

be comfortable using in a good sounding room 

would be NS-10s with a good amp (Bryston for 

example), Genelec 1031As or ADAM A7s, and 

some clean, clear main monitors with good low 

end that can reproduce down to around 30Hz 

comfortably and have an accurate 

stereo image. 

“As mentioned before, I always 

bring my trusty JBL hi-fi and 

Sennheiser headphones, and a trip 

to the car to have a listen is very 

common, as well as a quick bounce 

to an iPod.” 

  

Alexander Beitzke 

As a freelance engineer, 

Alex has worked at a variety 

of studios including Hook End 

Studios as in-house engineer, 

Gateway School of Recording, 

London as studio technician, 

and Chase Imagination, London, 

as sound designer. 

“Having accurate and ideally well-tried 

monitoring is definitely essential for both 

4 MONITORING MATTERS

monitors 2011 

NG MATTERS++++ MONITORING MATTERS++++ MONITORING MATTERS++++ MONITORING MATTERS+ 

recording and mixing. Getting to know the 

sound of studio standards like NS-10s – 

in combination with a good Bryston or 

Yamaha amp – is therefore very useful. 

The room and the positioning 

of the speakers in the room 

does, however, have a huge 

effect on the sound as well, and 

affects soffit mains more than 

near-fields. I therefore tend to 

primarily listen to NS-10s when 

I don’t know the studio that 

well. I’d then use the mains 

and alternative speakers just for 

occasional referencing and to check 

the bottom end. 

“I find that knowing a room and its 

main monitors really makes work a lot 

easier though. Hook End’s Quested monitors, 

for example, are incredible once you get used 

to them. Despite the room’s huge dimensions, 

the frequency response is very balanced. I know 

that many engineers think of main speakers as 

a device only used to impress A&R people. 

Well-designed main monitors can however 

be much more revealing and critical than 

near-fields like NS-10s. 

“I find that this applies especially to 

transient reproduction. Questeds tend to 

sound very slow and lazy whereas most nearfields 

often sound a lot tighter. Getting a mix 

to sound really punchy and in-your-face is 

therefore much harder on mains, especially 

if you listen at low volume, and translates very 

well to hi-fi systems. There are also some great 

middle-field monitors like the ATCs you find in 

Dean Street Studios Studio 1, which 

are incredibly transparent and open and 

make them a great alternative to their 

soffit-mounted mains. 

“When choosing a mix room the monitoring 

is definitely a major criteria. A well designed 

room and good monitoring is more important 

than the console and outboard. A pair of quality 

soffit-mounted main speakers like the ones 

build by Mr. Quested are definitely a selling 

point to me. 

“In the final 

mix stage, I often 

monitor through 

my mixdown track 

with an L2 limiter 

to make sure that 

transients still cut 

through and that 

the balance doesn’t 

change too much. 

I use main monitors 

to listen to bass and 

kick balance and 

general dynamics/energy of the track. 

Listening very quietly to NS-10s 

helps to find a good vocal level and 

to make sure that all instruments 

have their own space. Having 

something like a small iPod dock 

or a mono radio with an aux 

input also helps a lot to make 

sure that the bottom end 

translates well to domestic 

systems.” 

Adrian Breakspear 

Adrian is a recording and 

mixing engineer who has been 

working in recording studios since 

2001. He began his career at Battery, 

and has since worked as an assistant 

at Abbey Road and Strongroom amongst 

others, before joining Miloco in 2006. 

Adrian regularly engineers for James Lewis 

(Stephen Budd Management) and Jim Lowe 

(Stereophonics) amongst others, as well 

as working with many unsigned and newly 

signed bands in a production role. 

“I’m used to using Genelec monitors, 

primarily the 1031s (in commercial rooms) 

and the 1030s (in the production space I share, 

which also has a pair of Focal Twins which 

contrast nicely to the Genelecs). 

As with many engineers, I’m also very familiar 

with the ubiquitous NS10s. 

“When getting sounds to record, I’d usually 

be using the full range near-fields (such as the 

Genelecs referred to above). When tracking 

with band members in the control room, often 

the main monitors will be used; plus I use an 

occasional check on the largest monitors for 

bass end – I generally find that in most studios, 

these aren’t so accurate for reference. 

“If I’m hiring a studio, I’ll look for NS10s 

with a good amp, and a familiar set of full 

range near-fields – as well as the Genelecs 

mentioned above, I’m familiar with Adams, 

KRKs, Dynaudios etc... I find the quality of the 

room itself is generally more important than 

exactly what monitors are used. If the room is 

consistent, then I feel my ears adjust quickly to 

the monitors. If the room response is lumpy, 

it doesn’t matter what monitors are being used 

– the sound will never be accurate. 

“As well as the above, for final checking, 

I use a set of reasonable quality Sennheiser 

headphones, and a pair of Sony walkman 

speakers as a ‘real world radio’ check...” 

Alan Branch 

Alan Branch is London-based engineer/ 

producer who has worked with many hit 

artists over the years including U2, Primal 

Scream, Sinead O’Connor, Ronan Keating, 

The Cure, and Depeche Mode. He won 

a Grammy in 2010 with Jeff Beck’s live 

recording at Ronnie Scott’s. He is currently on 

tour with Yusuf Islam (Cat Stevens). 

“I use near-field monitors most of the time: 

Harbeth Expressions. I have had them many 

years, but have used many others over my 

working life. Speakers are a very personal thing 

– I don’t think there is too much of a right and 

wrong. However, I am often surprised at how 

many have them set up incorrectly: usually 

people have them far too wide. 

“Work on your monitor placement and 

acoustics so you sit in the ‘sweet spot’. This will 

make life much easier to achieve accurate mixes 

that will stand a better chance of sounding 

good wherever they are played. I find flat 

response speakers are the best for showing 

up anomalies and the best for sitting in front 

of for long periods of time. Bright coloured 

speakers will give you ear fatigue and incorrectly 

balanced mixes. 

“Knowing your speakers for recording is 

key – you have to be sure of the quality of your 

recording, e.g., if you go into the live room and 

listen to a guitar amp, when you come back and 

listen to the microphones you want to hear the 

same sound, not a sweetened-coloured sound. 

You have to be able to hear when something is 

not right! I’ve come across engineers who have 

had the vocal mic the wrong way round and not 

been able to tell. 

“As for the large monitors in a studio, they 

can be great for hearing the low end, but unless 

they are in a very accurate and well designed 

room they are very misleading. They are often 

used for impressing people that like to hear 

something very loud. Consequently, I have a 

spare set of powered (active) monitors I take 

with me to a hired studio and I will work 99% 

of the time on them. 

“Most of the time now I hire a studio for 

recording, so it’s normally for the sound or size 

of the live room and the facilities the studio 

has, i.e., the number of mics , the sound of the 

piano, etc. I take my own monitors so it’s rarely 

a concern unless I am abroad. 

“I use a variety of monitor playback checks, 

my own near-fields, a small portable stereo 

cassette deck type of boom box from the 80s, 

the infamous car speaker test, and laptop 

speakers. I don’t use all of these on every mix 

but at least a few. Remembering to check mono 

and stereo compatibility of tracks as I mix, 

and occasionally I check the stereo balance of 

things in headphones but I never use these for 

balance issues.” 

THE INTERNATIONAL GUIDE TO MONITORING & HEADPHONES 2011 5

Good Vibrations 

So, you’ve got a monitor... what do you do with it? Acoustic oracle, White Mark’s David Bell, talks to 

Audio Media magazine about the basics of speaker placement, rooms, and stands. 

A 

The same is true of the midrange and the bass, 

but the bass tends to be much more 360-degrees 

radiating, because basically the box vibrates. 

udio Media: It’s common knowledge that 

you can’t consider speaker performance 

without considering the room. Could you 

start us off with some basics? 

David Bell: A room and a set of speakers should 

always be considered as a unit. Both influence 

what you hear, and the interaction between both 

influences what you hear almost as much as the 

choice of either. 

So, if you to have a production space with freestanding 

speakers and you put the speakers largely 

where they need to be, and symmetrically in the 

room, the room will interact with the speakers in 

a number of ways. It will itself have modes which 

will cause bass colouration, and the positioning 

of the speakers will alter the interaction of the 

speaker with the boundaries. By that I mean it 

will reflect off the walls and you’ll have ‘coherent 

interference’. This will cause notch filtering, and is 

principally noted in the lower mid and the upper 

bass, which is really where the character of voices 

is stored. 

Even free-standing speakers ought to be set 

up by someone who knows what they’re doing. 

You will get interaction between the walls, the 

ceiling, the floor, the speaker, and you. You need 

to optimise that. You can do this by listening to 

stuff that you know well, and adjusting the 

speaker position – moving it six inches will make 

a huge difference. 

As a fundamental thing, it’s a good idea not 

to have it the same distance from the floor, the 

ceiling, and both walls so that the interactive 

effects of those boundaries are not lying on top of 

each other, and therefore smeared a bit. 

A second thing is that the speaker is 

trying to give you a full bandwidth of output out of 

its speaker cones. It should be borne in mind that 

as frequency goes down, as much will come out 

of the back of the speaker as comes out the front. 

The tweeter fires higher frequencies forwards in a 

cone – it’s directional. It becomes less directional 

as the frequency its carrying goes down to a 

wavelength comparable to its diameter 

and larger. 

On A Sure Footing 

AM: What advice do you have on stands? 

DB: You need to mount it on something solid, so 

that the mounting you’ve got doesn’t absorb 

frequencies specific to the mounting... This is 

particularly true where you’ve got a nice bit of 

furniture, and you’ve got a computer keyboard 

and a little mixer, and you stand the speakers on 

a little bookshelf shelf at the top of it. At least 

put a paving slab on top – something heavy that 

the speaker can run against. 

There’s an awful lot of rubbish talked about 

high end, really expensive, rubbed-against-thethighs-of-virgins 

magnesium-alloy... What you 

want is a sodding great heavy thing to stand your 

speakers on – and it’s no good putting it on a 

wonderful speaker stand, wonderfully linked up 

to a diaphragmatic wooden floor, because that’s 

just the same. Although if your speaker stand is 

full of lead, it’s then going to be quite heavy, so 

the resonant frequency of the floor membrane it’s 

standing on is going to be much lower. 

AM: Is there any sense in de-coupling speakers – 

by using foam products, for example? 

DB: You have to be careful. If you get a 

piece of foam and stand a speaker on it, 

the frequency at which it is de-coupled – 

the resonant frequency of that compressed, 

sprung system – is proportional to some 

interesting constants, times one over the 

deflection. The further you deflect it, 

the lower the frequency it works at. 

We try to get our floors to deflect about 

6-8mm, and that gives you between 8-14Hz 

resonant frequency. So anything from double that 

up – from 20Hz up – is then de-coupled… 

But if you’ve got, say, 2mm of deflection, your 

resonant frequency would be higher, and would 

only clear once you’re well into the audible range. 

Thus, you’ve got a problem at the bottom end – 

it’s getting absorbed by stuff that’s not very 

well de-coupled. 

This is why proper mounts are better than bits 

of plastic. They manufacture them so that if you 

put a certain weight on it, you will get 8mm of 

deflection, and it’s known to be within the elastic 

limit of the squashy stuff, so that it will work 

properly at that frequency. 

Up The Ante 

AM: What about moving on to bigger rooms, 

bigger speakers, and bigger budgets? 

DB: You can start designing the room to try and 

increase the effectiveness of the room-speaker 

combination. One of the things you can do is to 

minimise the effect of bass reflection by soffit 

mounting the speakers – building them into the 

wall. This is done not just by sticking a piece of 

wall fabric under the speakers, but by building 

them into a substantial wall in a big, heavy box. 

We then pack the front wall – we use mineral 

wool, though other people do others things. 

The bass end becomes more efficient because 

it’s all going forwards. If you correctly soffit mount 

a speaker, you’ve got the early bass reflections 

under control. And then if you carefully design 

the distance between you and the walls, you can 

further improve those early bass reflections. 

Architectural Considerations 

We now need to look at the room itself. Cubic 

rooms are a bad plan. Everyone’s heard of the 

various imperfect ratios of height to length to 

width. These all work in different ways, and to 

different standards; and different ratios have 

different devotees. But effectively when we’re 

designing a room, as one of our clients once 

said: ‘no-one’s going to let you shave a yard off 

the back on the off-chance the bass is going to 

be better’. 

But we adjust the width and the height, 

and as we do it we try and maintain an unrelation 

between the fundamental things. 

This is what the Dolby specification does, for 

example. It compares ratios and won’t let you 

use destructive ratios. The room modes are then 

spread about the room. 

6 GOOD VIBRATIONS

monitors 2011 

Can’t Heat The Stand? 

David Bell relates a lesson in what no monitor should stand for... 

“The first studio we ever built was in 

Paris many years ago. They mastered 

a mix and sent it off, but it came back 

with the comment that something was 

fundamentally wrong with the room – ‘you 

have tonnes and tonnes of bass on this, 

what’s going on?’. 

So the studio rang us up and said, ‘Help, 

come to Paris immediately.’ 

“We flew to Paris and asked them to 

recreate the situation in which the project had 

been mastered. So the guy carried in some 

big self-powered nearfields and stood them 

on television stands, hanging over the meterbridge 

of the console. 

We listened to the mix, and it sounded okay. 

Then we listened to it on the main speakers, 

There are room modes in any room, in 

any space, but if you have them all occurring 

at different frequencies and unharmonically 

related to each other, then your mind can tune 

them out, if you like. As long as there’s not a 

huge hole where you’re never going to hear 

the bass at certain frequencies, the sharp holes 

caused by defined modes will go. 

When you’re balancing music, if you don’t 

know that the euphonium is wrong because it’s 

got a chunk missing out of the bass that the 

room is removing, that’s a bad thing. 

Band Manager 

AM: What about higher frequencies? 

DB: Windows, doors, consoles, and bald people 

provide hard surfaces for sound to reflect off, 

cause colouration in the mid and the top. 

This is where the dispersion angle of the 

speaker’s upper frequencies becomes 

important, and you then have to consider 

the reflection paths. But again, there’s only a 

certain amount of that you can do... 

The console needs to be in front of you – if it’s 

behind you, it’s not going to work very well. 

This is why I fundamentally believe that for 

a very good, professional, acoustically neutral 

response, you do need them to be set up, and 

you do need them to be set up properly by 

and it sounded absolutely horrendous, with 

vast amounts of bass. The client said, “There 

must be something wrong with the room,” and 

I said, “I think not.” We lifted the speakers off 

the stands, and put them on the meter-bridge 

of the console – it was a large console, so it 

was a very substantial meter-bridge – they 

stood directly over the legs on the meterbridge. 

Lo and behold, all the bass came back. 

“When we measured it, there was a 12dB 

per octave drop to about 75Hz when on the 

stand, and not when it wasn’t on the stand. All 

the bass was going into warming the stand up, 

and not going into the room.” 

someone who really knows what they’re doing. 

They will look at the the distribution of the 

bass, and the sub bass units, how they cross 

over and match, and unavoidable reflections 

within the room. It’s not easy to deal with a 

single very, very powerful ‘suck-out’ caused by 

all three modes of the room being coincident, 

but if you’ve got clusters of suck-outs in the 

upper mid for instance, due to a whole series of 

similar reflections off different surfaces, 

you can generally raise that area of the 

output of the speaker to compensate. 

It’s the average that you’re looking at, 

across the frequency range. 

Particularly since more and more people 

are moving away from mixing with one valve 

and a bit of variable resistance, and putting 

in things like computer screens – they put 

an expensive monitor in the front wall, and 

surround themselves with monitors. You can do 

something about it, but that’s where you need 

to get involved with someone who really know 

what they’re doing. 

Even more critically, the creation of a 

unified set of sub-basses and full frequency 

cabinets in a surround environment is a 

complex set-up task that is very much best 

achieved by someone who knows what they’re 

doing with digital crossovers, because you’ve 

got time delay and very close control of the 

frequency parameters of the equalisers you’re 

putting in. 

Stick-on Saviours 

AM: There are plenty of acoustic treatments 

on the market, from foam panels to high-end 

diffusers. Are these all valid materials? 

DB: We’re trying to produce an ideal, 

uncoloured direct feed of the loudspeaker 

output to your ears, so we try and suppress 

the early reflections, which tend to come from 

the side walls, the ceiling, and the front wall – 

so the front tends to be absorptive. We then 

put a load of mid and high back in again, by 

putting diffusers at the back. 

The diffuser is designed to break up the sound 

– to stop it being coherent so we don’t get the 

comb filtering effect I was talking about earlier. 

There are other philosophies, and quite a 

few of them depend on being able to absorb 

everything, and then put some back. But you 

can’t absorb everything. Look at a 64-foot 

organ pipe, and then tell me how you’re going 

to absorb that with a bit of foam. The foam 

treatments will only work on reasonably high 

frequencies. In a lot of home studios people 

have slapped up a load of little foamy panels, 

and then complain about problems with bass. 

What they’ve done is taken everything else 

away so all they’ve got left is bass. If we then 

put bass absorption in there, we may as well 

just turn the volume down. 

You need to absorb things at the points 

that are critical. You start off with an ordinary 

room, and then you start putting absorbers on 

the wall to stop early reflections; then you start 

considering the bass; and then you migrate 

slowly up towards being a full studio. 

INFORMATION 

www.whitemark.com 


+++ADAM AUDIO++++ADAM AUDIO++++ADAM AUDIO++++ ADAM AUDIO++++ ADAM AUDIO++++ ADA 

X-clamation Mark: 

ADAM’s AX-Series Is Now Complete 

ADAM Audio has launched the new A77X at the Prolight + 

Sound 2011. The new monitor completes the AX-Series of 

monitors, which have proven to be amongst the very best tools in 

professional monitoring. 

X-ART: The neXt Step on the Path to Perfection 

Whereas all other loudspeaker drive units act like 

a piston, moving air in a 1:1 ratio with regard to 

the motion of the driver, the ADAM X-ART design 

achieves an improvement in air loading by a 

factor of four over conventional transducers. 

The new X-ART (‘X’ for eXtended frequency 

response) tweeters’ fundamental principle 

is the very same as the former ART tweeters 

but with a 4dB higher efficiency, a 3dB higher 

maximum sound pressure level, and an increase 

in frequency response up to 50kHz. 

The result is astounding: a clarity, airiness, 

and precision in the high frequencies that was 

not possible before. With the X-ART tweeter, 

ADAM reinforces its commitment to offer the 

best transducer systems currently available at 

any price. 

The AX-Series 

When introduced in 2010, the AX-Series included 

four high performance systems, ranging from the 

ultra-compact and fully professional A3X to the 

A5X, A7X, and A8X. 

All models feature the X-ART tweeter. 

Compared to its predecessor, the legendary 

ART tweeter, the X-ART is even more efficient 

X-ART at a Glance: 

• Velocity transformation 4:1 

• Extremely high efficiency 

(approximately 96 dB/W/m) 

• Perfectly linear 

impedance 

• Extremely flat phase 

response 

• Excellent directivity 

characteristics 

• Perfect magnetic 

shielding 

(96dB/W/m) and handles higher SPLs along with 

a frequency response up to 50kHz. Furthermore, 

all AX-Series woofers and amplifiers have been 

re-engineered from scratch, with larger voicecoils 

and more powerful amplifiers for greater 

linear excursion and more output. 

A3X 

ADAM’s smallest 

monitor is ideal for 

applications where 

space is limited such 

as desktop and other 

home monitoring 

situations. The A3X 

is equipped with the 

unmatched X-ART 

tweeter, a 4.5-inch 

mid/low frequency 

driver with a very light but stiff carbon fibre 

diaphragm for absolute transparency, and two 

highly efficient 25 Watt amplifiers to power 

each driver. 

As with the A5X, the A3X also features the 

Stereolink, a pair of additional RCA connectors 

allowing the user to connect both speakers 

with a single cable so that the volume for both 

speakers can be controlled from the Gain control 

of either speaker. 

A5X 

One of ADAM’s most 

popular speakers, the 

A5 has been reborn 

as the A5X with the 

proprietary X-ART 

tweeter, a 5.5-inch 

mid/woofer to 

reproduce frequencies 

below 2.5kHz, and 

twice the power. The speaker diaphragm is 

made from ultra-rigid and lightweight Carbon/ 

Rohacell/Glass fibre, which prevents break up 

resonances and produces a dynamic sound. Like 

other AX systems, XLR and RCA connectors are 

provided along with a five-year warranty. 

A7X 

Succeeding the critically 

acclaimed ADAM A7 is 

the A7X. It features the 

X-ART tweeter and a 

seven-inch mid/woofer 

featuring a larger 1.5- 

inch voice coil. While a 

50W A/B amp drives the 

X-ART tweeter, a leading 

edge 100W Pulse Width 

Modulation amp drives 

the mid/woofer. 

The front panel includes a power switch and 

a control for the volume that retains the volume 

setting independently from the on/off switch. 

The rear panel hosts several additional controls. 

A8X 

The A8X is equipped with the X-ART tweeter 

and an 8.5-inch carbon/Rohacell/fiberglass mid/ 

woofer that combine seamlessly to produce a 

very deep yet exceptionally tight bass response. 

Like the other AX-Series models, the upper 

corners of the A8X are beveled to minimise 

reflections. The large, double bass reflex tubes 

on the front have been specifically designed to 

match the mid/woofer 

and its large voice coil. 

With a 50W 

amplifier for the 

tweeter and a 150W 

amplifier for the 

mid/woofer, the 

A8X has more than 

enough power for any 

application. 

8 PROMOTIONAL FEATURE

monitors 2011 

M AUDIO++++ ADAM AUDIO++++ ADAM AUDIO++++ ADAM AUDIO++++ ADAM AUDIO++++ ADAM AU 

The AX-Series Reviewed: 

The AX monitors have been reviewed numerous times by magazines around the globe. Some excerpts: 

A3X 

“...the ADAM A3X is an excellent new option.” 

(Tape Op No. 79, 2010) 

“... the ADAM A3X is without a doubt the 

best compact speaker in this price range.” 

(Audiofanzine, 01/2011) 

A5X 

“On our desktop the A5X left a superb 

impression. In comparison, no other desktop 

monitor got close to that.” 

(Stereo, 10/2010) 

“Lively, agile desktop monitor with an open, 

powerful character.” 

(HiFi Digital, 01/11) 

A7X 

“...a substantial improvement. ...I expect the 

ADAM A7X to dominate the conversation for 

a long time to come. “ 

(DV Magazine, 05/2010) 

“...sounded noticeably better in every 

respect.” 

(Sound On Sound, 08/2010) 

A8X 

“...the A8X will seduce the masses 

effortlessly!” 

(Audiofanzine, 09/2010) 

“...becoming a huge recommendation for the 

discerning listener without a bulging wallet.” 

(Professional Audio, 10/2010) 

“The A8X speakers from ADAM Audio 

brought themselves to the forefront of all 

speakers reviewed...” 

(Audio Test, 02/2011) 

A77X 

In some set-ups it can be advisable to use 

a horizontally designed speaker rather than a 

vertical one. Until now, such monitors were only 

available within the SX top line. 

The brand new A77X is equipped with the 

same advanced technologies as the A7X and 

therefore very similar to the two-way speaker. 

The A77X, however, distinguishes itself by much 

higher, compression-free maximum sound 

pressure levels and dynamics. Due to its power 

and radiation characteristics, it is also perfectly 

suited for both near and midfield monitoring. 

The A77X features the ADAM proprietary 

X-ART tweeter and two seven-inch woofers. With 

their large voice coils (1.5-inch) and powerful 

amplifiers, they are capable of both very high 

maximum sound pressure levels as well as very 

deep registers. The woofers do not cover the 

same frequency bands: while both of them are 

responsible for the (sub-) bass frequencies up to 

about 400Hz, only one of them reproduces the 

midrange. This prevents interferences between 

the two drivers. 

A 50W A/B amp is responsible for the 

X-ART tweeter, while the bass-/midwoofers are 

driven by a 100W PWM amp each. The front 

panel includes a power switch and a control 

for the volume that retains the volume setting 

independently from the on/off switch. 

The rear panel features several additional 

controls: a gain for the high frequencies 

(± 4dB) and two shelf filters for high and 

low frequencies. 

To ensure greater compatibility, there 

are both XLR (balanced) and RCA (unbalanced) 

connectors. 

State of the ART: SX-Series 

The 10 models of the SX-Series were introduced 

in 2009 and 2010. They are based on the 

highly acclaimed S-Series. However, they are 

not simply a revision of existing models, but 

are a fundamental transformation with no 

detail overlooked and every crucial sound 

aspect evaluated. All transducers, drivers, and 

electronics have been redesigned. The result 

is much more than an improvement, it is a 

quantum leap in professional monitoring. 

The SX-Series of monitors are some of the 

most sought-after products in the industry and 

are used as reference monitors in studios all 

around the globe. 

A Wide Range of Subwoofers 

Our subwoofers are dedicated to ADAM Audio’s 

primary goal: the best possible authenticity in 

the reproduction of music. For our subwoofers, 

this means combining power and precision 

while simultaneously avoiding “impressive” bass 

volume at the cost of accuracy. Their task is to 

complement the highly acclaimed lucidity and 

transparency of ADAM monitors in the lower and 

lowest frequencies. 


ADAM Audio GmbH 

Ederstr. 16 

12059 Berlin-Germany 

t +49 30-863 00 97 0 

f +49 30-863 00 97 7 

e info@adam-audio.com 

ADAM Audio UK Ltd. 

t +44 207 737 3777 

e uk-info@adam-audio.com 

Follow us on Twitter! 

Join us on Facebook! 

w www.adam-audio.com 


+++FOCAL PROFESSIONAL++++FOCAL PROFESSIONAL++++FOCAL PROFESSIONAL++++ FOCAL PROFES 

Listen to Your Music, 

Not to Your Speakers 

These few words embody the philosophy of Focal Professional, 

the French manufacturer of acoustic loudspeakers and transducers. 

From their very beginning on the drawing board in Research & 

Development at Focal, our professional monitors are designed to 

deliver one thing, at any cost: the absolute acoustic truth. 

Focal Exclusive Technologies 

The ‘W’ Composite Sandwich Cone 

Focal has been developing composite sandwich 

cones for the last 15 years. The fruit of that 

research, the ‘W’ structure (glass/foam/glass) 

used in every Focal Professional product, allows 

for a truly optimised response right from the 

start, thanks to the precise control of rigidity, 

weight, and damping capacity of the cone. 

The balance between these three fundamental 

and often 

contradictory 

parameters is 

the very basis of 

the exceptional 

sonic neutrality 

of our speakers. 

The Be Tweeter 

Since the very beginning, Focal has favoured 

inverted dome tweeters, but the introduction of 

the pure Beryllium dome, capable of covering 

five full octaves from 1,000Hz to 40kHz, has 

simply revolutionised high frequency spectrum 

reproduction. This tweeter’s capacity to 

go as high as 40kHz without any artifacts 

enables it to reproduce high frequencies with 

unmatched speed and transparency. At first 

the pure Beryllium tweeter was only available 

on the very high-end digital speakers of the 

Focal Professional line (SM11), but now it is 

also featured on the SM6 series, allowing an 

unprecedented price/performance ratio. 

SM9 series 

The REFERENCE Three-Way Monitor 

The SM9 was born out of a simple idea: create 

the most sonically transparent monitoring 

system ever built. The SM9 features a frequency 

response from 30Hz to 40kHz with an SPL max 

of 116dB. This monitoring speaker establishes 

itself as a reference thanks to the precision of 

the stereo image, its capacity to reproduce each 

of the micro details of the audio signal, as well as 

unconditional respect of the original dynamics. 

Two Monitors In One! 

One of the major innovations of the SM9 lies in 

its offering two monitoring speakers in only one, 

unique cabinet. The activation of this monitor 

is made by setting off the FOCUS mode on the 

side panel. The two-way monitor (Beryllium 

tweeter + 6.5-inch W woofer) offers a frequency 

response from 90Hz to 20kHz, allowing you to 

check the mix transfer quality on systems with 

limited frequency response in bass frequencies 

such as: 

• TV sets 

• Computers 

• Cars 

• iPod® docks or any multimedia system. 

This monitor also allows you to check the 

midrange register – very hard to equalise and 

balance in terms of sound level compared to 

other information contained in the audio signal. 

The Focal Professional 

Monitoring Range 

Looking for the Ultimate Tool 

SM6 Series 

The now famous SM6 series has been developed 

for professional engineers who are seeking 

absolutely neutral sound and sound stage 

precision for recording, mixing, and mastering 

studios. The SM6 series is composed of three 

references: Solo6 Be, Twin6 Be, and Sub6. 

Solo6 Be 

Two-way, analogue 

professional nearfield 

monitor (150 + 100W RMS 

Bash® technology), 6.5-inch 

‘W’ composite sandwich 

cone driver, one-inch pure 

Beryllium inverted dome 

tweeter. Frequency response (+/-2dB): 

40Hz- 40kHz. Max SPL @1m: 113dB. 

Twin6 Be 

Three-way, 

analogue 

professional 

nearfield/ 

midfield monitor 

(2x150 + 100W RMS Bash® technology), 

2x6.5-inch ‘W’ composite sandwich cone driver, 

one-inch pure Beryllium inverted dome tweeter. 

Frequency response (+/-2dB): 40Hz-40kHz. 

Max SPL @1m: 115dB. 

Sub6 

Analogue subwoofer (1x350W 

RMS Bash® technology), 11- 

inch ‘W’ composite sandwich 

cone subwoofer. Frequency 

response (+/-2dB): 30Hz- 

250Hz. Max SPL @1m: 116dB. 


monitors 2011 

SIONAL++++ FOCAL PROFESSIONAL++++ FOCAL PROFESSIONAL++++ FOCAL PROFESSIONAL++++ FOC 

They have chosen Focal Professional 

I now mix on a pair of Solo6 Bes, and the 

other two rooms at FLUX Studios have Twin6 

Bes. Besides the phenomenal translation from 

studio to real world, which other monitors 

lacked, the sheer absence of distortion allows 

us to work very long hours without getting 

tired or losing perspective. We work faster, 

better, and with less recalls than we did before 

we switched to the Focal system. There is no 

way back. 

Fab Dupont 

(Sound Engineer – Shakira, Jennifer Lopez, Nat King Cole) 

I mix on the Focal Solo6 Be now. This was the first time I used Solo6 

Be for a project, but it came out spectacularly. I was really impressed 

by these speakers. What you put in to the Solo6 

Be, you get out: very accurate. I have played the 

Slash mixes for many people and they are great 

– and of course give me all the credit. They don’t 

know that my secret weapon was the Solo6s. I love 

my new Focal Solo6 Bes, and you will have to pry 

them from my cold dead hands in order to take 

them away from me… 

Ken “Pooch” Van Druten 

(Sound Engineer – “Live From The Roxy” Slash, Kiss, Limp Bizkit, 

Linkin Park – three nominations for Grammy Awards) 

www.poochresume.evilentertainment.net 

Forget all about my gear and toys, the 

most critical element in my studio is my 

loudspeaker… To me, there’s no better 

nearfield loudspeaker than the Solo6 Be, 

whatever the prices of other monitors. 

David Kutch 

(Mastering Engineer – Alicia Keys, Natasha 

Bedingfield, Al Green, Erykah Badu, Estelle, Outkast, and many more) 

The Twin6 Be monitors are the best that I’ve 

used in terms of studio-to-consumer listening 

translation. They really translate: what I hear in 

the studio is what the outside world hears, in my 

experience. Listening back to mixes I’ve done 

on the NS10s through the Focal Professional, 

it kind of scares me because I hear top-end 

distortion that I wasn’t hearing in the NS10s – I was so used to using 

them, I thought I knew them. With the Focal Professional there wasn’t 

a learning curve, it actually spooked me at first. 

Jeff Juliano 

(Sound Engineer – James Blunt, John Butler) 

www.myspace.com/jeffjuliano 

My Focals are clear and detailed. 

Great for long listening sessions! 

Ken Nelson 

(Coldplay Producer) 

CMS Series 

The CMS line is particularly dedicated for 

use in post-production studios, small listening 

rooms, radio studios, and home studios. 

The CMS series has been awarded Best 

Studio Monitor twice in 2009 (CMS 50) 

and 2010 (CMS 65), and both received 

the MIPA award during Musikmesse 2009 

and 2010 from 110 worldwide pro audio 

magazines. 

CMS 50 




class AB), five-inch Polyglass 

cone driver, one-inch 

alumnium-magnesium 

inverted dome tweeter. 

Frequency response (+/-2dB): 

55Hz-28kHz. Max SPL @1m: 107dB. 

2009 

CMS SUB 

Analogue subwoofer 

(1x300W RMS Bash® 

technology), 11-inch 

Polyglass cone subwoofer. 

Frequency response (+/- 

2dB): 30Hz-250Hz. Max 

SPL @1m: 113dB. 

CMS 40 



monitor (25 + 25W 

RMS class AB), four-inch 

Polyglass cone driver, 

one-inch aluminummagnesium 


Frequency response (+/-2dB): 60Hz-28kHz. 


CMS 65 




class AB), 6.5-inch Polyglass 

cone driver, one-inch 

aluminum-magnesium 


Frequency response (+/- 

2dB): 45Hz-28kHz. 


2010 


UK Distributor 

SCV London Ltd. 

t +44 (0) 208 418 1470 

w www.scvlondon.co.uk 

For a complete list of distributors: 

w www.focalprofessional.com 


+++GENELEC++++GENELEC++++GENELEC++++ GENELEC++++ GENELEC++++ GENELEC++++ GENELEC++ 

Three-Way Revolution – 

The Multi-Award Winning Genelec 

8260A DSP Monitoring System. 

Since its launch the 8260A has been a phenomenal success, 

winning numerous awards and plaudits from all sections of the 

audio industry. What is the secret to its success? 

The Genelec 8260A is truly a revolutionary loudspeaker. 

Developing a multi-award winning monitor 

doesn’t happen overnight, and the Genelec 

8260A is the result of almost 35 years of 

manufacturing experience. Since the beginning, 

professional audio monitoring has been at 

the core of Genelec’s business. An unrivalled 

commitment to research and development 

of new products has resulted in a number of 

industry firsts and established the company 

as the leader in active monitors. Furthermore, 

the very latest Genelec monitoring products 

remain true to the original philosophy and offer 

reliability, neutral sound reproduction (regardless 

of size), and the ability to adapt frequency 

response to the listening environment. The 

8260A incorporates these qualities, as well as 

building on them to create a product that offers 

a new blueprint in audio monitoring. 

Background 

The Genelec 8260A offers all the sonic benefits 

of a three-way system in a compact enclosure. 

With a three-way system higher sound levels 

can be achieved due to the separate midrange 

channel, which can be optimised for that 

frequency range. This improved performance 

usually comes at the cost of having to make 

a larger enclosure. A small enclosure does not 

have the space for directivity control in the midrange 

and at high frequency, which results in 

more audible room effects. A larger three-way 

enclosure allows for proper directivity wave 

control. 

The 1022A, introduced in 1985, was the 

first Genelec product to feature the proprietary 

directivity wave-guides (DCW) with spaced 

mid-range and tweeter drivers. The DCW has 

since been widely adopted and become an 

industry standard. Genelec continued to work 

on maximising enclosure space and started to 

develop a new coaxial driver that would combine 

mid and high-range range frequencies for 

improved directivity control. 

The basic principle of a coaxial driver is to 

place the high frequency driver at the apex of 

the low frequency diaphragm. By doing so, the 

apparent source location does not depend on 

the frequency and directivity of both drivers as 

they can be controlled 

in the crossover region. 

Furthermore, coaxial 

technology utilises less 

front panel space than 

a comparable design 

featuring spaced drivers. 

That said, there can 

be drawbacks with 

conventional coaxial 

designs. For example, 

woofer cone movement 

can cause inter-modulation 

and Doppler distortion 

to the tweeter radiation. 

Also, most current woofertweeter 

constructions 

have inherent acoustic 

discontinuities that 

show as uneven on-axis 

HF response. These 

shortcomings will show 

up in certain applications that desire a high 

degree of accuracy. The common challenge for 

all coaxial designs is how to avoid the acoustical 

discontinuities and their effects on the response. 

The MDC Solution 

The Genelec MDC (Minimum Diffraction 

Coaxial) driver solution benefits from typical 

coaxial design advantages while also 

overcoming their shortcomings. This is done by 

The Genelec Minimum Diffraction 

Coaxial (MDC) driver. 

taking a simple approach: tackle the problem 

at its root. The main structure of the MDC 

tweeter mid-range consists of an integrated MF 

diaphragm-suspension tweeter. The visible part 

of the coaxial driver is formed by the curved 

flexible foam surface with the dome tweeter 

assembly at its centre. There is no conventional 

spider, and the suspension is made of foam 

over the entire cone. Inner 

and outer suspensions are 

dimensioned to eliminate 

possible nonlinearities 

and create a linear total 

suspension system. 

The 8260A combines 

for the first time a coaxial 

driver (MDC) within a 

modern waveguide (DCW), 

ensuring drivers to couple 

coherently over their full 

operating bandwidth as 

well as being a single MF/ 

HF coincident point source. 

The inner section joins the 

cone to the tweeter structure 

without any acoustical 

discontinuity and the outer 

one does the same between 

the cone and the driver 

chassis. In this way there 

are no acoustically observable discontinuities 

between the tweeter and the cone, and no 

diffraction either. The cone profile is optimised 

to form an integrated directivity control 

waveguide for tweeter radiation. This coaxial 

design provides improved imaging and overall 

sound quality both on and off axis, as well as an 

extremely smooth frequency response leading 

to outstanding clarity and definition of the inner 

details of the music being played. 


monitors 2011 

++ GENELEC++++GENELEC++++GENELEC++++GENELEC++++GENELEC++++GENELEC++++GENELEC++++ 

Genelec 8260A monitoring system in Belgian broadcaster VRT’s new premises. 

Enclosure Design 

The 8260A uses a die-cast aluminium enclosure 

for improved low frequency efficiency and 

volume control. The LF cut-off is 26Hz (-3dB). 

The curved surfaces are inherently 

rigid giving structural resonances at 

higher frequencies that are easily 

damped. Heat generated in the 

power amplifiers is also effectively 

conducted away for improved 

system reliability. The Iso-Pod 

vibration isolation stand stops whole 

enclosure vibration and allows 

vertical tilting to allow easy aiming 

at the listening position. 

DSP 

DSP (digital signal processing) allows 

for steep crossover filters with high 

stop band attenuation. The combination of the 

MDC coaxial mid-range tweeter driver, DCW, 

and MDE enclosure design are complemented 

by steep crossover filters to 

minimise co-radiation from any 

drivers within frequency range. In 

the 8260A it concerns only the 

woofer mid-range crossover where 

vertical directivity changes are 

small. The 8260A also features six 

fully configurable notch filters, as 

well as two high and low frequency 

shelving filters for room alignment 

and calibration. All have wide 

adjustment ranges. 

The DSP hardware is a true three-way 

design with the driver feed signals for tweeter, 

Back panel of the 

Genelec 8260A active 

monitor. 

With AutoCal, 

loudspeakers are 

automatically calibrated to 

the room environment. 

mid-range, and woofer all fed into their own DA 

converters, then to separate power amplifiers 

and finally onto each drive unit. The power 

amplifiers are physically integrated into the 

enclosure walls to enable very efficient 

heat transfer when the loudspeaker 

is heavily loaded. This ensures high 

system reliability in stressful operating 

conditions. 

GLM User Interface 

The GLM Software provides all the 

necessary means to set-up, calibrate, 

and control the system set up. It 

features a sophisticated graphical user 

interface and offers acoustic calibration 

and system alignment through the 

AutoCal function. GLM manages 

the 8260A like any other Genelec DSP 

loudspeaker, so it is possible to mix other DSP 

system speakers. This gives great freedom in 

designing system setups. 

Conclusion 

The 8260A represents a stunning 

technical design achievement. It is 

a masterpiece in electro-acoustic 

system thinking as all elements 

(mechanical, acoustical, and 

signal processing) are intimately 

linked together in a cohesive 

way. Combined with the DSP 

features the result is a loudspeaker 

that is capable of outstanding 

performance in a wide variety of challenging 

environments. 

Genelec 8260A – Specifications 

• 20-40000 Hz (-3dB), typically after 

AutoCal 

• 120 dB peak SPL per pair for music 

material 

• 10-inch woofer in a vented aluminum 

enclosure 

• 5-inch MF + ¾-inch HF Minimum 

Diffraction Coaxial (MDC) driver 

combined with an advanced Directivity 

Control Waveguide (DCW) 

• DSP crossovers, room response control 

Autocal, and network control GLM 

• 150W LF, 120W MF, and 120W HF 

amplifiers 

• H x W x D 593 x 358 x 344 mm, (23 

3/8-inch x 14 1/8-inch x 13 ½-inch) with 

Iso-Pod 

• 27.5 kg (60.5 lb) 


Genelec Oy 

Olvitie 5 

FI-74100 Iisalmi, Finland 

t +358 17 83881 

w www.genelec.com 

e genelec@genelec.com 


+++KRK++++KRK++++KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK+ 

Our Focus. 

Your Mix. 

KRK is driven by a design philosophy of accuracy, transparency, and flat response. Our products deliver 

on this promise through a combination of solid design and product innovation. KRK monitors are tools 

that are cherished by their owners as partners in crafting great music and mixes. 

Honest Voices. Straight Talk. 

A studio monitor is a tool used to aurally 

‘measure’ the changes in an audio path. 

Ask any seasoned recording professional what 

they think makes a great studio monitor and 

you’ll get basically the same answer: “Accuracy, 

transparency, flat response, and the truth.” 

In other words…honesty. Simply put, recording 

engineers want the electrical signal entering 

their monitor to be reproduced mechanically 

by the transducers and they want this to occur 

without any deviation or compromise to the 

original signal. Professionals depend upon their 

monitors to deliver their artistic vision in a way 

that will translate as accurately as possible to 

a variety of audio mediums. The following four 

music professionals have honed their craft of 

creating music and in turn they are offering their 

honest voices about studio monitors. 

Jacquire King – 

Record Producer/ 

Mixer/Engineer 

When something 

works, why switch? 

King is a 2009 

Record of the Year Grammy Award winner with 

Angelo Petraglia for the Kings of Leon’s Use 

Somebody. “For monitoring, I’ve used the KRK 

Rokit 5’s for a little more than four years. I was 

using NS-10s in the tracking studio at the time. 

I’d been looking for an alternative and soon 

after got a pair of the Rokit 5s. These monitors 

are true and consistent. They are not hyped 

sounding and make you work for a great result, 

which I like. They have plenty of bottom-end and 

when the mix is sounding huge on them then I 

know I’m finished.” 

Henri ‘MGI’ Lanz – 

Producer/Songwriter 

This Finnish born, 

25-year-old producer/ 

songwriter is a perfect 

example of a modern 

hit maker. MGI has produced and written songs 

for and with Akon, Sean Kingston, Timbaland, 

Pitbull, Justin Bieber, Jim Jonsin… and the list 

goes on. His productions include various Gold 

and Platinum selling records all over the world. 

“I’ve used KRKs for about two years now. 

When I first heard them, I really loved the way 

the VXT series sounded. No matter what the 

location is I need to be 100% sure how the mix 

is going to sound wherever I am.” 

Stuart Brawley 

– Producer/ 

Engineer 

Stuart is a 

gifted musician, 

arranger, and 

orchestrator, 

and prides himself on being a chameleon, 

comfortable working with rock bands like 

Aerosmith or classical singers like Josh Groban. 

His private recording studio is loaded with the 

latest digital recording technology along with 

an eclectic array of analogue modules and 

vintage instruments. Working in an acoustic 

environment that is less-than-perfect provides 

Stuart with added challenges. 

These deficiencies are overcome using KRK’s 

ERGO room correction. When working on 

projects with multiple producers and artists, 

Stuart says, 

“Everyone must 

be listening to 

the truth.” 

Rodney 

‘Darkchild’ 

Jerkins – Producer 

After 15 years in the business and a string of 

successes with artists like Lady Gaga, Beyoncé, 

Britney Spears and Mary J. Blige, Rodney 

‘Darkchild’ Jerkins is a voice of experience. 

A KRK user for almost a decade, his studios 

in L.A., New Jersey, Florida, and at his home 

all feature a mix of Expose, VXT, and Rokit 

monitors. “I look 

for something 

that’s tight, that’s 

punchy, that still 

has the low-end, 

but still has the 

pristine clarity up top. KRK is literally is the 

foundation of my sound.” 

The Popular Rokit Line Expands 

with the RP 10-3 Three-Way Mid-Field 

The Rokit RP10-3 is a mid-field three-way 

monitor system in a compact form factor 

and at a breakthrough price that delivers 

loud and accurate sound reproduction to 

satisfy professional needs. The RP10-3 

will suit commercial 

facilities as well as 

space and budget 

conscious private 

studios. The ‘prostudio’ 

appearance 

of this monitor will 

visually impress, and 

the high SPL output 

makes it capable of 

handling challenging 

high-dynamic tracks 

for all genres of music. 

As part of the KRK Rokit Series of monitors 

including the Rokit 5, 6, and 8, the Rokit 

10-3 adds true mid-field performance to 

give studios the creative edge. 

“With its unique rotatable tweeter/midrange 

speaker mount plate, high SPL 

capability, and sleek looks, the KRK Rokit 

RP10-3 will be undoubtedly be finding a 

home in a lot of good studios in the very 

near future.” 

dvMagazine 


monitors 2011 

+++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KRK++++ KR 

Subwoofers 

KRK powered subwoofers are the perfect choice 

when you need to hear what is happening in the 

depths of your mix. In a stereo configuration, the 

subwoofer will have to produce the bass normally 

generated by the monitors – that alone can 

exceed the headroom of an ordinary sub. 

In a surround sound configuration, the subwoofer 

has to reproduce all of the low-frequency 

information from five or more channels as well as 

the demanding bass content of the LFE channel. 

These challenging applications can place demands far 

exceeding the capabilities of normal low-frequency drivers and power 

amplifiers. This is where the performance of KRK family of subwoofers shines. 

“I’ve always loved having a sub to wow record companies 

or artists when playing back a song or mix. The truth is, 

most subs are only good for that purpose and are not 

accurate enough to work with when making a record. 

The KRK12s changed that. 

It’s very accurate and 

actually makes my Exposés 

sound even better!” 

Martin Harrington – 

Writer and Producer (Celine Dion, Kylie Minogue, 

Natalie Imbruglia) 

Exposé E8B 

Utilising state-of-the-art 

components to achieve 

a level of clarity and 

sonic accuracy that is 

unprecedented, the 

new Expose E8B is the 

flagship of KRK’s product 

line. With its stunning, 

highly functional 

enclosure featuring thick, 

non-parallel, internal walls that eliminate 

standing waves, and magnetic shielding for 

use in close proximity to video monitors, the 

Expose E8B elevates KRK’s reputation as a 

manufacturer of premium studio reference 

monitors to an entirely new level. 

“What KRK has created with the Exposé is 

now a safety net for my ears. I can create on 

the KRKs instead of the mains and not worry 

about my ears going bad – keeping me 

hotter for much longer as a producer. 

KRK is now the foundation of my sound.” 

Rodney ‘Darkchild’ Jerkins, Producer 

(Lady Gaga, Beyoncé, Britney Spears, 

Mary J. Blige) 

VXT Monitors 

Whether you are making critical mixing decisions or need to 

capture the stable nuances of a unique sound, you will quickly 

discover that the VXT Series is as precise about your work as you 

are. The VXT Series feature key design elements that continue 

to make the KRK sound a studio standard. The VXT Series have 

been designed to present the true nature of the audio material 

without colouration or enhancement. 

“I just love the overall sound. They’re clear, reliable, 

transparent, and consistent. I like to listen really loud and I 

love how the VXT8s are able to respond to the challenge. 

No matter where I am, I know exactly how my mix is going to 

sound when I get to work with the black and yellow!” 

Henri ‘MGI’ Lanz, Producer/Songwriter (Akon, Sean Kingston, Timbaland, Pitbull, 

Justin Bieber) 

At KRK, our focus is to develop studio solutions 

to help you create a great mix. KRK monitors 

and subwoofers are legendary. The ERGO room 

analysis and correction system is revolutionary. 

The KNS Headphone series is designed to 

provide what KRK has been delivering for 

25 years: sonic accuracy, transparency, and 

consistency. The signature yellow woofer of 

a KRK monitor tells the world that you and 

your monitor are true to the mix and true to 

your craft. KRK studio monitors enable you to 

confidently make the critical decisions that 

impact the music and audio program. 

Visit us at www.krksys.com to find out why 

our focus is your mix! 

® 


KRK Systems, Inc. – Europe 

382 Avenue de la Couronne 

1050 Brussels, Belgium 

t +32 2 645 05 00 

f +32 2 645 05 05 

e euroffice@stantoneurope.com 

Focusrite Audio Engineering Ltd. 

Windsor House Turnpike Road 

Cressex Business Park High Wycombe 

Bucks HP12 3FX UK 

t +44 (0) 1494 462246 

e sales@focusrite.com 

KRK Systems, Inc. – Corporate Offices 

772 S. Military Trail, Deerfield Beach, FL 33442 

t +1 954 949 9600 

f +1 954 949 9590 

e service@krksys.com 

w www.krksys.com 


+++PMC MONITORS++++PMC MONITORS++++PMC MONITORS++++ PMC MONITORS++++ PMC MONITO 

Ultimate Monitoring 

PMC monitor systems are in service with most of the 

world’s premiere music and film sound recording 

studios, broadcast companies, post production, and 

audio mastering facilities. 

PMC is a world-leading manufacturer of 

professional speaker systems, which has been 

setting the standards for monitoring for the 

past twenty years. The company’s first product, 

the BB5-A, an active monitor, was installed at 

the BBC Maida Vale studios and Metropolis 

Mastering. It remains the world’s reference and 

is used by Prince, Stevie Wonder’s Wonderland 

Studio, Hospital HDTV Broadcast, and classical 

labels like Decca and Harmonia Mundi. Many of 

the biggest movie themes have been recorded 

using PMC, and the company is one of the very 

few to have been awarded an Emmy® for its 

contribution to recording excellence. 

All of the company’s monitors, from the 

small DB1S+ to the flagship BB5 XBD-A, feature 

its unique Advanced Transmission Line (ATL) 

technology. This provides a near identical, high 

resolution, wide bandwidth signal response 

across the entire product range. 

Design Philosophy 

PMC’s philosophy for monitor 

design is simple: to design the 

ideal monitoring solution for 

all sizes of installation, with 

the highest resolution possible 

and without colouration and 

distortion. Extensive R&D 

in to the ATL and drive unit 

technology, coupled with the 

company’s close associations 

with leading engineers, 

enables the designs to keep 

up with the latest recording 

techniques and changing 

monitoring environments. All 

products are voiced identically 

and the balance is neutral 

and dynamic with wide 

dispersion, making image 

placement pin-point accurate 

over a huge listening window. 

BB5 XBD. 

The Correct Tool for the Job 

The DB1S+ is the latest incarnation of the 

world’s smallest transmission line design, with 

an effective line 

length of 1.5m 

in a tiny, heavily 

damped cabinet. 

It has outstanding 

dynamics, 

exceptional sound 

staging, and depth 

of bass that would 

suggest a much 

larger loudspeaker. 

Available as an 

DB1S-AII 

active version, 

the DB1S-AII, with PMC’s ultra clean DS-001 

amplifier, both models are ideal for situations 

where space is at a premium, but quality must 

not be compromised. 

Its larger brother, the TB2S-AII, also fitted 

with the DS-001, but with a larger 6.5-inch LF 

driver, has become a firm favourite with quality 

conscious broadcasters, post production, and 

smaller sized studios in either surround or stereo 

nearfield roles. 

The IB1S-A is an extremely flexible 

three-way monitor, 

which has proved 

hugely popular 

in Hollywood 

film scoring and 

post-production. 

It features wide 

dispersion, soft 

domed, mid and 

HF units, and the 

patented PMC 

10-inch carbon fibre and 

Nomex flat piston driver, 

which increases dynamic 

handling and eliminates 

distortion that can occur 

due to cone break up. 

IB1S. 

Advanced Transmission Line (ATL) 

The PMC ATL design has enormous benefits compared to sealed and ported models. 

The main driver is placed at one end of a long tunnel (the transmission line), which is heavily 

damped with PMC’s proprietary acoustic material, 

specified to absorb the upper bass frequencies radiating 

from the rear of the driver. The lowest frequencies 

emerge in phase from the large vent at the end of the 

line, effectively acting as a second driver. The air pressure 

behind the driver is maintained, controlling it in a vice-like 

grip over a wide frequency range, eradicating spurious 

cone movement that would lead to distortion. The upper 

bass and midrange is therefore entirely transparent, as it 

is not masked by harmonic distortion residing in the very 

low frequencies. ATL produces higher SPLs and deeper The Advanced Transmission Line. 

bass extension than any other design of a similar size. The frequency response also remains 

consistent regardless of volume. Neither late night listening, nor prolonged monitoring 

sessions have to be conducted at high volumes to achieve maximum bass response – 

ideal for the home studio and professional alike. 


monitors 2011 

RS++++ PMC MONITORS++++ PMC MONITORS++++ PMC MONITORS++++ PMC MONITORS++++ PMC M 

AML2 

The AML1 was acclaimed as one of the best compact active 

loudspeakers. The true analogue amplifier circuitry design offered 

unsurpassed performance via the custom PMC series flat Nomex 

6-inch LF driver and the ultra powerful 32mm HF with wide angle 

dispersion. 

The AML2 takes the design further with newly introduced micro 

engineered EQ tilt circuitry, enhanced power supplies, revised cabinet 

structure with additional damping, and subtly revised cosmetics. 

This no-compromise design offers performance that 

cannot be matched by any other speaker of a similar 

size and volume. The unique driver arrangement with 

a crossover point of only 1400Hz enables the AML to 

deliver astoundingly accurate portrayal of any music or 

speech. 

As legendary producer, T Bone Burnett said, “I love AML2. 

these speakers. The AML2s are incredibly useful small speakers with 

great depth, clarity and volume.” 

Don’t just take our word for it... 

No other loudspeaker manufacturer can boast 

a client list as long and distinguished as PMC. 

Here’s just a small selection of them: 

BBC Radio, London 

BBC Maida Vale, London 

Capital Records, Los Angeles 

Dolby Laboaratories, San Francisco 

Emil Berliner/Deutsche Grammophon, Berlin 

Final Stage Mastering, Nashville 

Hospital HDTV Broadcast Studios, London 

Metropolis Studios & Mastering, London 

NFL, USA 

Teldex, Berlin 

Universal Music Group, New York 

Brian May and MB1. 

Metropolis, London. 

And take a look at what some of them have to say: 

“Truly Another World”, Brian May, Queen (MB1s) 

“The MB1s have it all!” Paul Klingberd 

Maurice White (Earth Wind & Fire) 

“The BB5-XBD-A system is perfect for our needs.” 

Dave Hampton (Prince) 

“PMC were at the same time highly analytical for all kinds of 

music.” Tobias Lehmann, Teldex, Berlin (BB5 and MB2) 

IB2S-A and IB2S XBD-A 

The new cutting-edge digitally active 

reference loudspeakers, the IB2S-A and 

the twin-cabinet IB2S XBD-A, deliver the 

full-scale dynamics and no-compromise 

performance of the BB5 XBD-A, in a 

smaller package. 

With 1520 watts of PMC designed 

amplification and DSP control, 

the IB2S XBD-A features 

ATL technology, to produce 

low distortion bass output to 

below 20Hz. The XBD bass unit 

adds +3dB of LF headroom, 

for a smoother room response 

and the ability to drive larger 

environments. 

The IB2S XBD-A features IB2 

user adjustable HF and LF XBDS-A. 

shelving filters, per channel 

+/- 8dB input trim levels, an AES3 

digital input, and the ability to adjust 

the input sensitivity of the balanced 

analogue inputs. 

“The first mixes I heard on the AML2s revealed details that I had not heard before.” 

Mike Piersante (Elton John, Leon Russell) 

“We had the PMCs on approval but after only two weeks we were as convinced as our clients.” 

Goetz-Michael Rieth, Emil Berliner Studios (MB2 XBD-A) 

“They are f**king brilliant” Francis Rossi (Status Quo) (IB2S) 

The use of the Radial LF drivers heralds the 

introduction of the MB2S-A and BB5-A 

models. With the PMC 75 midrange, the 

12-inch LF equipped MB2S-A and 15- 

inch LF BB5-A are truly no compromise 

designs. Every element has been 

designed and manufactured purely for 

its performance and encompasses the 

smallest detail from individual cable 

choice through to hand selection of capacitors in 

the active crossover networks. 

Both the MB2S-A and BB5-A can be 

augmented with an additional matching 

LF unit in the XBD cabinet, to create the 

MB2S XBD-A or BB5 XBD-A. The latter can 

only be described as the “ultimate monitor” 

and is the reference, in use at many of the 

premier facilities across the world. 

PMC Ltd 

43-45 Crawley Green Road 

Luton, Bedfordshire LU20AA UK 

t +44 (0) 870 444 1044 

f +44 (0) 870 444 1045 

e sales@promonitor.co.uk 

w www.pmc-speakers.com 

Prism Media Products Inc. 

17971 Sky Park Circle Drive 

Suite GIrvine, California 92614 USA 

t +1 949 861 3350 

f +1 949 861 3352 

e sales@pmc-speakers.us 

w www.pmc-speakers.com 


+++SE MUNRO++++SE MUNRO++++SE MUNRO++++SE MUNRO++++SE MUNRO++++SE MUNRO++++SE M 

Egg 

The evolution of speakers. 

Andy Munro, Munro Acoustics 

A collaboration between Andy Munro and sE Electronics, the Egg is the 

world’s first Active Integrated Monitoring System (AIMS) – combining 

state of the art modelling technology to produce the perfect speaker 

chassis, with a fully integrated, custom built amplification system. 

“The Egg is a radically different concept in 

loudspeaker design. Although it has been known 

for many years that cabinet resonances and 

diffraction are the main causes of coloration in 

sound radiation, few manufacturers have been 

willing to address the difficulty of forming a rigid 

acoustic enclosure of such complex geometry. By 

removing step changes in radiation impedance 

and virtually all internal vibration modes. The 

Egg has no spectral distortion other than the 

drivers themselves. These have been chosen for 

the best possible performance in their class and 

exhaustive testing has proved their reliability 

and accuracy. 

The result is a stunningly accurate and truthful 

monitor speaker that is genuinely unique in both 

looks and accuracy, regardless of price comparison 

with much more expensive products. 

Electronically the Egg is equally impressive with 

true bi-amplification with linear power supply 

and full protection against overload and short 

circuits. The lack of distortion in high level 

transients and the uncompressed acoustic power 

will be a revelation to those used to typical small, 

active monitors. 

The crossovers are fully active and have been 

digitally modelled and matched to give near 

perfect phase and transient response. The result 

is a fast acting speaker that further enhances the 

impression of absolute accuracy. 

This means the sound can be unforgiving. Bad 

mixes will sound embarrassing and that won’t 

please everyone but those who want the truth 

will find it here.” 

Andy Munro 

Egg – The evolution of speakers 

The Egg is the world’s first Active Integrated 

Monitoring System (A.I.M.S) – combining state 

of the art modelling technology to produce the 

perfect speaker chassis, with a fully integrated, 

custom built amplification system unique to the 

speakers. Neither component may be matched 

to other speakers or amps as they are designed 

specifically to work in perfect balance with each 

other. 

The requirement to preserve the integrity of the 

speaker enclosure presented a number of key 

advantages in terms of flexibility and control, 

which the more traditional ‘amp in the box’ active 

monitors lack. 

1. Fine tuning of EQ from the amp means 

you don’t have to climb behind the monitors 

to make changes, so you can stay within the 

‘sweet spot’ and listen, live, to changes in set 

up as you make them. 

2. Unique to the Egg is its Mid-Band EQ. The 

sE10 switch enables the engineer to listen to 

a ruler- flat reference, a deliberately 

contoured ‘NS10’ type balance or a slightly 

more forgiving ‘smiley face’ response for 

HiFi emulation. 

3. Two pairs of inputs are provided with A/B 

switching between mix and playback sources 

as well as Master Volume and room related 

fine tune EQ. This allows the user to listen via 

a CD player, iPod etc direct into the Aux 

inputs without having to route through a 

mixer, and therefore without having to boot 

up and run an entire studio set-up just to listen 

to material. It also allows for mastered and unmastered 

material to be A/B’d, level matched, so 

that changes in the source material due to the 

mastering process can be easily heard. 

The Egg is fully bi-amped for maximum 

headroom and driver control. The power output 

devices are fully impedance matched to the 

speakers and unconditionally protected against 

cable malfunctions! LED indicators monitor and 

indicate when to stop turning up the volume! 

In short The Egg represents the culmination of 

a life-time of work from two of the Industry’s 

greatest designers. 

The result, the closest thing to perfect sound 

reproduction you may ever hear. 

18 MONITORING & HEADPHONES 2011 – PROMOTIONAL FEATURE

++++++HEADPHONE BUYER’S GUIDE++++HEADPHONE BUYER’S GUIDE++++HEADPHONE BUYER’S GU 

Headphone buyer’s guide 

Who knew there was so much to know? Here, Audio Media distills the heaphone world down to its 

essence and finds out what audio professionals really need to know before buying their next pair of cans. 

The first step towards choosing a pair is to 

identify the design features that best suit 

your needs. In an attempt to narrow any 

prospective search, we consulted 

with Sennheiser’s Axel Grell, and 

Audio-Technica’s Logan Helps to 

gain a balanced expert opinion on a 

few common considerations. 

Closed Back Or Open Back? 

Open backed headphones allow 

acoustical energy to leave the 

system through the back of 

each earpiece, which means 

less resonance and better sound 

quality than a closed system. 

Closed back headphones use 

materials to dampen that energy, 

which adds extra weight and 

impacts the nature of the sound. 

Open back headphones can 

also be less tiring for your ears, 

so are worth considering if you 

plan to use them for long periods. 

For these reasons, open back 

headphones are more commonly 

used for high end studio mixing. 

The disadvantage of open back headphones 

is the lack of isolation. You can hear whatever 

is happening around you, and others will hear 

whatever you’re listening to. A closed system 

typically provides isolation of around 30-40 dB. 

Conclusion: Open back for long periods where 

interference isn’t a concern, closed back if 

you need to compete with background noise. 

Circumaural Or Supra-Aural? 

Circumaural headphones have large ear pads 

with an elliptical cushion that circles the ear. 

Supra-aural headphones (like the ones that 

came bundled with personal stereos in the 80s) 

sit on top of your ears. 

Circumaural headphones should be more 

comfortable for extensive use, as the elliptical 

cushions contact each side of your head to 

remove pressure from your ears. These cushions 

can also provide extra isolation. 

Supra-aural headphones can be more 

convenient for location sound as they tend to 

be significantly smaller. It is also possible to play 

sounds more loudly through supra-aurals, as 

the acoustical volume being moved is smaller, 

resulting in higher sound pressure levels for the 

same amount of energy. 

“Closed back 

headphones 

use materials 

to dampen that 

energy, which 

adds extra weight 

and impacts the 

nature of the 

sound. ” 

Conclusion: Circumaural if you intend to 

use them for long periods; supra-aural if 

portability is a major concern. 

Heavy Or Lightweight? 

Our experts agreed that lightweight 

headphones were more comfortable, 

and therefore more desirable 

than heavy ones. Crucially, lower 

weight results in less pressure being 

applied to the user’s head and ears. 

They also agreed that the overall 

weight had no bearing on sound 

quality. The only exception was 

in the magnet system, which has 

to be the right size to provide 

sufficient power. 

Conclusion: Lightweight. 

Which Materials? 

Ideal materials for headphones 

are lightweight and non-resonant. 

Commonly used materials include 

magnesium, aluminium, and high 

tech plastics. 

For constructive 

parts, Axel Grell 

prefers a good plastic 

material. “Good means 

not a cheap ABS or 

something like that,” 

he explains. 

“Crucially, lower weight 

results in less pressure 

being applied to the 

user's head and ears. 

They also agreed that 

the overall weight had 

no bearing on sound 

quality.” 

“The better choice, 

from an acoustic 

point of view, is to 

use plastic materials 

that have an inner 

damping.” When 

metal parts are used, 

extra material is 

necessary to dampen 

resonance. “Plastic 

parts are more 

expensive,” 

he adds. “It takes really high tech plastic to get 

the same stability of the part as there would be 

with magnesium.” 

Conclusion: High tech plastic if you want 

lightweight headphones that sound good, 

metal if you like shiny things. 

Transducers 

By far the most commonly used transducer 

design is the dynamic, moving-coil, driver. 

These drivers use a stationary magnet and 

a wire voice coil to move a stiff diaphragm. 

However, within this design paradigm, several 

manufacturers have introduced their own 

design principles and proprietary elements. 

Logan Helps describes transducers as “the 

envelope that’s continually being pushed.” 

Axel Grell tells us that “there are different design 

principles, but they are not so very different.” 

Axel is in contact from time to time with 

colleagues at Beyerdynamic and AKG. “We have 

different philosophies, but we agree that the 

driver is the most important thing,” he explains. 

“We’ve all spent a lot of money on computer 

simulation models to improve the diaphragm, 

with different results.” 

Conclusion: You get what you pay for. 

Coping With Marketing 

As we all know from TV shampoo adverts, 

marketing places particular emphasis on certain 

keywords. In the case of headphones, 

these tend to (justifiably) revolve 

around transducer design; ‘computer 

optimised transducers’, ‘patented 

phase technology’, ‘optimised magnet 

systems’, etc. While these things are 

all great, they don’t tell us much 

other than that we should go out and 

buy them. The quality of any given 

headphone is certainly influenced by 

these things, but it also equally comes 

down to a multitude of less sexy 

factors that don’t lend themselves 

as well to buzzwords. Factors like the 

quality of the wire in the voice coil, 

and the kind of glue that’s used to 

attach the diaphragm. These kinds 

of details are less readily available, 

but will make a noticeable difference to 

sound reproduction. 

Conclusion: We hope that this guide will help 

to narrow your search. However, the best 

way to make a final decision is also the most 

obvious, listen to lots of different sets and 

see for yourself. ∫ 

20 THE HEADPHONE BUYER’S GUIDE

headphones 2011 

++++AKG++++AKG++++AKG++++ AKG++++ AKG++++ AKG++++ AKG++++ AKG++++ AKG++++ AKG++++ AK 

HARMAN’s AKG Raises 

Industry Headphone Standards 

AKG’s Quincy Jones Signature Line of professional-grade headphones 

provide clear, precise, and reliable sound from the street to the studio. 

With a rich history of providing professionalgrade, 

headphone solutions, HARMAN’s AKG has 

recently unveiled two lines of products, which 

underscore its leadership in the international 

markets of consumer and professional audio. 

The Quincy Jones Signature Line of personal 

headphones and the MKII Professional hi-fi 

studio headphones combine reliability, quality, 

and style for all ears. 

Created with Passion and Soul 

Working together with music 

legend Quincy Jones, AKG’s 

partnership with the 79-time 

GRAMMY® nominee and 27- 

time award winning producer 

has resulted in three models 

of premium headphones: the 

Q701 reference-class premium 

over-ears, the Q460 highperformance 

portable on-ear 

mini, and the Q350 in-ear 

headphones. Combining AKG’s 

highest standards of audio for 

the perfect sound, music lovers 

around the world can not only enjoy, 

but also truly experience the art of 

music as it was designed. 

“Music is so much more 

than notes on a sheet of paper,” 

Jones said. “When it’s created 

with passion, with soul, we get 

something that is greater than 

ourselves – and it can move us 

deeply. Throughout my entire 

career, I have trusted only AKG 

to deliver the highest standard 

of sound – the same standard 

I hold myself to when I make 

my music.” 

A share of the proceeds from 

every set of headphones sold 

in the Quincy Jones Signature 

Line by AKG will go toward the 

Quincy Jones Musiq Consortium, a foundation 

dedicated to making music education an 

ongoing part of the lives of American children. 

HARMAN’s AKG 

teams with Quincy 

Jones, producer 

of the best selling 

album and single of 

all time, Thriller and 

We Are the World, 

respectively, for a 

combined tribute to 

sound – the Quincy 

Jones Signature Line 

of Headphones. 

www.akg.com/Quincy. 

AKG’s K 271 MKII 

professional circumaural 

hi-fi stereo headphones, 

complete with a selfadjusting 

headband, 

patented Varimotion 

speakers, and high noise 

attenuation. 

All-Purpose Studio Applications 

On the professional level, AKG 

also offers its line of hi-fi stereo 

headphones, K 141 MKII, K 171 

MKII, K 240 MKII and K 271 MKII. 

From the DJ and broadcast booth, to 

the studio and on-stage applications, 

each set is perfectly designed to 

meet the high demand for efficient 

and reliable equipment in 

the high-energy fields of 

professional audio. 

With each model, users 

receive the ultimate comfort with 

a choice of interchangeable 

leatherette or velvet ear pads and a 

single-sided, detachable 3m cable 

and 5m coiled cable. 

The K 141 delivers higher 

sensitivity, dynamic range, and higher 

SPL, with an undistorted sound at high 

levels and lower impedance abilities to 

use with lower output devices such as 

computers. 

The K 171 offers a closed-back 

design and is ideal for DJ and broadcast 

applications, designed to prevent sound 

bleeding. It is ruggedly designed 

to handle the most demanding 

environments. 

The K 240 offers gold-plated plugs 

on its OFC cable, providing optimum 

sound for lower impedance and lower 

output audio, while the K 271 boasts a 

switch in the headband that mutes the 

audio as soon as the headphones are 

taken off. 

“HARMAN’s AKG has long worked to 

provide its customers the best solution 

in miking and head-worn applications, 

and each of the Quincy Jones and MKII 

headphones are another step to further 

build AKG’s reputation for quality and 

reliability,” stated Alfred Reinprecht, 

VP, Marketing and Product Development, AKG. 

“Whether dealing with the professional in a 

studio or a music fan with his MP3 player, AKG 

AKG’s friends include: 

Brooks & Dunn, Missy 

Elliot, The Faint, Jon 

Hiseman, Alejandro 

Sanz, Sepultura, 

Steve Stevens, Kanye 

West, Trey Songz, and 

other international 

superstars. 

continuously works to keep the 

customer ahead of the industry 

through its precise, leading 

technology.” 

HARMAN (www.harman.com) 

designs, manufactures, and 

markets a wide range of audio 

and infotainment solutions for 

the automotive, consumer, 

and professional markets – 

supported by 15 leading brands including AKG®, 

Harman Kardon®, Infinity®, JBL®, Lexicon® 

and Mark Levinson®. The Company is admired 

by audiophiles across multiple generations 

and supports leading professional entertainers 

and the venues where they perform. More than 

20 million automobiles on the road today are 

equipped with HARMAN audio and infotainment 

systems. HARMAN has a workforce of about 

11,800 people across the Americas, Europe, 

and Asia, and reported sales of $3.5 billion for 

the twelve months ended December 31, 2010. 

The Company’s shares are traded on the 

New York Stock Exchange under the symbol 

NYSE:HAR. 

AKG Acoustics GmbH 

Lembockgasse 21-25, A-1230 Vienna, Austria 

t +43 (0)1 86654-8800 

e sales@akg.com 

AKG 8500 Balboa Blvd. 

Northridge, CA 91329 

t +1 818 920 3212 

e akgusa@harman.com 

For a complete list of AKG distributors, please 

visit www.akg.com/distributors. 

MONITORING & HEADPHONES 2011 – PROMOTIONAL FEATURE 21


+++AUDIO-TECHNICA++++AUDIO-TECHNICA++++AUDIO-TECHNICA++++ AUDIO-TECHNICA++++ AUD 

Headphones For The World’s 

Most Demanding Ears 

With an established history as a leading headphone manufacturer, 

Audio-Technica’s current monitoring headphone range caters for professionals 

working in live, studio, and DJ settings at the highest level. 

Since 1962 Audio-Technica has devoted 

for demanding monitoring and mixing 

itself to the design and manufacture of 

environments, the M50 delivers exceptionally 

high performance, innovative audio 

accurate response with long-wearing 

equipment that sets quality and price/ 

listening comfort. Proprietary 45mm 

performance standards in live sound, 

drivers with neodymium magnets are 

broadcast, recording situations, 

employed for an extended frequency 

and more. Well-known for its 

response and detailed bass sound. 

comprehensive range of stage and 

High SPL handling is another of the 

studio microphones, the company 

M50’s benefits, ensuring plenty of 

also produces professional 

headroom no matter what material 

monitoring headphones used by 

they are used to track or mix. 

producers and engineers including 

With comfort of equal 

Frank Filipetti, Al Schmitt, 

importance to professional 

Andy Hawkins and Guy Fletcher, 

users, the M50’s circumaural 

and with artists as diverse as Mark 

earpieces are luxuriously padded 

Knopfler, the Pigeon Detectives, 

(also creating an outstanding seal 

and Opeth. 

against environmental noise), as is the 

adjustable headband. 

Audio-Technica’s ATH-M50, relied 

Live And Studio Music 

on by Grammy Award winners 

The earpieces also 

Production 

Massenburg, Cherney, and Filipetti. 

swivel for easy one-ear 

The company’s flagship 

monitoring, and the 

ATH-M50 headphones typify Audio-Technica’s 

headphones feature a collapsible 

dedication to great-sounding, highly functional 

design for easy storage and portability. 

headphone products. Designed specifically 

The affordable ATH-M35 is 

another highlight in Audio- 

The Producer’s Take 

Audio-Technica’s ATH-M50 headphones 

have found favour with some of the world’s 

finest engineers and producers. Among its 

fans are Grammy award winners George 

Massenburg (James Taylor, Linda Ronstadt, 

Earth, Wind and Fire) and Ed Cherney 

(Rolling Stones, Bryan Adams, Eric Clapton). 

Of the M50s Massenburg says, 

“Audio-Technica has raised the bar once 

again – these headphones are by far the 

favourite in our studio”, while Cheney reveals 

that, “Since I got my M50s I actually enjoy 

mixing and referencing on headphones. 

They are now an integral part of my process. 

They absolutely translate with my speakers, 

but most importantly they translate to the 

outside world.” 

Technica’s pro headphone 

range, created for field recording 

and studio work. Here, 40mm 

drivers form the heart of the 

M35 earpiece, providing perfectly 

balanced tone and impressive power 

handling. Like the top-end M50, the M35’s 

folding design makes them the perfect partner 

for use in the studio and on the road. Despite 

their affordable price point, the M35 gives little 

away in terms of premium quality componentry 

and is supplied with a single-sided cable of 

ultra-flexible Litz wire and a gold-plated stereo 

1/8-inch connector with strain-relief spring. 

In The DJ Booth 

Professionals working in live DJ situations 

are also well catered for in the current Audio- 

Technica range. Both the ATH-PRO700 Mk2 and 

ATH-PRO5 Mk2 are updated versions of popular 

Audio-Technica models, introduced in 2011 with 

new features resulting from feedback from users. 

The high-performing PRO700 Mk2 now 

benefits from larger 53mm drivers designed 

exclusively for the model which, in conjunction 

with an impressive 3,500mW of handling power 

and 5-35,000Hz frequency response, make 

the upgraded headphones ideal for immersive 

listening in loud environments. In line with their 

DJ-oriented design, the PRO700 Mk2 earpieces 

swivel between 50 and 90 degrees for one-ear 

operation, and the newly updated model is 

supplied with two detachable cords (coiled and 

straight) for flexibility and user serviceability in 

the field. 

Larger drivers are also part of the PRO5 

Mk2’s feature list – the new version 

has 44mm types that offer excellent 

clarity with rich bass and outstanding 

vocal projection. The very high 

SPL capability delivered by the 

headphones is of key importance to 

DJs, as are their rotating circumaural 

earpieces. The earpiece design 

ensures accurate monitoring and 

isolation from room noise during sets, 

and one-ear use when required. 

Audio-Technica Limited (UK) 

Technica House, Royal London Industrial Estate 

Old Lane, Leeds, LS11 8AG, UK 

t +44 (0) 113 277 1441 

e sales@audio-technica.co.uk 

w www.audio-technica.com 

Audio-Technica U.S., Inc. 

1221 Commerce Drive 

Stow, Ohio 44224 1760 

t +1 330 686 2600 

The newly updated ATH-PRO700Mk2 

features bigger drivers and 

detachable cable. 



+++++BEYERDYNAMIC++++BEYERDYNAMIC++++BEYERDYNAMIC++++ BEYERDYNAMIC++++ BEYERDYN 

Optimal Sound As 

The Measurement Of All Things 

Since the Eugen Beyer electrical engineering factory was founded in 1924, beyerdynamic has been 

synonymous with German-made applied high technology in the professional audio electronics sector. 

More than 86 years later, beyerdynamic still develops and handcrafts premium headphones and 

headsets in Germany. Each of them evidences true passion and know-how for an outstanding sound 

experience. The latest innovations include Tesla technology drivers and the Headzone PRO XT 5.1 

headphone monitoring system. 

Standard Setting Headphones 

from beyerdynamic 

beyerdynamic was a headphone pioneer 

from the very beginning. Milestones in 

beyerdynamic’s history are reference products 

for professional use to this day. Professional 

studio headphones must feature one thing 

above all: excellent sound. Even the finest 

nuances in the overall spectrum must be audible. 

Decades of independent tests from trade 

magazines and user evaluations around the 

world testify to the excellent sound quality and 

top detail results of beyerdynamic headphones. 

Headband constructions and easy-to-replace ear 

pads guarantee the maximum wearing comfort 

needed for daily use. 

DT 770 PRO 

Reference 

Studio 

Headphones 

The closed 

DT 770 PROs 

(available 

with 80 

or 250Ω systems) are surely one of the most 

popular headphones in studios around the 

world. They convince with their natural and 

well-balanced sound characteristics: a bass 

reflex system for deep and true bass response, 

extremely detailed high and mid-range 

reproduction, and an extended frequency 

response (5-35,000 Hz). Sibling products are 

the DT 880 PRO (semi-open) and the DT 990 

PRO (open) headphones. 

DT 1350 

High Output, 

Analytical, Robust, 

Comfortable, Stylish 

Handcrafted in 

Germany, the 

DT 1350 is the 

first professional 

monitoring 

headphone in beyerdynamic’s new generation 

of headphones featuring the Tesla technology. 

A maximum sound pressure level (129dB 

SPL max) and a high ambient noise reduction 

mean the headphones perform well even in 

noisy environments. 

The functional and stylish design uses high 

quality materials to create headphones that 

are both easy to use and extremely durable. 

Tesla Technology 

The completely re-engineered Tesla sound transducers 

(used in different beyerdynamic models like the DT 

1350, the T1, and the T5p) help achieve almost lossless 

magnetic flux. This is made possible by the brand new 

system geometry, which allows the transfer of magnetic 

force to the voice coil to be as efficient as possible. 

Traditional dynamic systems use a neodymium magnet 

at the centre of the system, the size of which was inevitably limited by the size of the voice coil. 

The Tesla principle sees the magnet mounted as a ring around the coil, allowing more energy 

to be directed to the membrane, which is where it is actually required. 

The exceptionally pure sound produced by our Tesla systems is the result of the close 

attention to countless small details. Especially noteworthy is the ring-shaped 

magnet, which allows our engineers to place a drill-hole directly 

behind the centre of the membrane in order to minimise disruptive 

resonances. The use of a special, multi-layer membrane effectively 

suppresses unwanted partial vibrations and resultant distortion. 

Another special feature of the Tesla systems is their full-metal design. 

This prevents any uncontrolled resonances in any part of the casing, 

which might in turn distort the sound. 

beyerdynamic GmbH & Co. KG (HQ) 

Theresienstrasse 8, 74072 Heilbronn, Germany 

t +49 7131 617 440 

w www.beyerdynamic.com 

US distribution: American Music & Sound 

22020 Clarendon St, Suite 305 

Woodland Hills, CA 91367, USA 

t +1 800 431 2609 

w www.americanmusicandsound.com 

UK distribution: Polar Audio UK Ltd. 

17 Albert Dr, Burgess Hill, West Sussex RH15 9TN, UK 

t +44 (0) 1444 258258 

w www.polaraudio.co.uk 



+++KRK SYSTEMS++++KRK SYSTEMS++++KRK SYSTEMS++++ KRK SYSTEMS++++ KRK SYSTEMS++++ KR 

Headphones for Educated Ears 

The KNS Series of Headphones from KRK 

At KRK, our focus is to 

develop studio solutions 

to help you create 

a great mix. 

KRK monitors and 

subwoofers are 

legendary. The ERGO 

“Expect excellent isolation from the 

KNS 6400 closed-back earcups for 

superb listening privacy in any setting and 

zero leakage into the mic during recording 

or vocal work. Highly recommended, wellpriced 

headphone for recordists, mixers, 

and personal monitoring of all music genres. 

The KNS-8400’s offer nuanced tonal 

balance and clear timbral transparency at all 

frequencies. Low-end bass response is robust 

and full but with controlled impact while the 

uppermost highs remain present and brilliant 

without glare or screech.” 

Headphone.com 

“The lack of high-end hype is appreciated 

for long or loud tracking sessions, and the 

bottom end is slightly plump without 

being too ‘poofy’ or having ‘one 

note bass’ syndrome. 

Their clarity, isolation, 

low weight, fold-ability, 

and comfortable ear pads 

make an ideal headphone 

experience.” 

Pro Audio Review 

“For people who feel that 

headphones isolate the two sides of the 

stereo image unrealistically, the KRKs will 

be something of a revelation. Both phones 

are incredibly light – 7.4 and eight ounces 

– and this light weight greatly extended 

the comfortable listening period. These 

headphones provide a noticeably different 

listening and soundstaging experience than 

other headphones in their class, one that’s 

likely to win over musicians from some other 

headphones costing much more.” 

Recording Magazine 

room analysis and correction system is 

revolutionary. Now you can enjoy the same 

KRK engineering and innovation when using 

headphones. The KNS series are designed 

to provide what KRK has been delivering for 

25 years: sonic accuracy, transparency, and 

consistency. And, with KRK you are assured that 

“The first thing I want to know is whether 

the low frequencies are there. Does it feel like 

the Expose monitors? And it totally does, the 

comfort is incredible. They are lightweight 

– not these big, old heavy headphones 

that you feel like you want to take off after 

wearing them for five minutes. Now when I 

take my mixes home or when I’m travelling, 

I can plug my KRK headphones into my 

laptop and feel like I’m still in the studio. 

That’s important when you’re making hits 

for the radio; you have to be spot on.” 

Rodney “Darkchild” Jerkins, Producer (Lady 

Gaga, Beyoncé, Britney Spears, Mary J. Blige) 

“When its past 10pm and the kids are 

sleeping and you need to get this one more 

mix finished, and you have to change 

from your speakers to your 

headphones, you’re not losing 

anything. In a studio situation 

you’re wearing headphones 

for 12 hours, 14 hours, 16 

hours. They’ve got to be 

comfortable. They’ve got to 

be closed back because you’re 

going to record with them. 

They’ve got to have a long cable 

with a volume control on the cable that’s 

convenient. These have them. That’s great. 

A pair of headphones that gives you a really 

honest representation of what’s going on, 

they can be invaluable, and it’s probably the 

cheapest thing you’ll buy for your studio. 

Most headphones make you happy, these 

headphones might make you sad if your 

mixes aren’t good – and that’s what I want 

my clients to have, I don’t want them to be 

fooled into thinking their mixes are great!” 

Stephen Marsh (Mastering Engineer) 

what you hear is true, whether 

the source is on the console or on 

your head! 

KRK Headphones provide a 

precise listening experience that 

takes you from personal studio 

to commercial studio to go track evaluations – and they 

allow you to evaluate and enjoy your 

music with the consistent voicing philosophy 

on-the- 

and honest reproduction top producers, studio 

musicians, performers, and engineers have come 

to trust. KRK headphones provide incredibly 

natural frequency response that gives you a 

reference standard unaffected by your location. 

Day or night. Studio or home. Without disturbing 

others. Without compromising your tracks. 

Whether you are listening to some tracks, 

or tracking your next recording, the KNS 

series gives you the famous KRK sound in 

an extraordinarily comfortable closed-back 

around-the-ear design with highly isolated 

surround pads. Having ‘One Voice’ that 

consistently gives you accurate reproduction 

of your music or mix will help you achieve just 

what the artist intended – especially when 

the artist is you. 

® 

KRK Systems, Inc. – Europe 

382 Avenue de la Couronne 

1050 Brussels, Belgium 

t +32 2 645 05 00 

f +32 2 645 05 05 

e euroffice@stantoneurope.com 

Focusrite Audio Engineering LTD. 

Windsor House Turnpike Road 

Cressex Business Park High Wycombe 

Bucks HP12 3FX UK 

t +44 (0) 1494 462 246 

e sales@focusrite.com 

KRK Systems, Inc. – Corporate Offices 

772 S. Military Trail, Deerfield Beach, FL 33442 

t +1 954 949 9600 

f +1 954 949 9590 

e service@krksys.com 

w www.krksys.com 



+++++SENNHEISER++++SENNHEISER++++SENNHEISER++++ SENNHEISER++++ SENNHEISER++++ SEN 

Sennheiser Monitoring Headphones – 

Innovation and Expertise Combined 

microphones 2009 

After more than half a century of innovation, Sennheiser continues to push the boundaries of what 

headphone technology is capable of delivering. 

For more than 60 years, Sennheiser microphones 

and headphones have consistently offered the 

very best in audio performance. The company’s 

products are trusted by professionals worldwide 

The HD 380 Pro provides excellent passive 

attenuation of ambient noise and an extended 

frequency response of 8-27,000Hz, utilising 

Sennheiser’s Eargonomic Acoustic Refinement 

and are used on a daily basis on live stages, 

The (E.A.R) 

Portfolio 

design, which channels the audio signal 

by DJs and in studios. The name Sennheiser evolution Microphonesdirectly into the user’s microphones ears. is that, although the capsule is 

The evolution series of microphones was 

grounded, they possess a genuine fully floating, 

is synonymous with the highest audio quality, Both models provide accurate sound 

created to provide a complete microphone setup 

for of vocals and the entire reproduction backline. Designed for all transformer. kinds of The demanding latest models in use, this line are 

balanced output without the need to use a 

and the company delivers a diverse range 

monitor headphones to suit a comprehensive 

according to the needs 

while 

of singers 

the 

and 

lightweight 

musicians, the 

and 

MKH 8020 

secure-fit 

(omni), MKH 

design 

8040 (cardioid), 

the evolution line comprises evolution 600 and MKH 8050 (super-cardioid). 

range of applications. 

Series instrument microphones, 

offers a 

evolution 

very comfortable, 

800 

long-duration 

Series vocal microphones, listening and the top-of-therange 

Wireless Microphone Systems 

experience. 

900 Series with such acclaimed models as Sennheiser enjoys an excellent reputation in 

HD 25-1 II 

the e 935 dynamic vocal mic and the e 965 largediaphragm, 

the field of large multi-channel RF wireless 

The closed-back 

true condenser HD microphone. 25-SP II 

systems. Thanks to the exacting specifications 

and outstanding RF properties of Sennheiser’s 

HD 25-1 II is 

The HD 25-SP II are closed-back, dynamic 

The MD Range of Dynamic Microphones 

wireless technology, users were able to create 

probably the 

Sennheiser’s rugged dynamic headphones microphones for monitoring, systems with more recording, than 140 microphone and 

include such all-time classics as the MD 21 (in channels operating simultaneously. The top-of- 

the-range 3000 and 5000 Series include such 

most widely used 

outdoor applications. A lower-cost alternative to 

the portfolio since 1953), MD 421 (since 1960), 

headphone from 

the Sennheiser 

range by both live 

and MD 441 (since 1971), the but HD also reporters’ 25-1 II, featuring industry standards a simpler as the headband 

SKM 5200 handheld 

microphones like the MD 42 and MD 46. All of transmitter, SK 5212 bodypack transmitter, and 

and slightly different capsule design, several 

these models are extremely rugged and easy the EM 3732 twin receiver. A new entry series 

to use. high-end features of for the Sennheiser’s more professional expensive segment, model the 2000 

Series, offers Sennheiser’s renowned audio and 

sound engineers and 

are included, for example neodymium ferrous 

The MKE/ME Range of Permanently Polarised RF quality at a very attractive price point. 

DJs. Offering high attenuation of background Condenser Microphones… magnet systems, lightweight For more than aluminium/copper 

one million users worldwide, 

…contains everything from professional subminiature 

clip-on microphones for use with 

noise, they perform exceptionally well in 

voice coils, a tough, the detachable evolution wireless OFC Series cable, is their high no.1 

choice for stage and live use. Whether wireless 

challenging environments – for example Sennheiser’s ENG, world-renowned maximum RF wireless sound pressure level, and a very 

instrument mics or acclaimed vocal models 

technology to headset microphones and small 

sound reinforcement, studio monitoring, and lightweight and comfortable – this series contains design. wireless solutions 

camcorder microphones. Examples include the 

for almost every application. In April 2009, 

audio equipment testing – and are capable legendary of MKE 2, the award-winning HSP 2 and 

Sennheiser launched the third generation of 

delivering very high sound pressure levels. 

HSP 4 headset microphones, 

HD 800 

and the MKE 400 

its most successful wireless series, with a 

camcorder microphone. With the K6 Series, the 

whole range of exciting extras to offer upand-coming 

bands, established performers, 

Their lightweight construction and comfortable 

user can tailor the microphone 

Incorporating 

to the recording 

design means they are suitable for long situation periods by adding ME Sennheiser’s 

microphone heads of 

presenters, musicians, reporting teams, 

varying directivity (from omni to shotgun) to 

and PA companies outstanding quality at 

of use, yet they are also extremely robust for most advanced 

the basic power module. 

attractive evolution prices. 

coping with the rigours of touring life. Featuring driver 

MKH Microphones 

Digital Microphones… 

a tough, detachable steel cable, Neodymium technology, 

The choice for recording, broadcast, and filming 

…are the youngest members in the Sennheiser 

ferrous magnet systems, lightweight aluminium/ 

specialists, Sennheiser’s the MKH HD microphones 800 are 

microphone family. A digital module, the 

a sophisticated class of condenser microphones. 

copper voice coil, and a rotatable capsule for open-back, 

MZD 8000 (available from summer 2009), 

They operate according to the RF principle and 

turns the renowned MKH 8000 series into 

one-ear listening, the HD 25-1 II has a use 70Ω a unique symmetrical circumaural 

push-pull transducer. 

digital microphones. Perfectly matched to the 

The result of this balanced design is an 

nominal impedance for universal compatibility. dynamic stereo MKH microphone heads, the module directly 

unchanging acoustic impedance, extremely low 

‘translates’ the clear, warm, and responsive 

distortion figures, a higher headphones 

capsule output with 

sound of the microphones into the digital world, 

HD 280 Pro and HD 380 Pro 

much lower noise, and thus a very clear signal. 

redefine the 

avoiding the losses or signal disruptions to 

A closed-back, 

circumaural 

Moreover, these microphones are uniquely 

which cables are prone. The microphones can 

insensitive to unfavourable standard climatic conditions, of reference-level audio. 

be remotely controlled, allowing parameter 

have a wide dynamic range The and reference-grade an excellent low 

settings audio such performance as the low-cut filter is and 

frequency response even with small capsules. 

attenuation to be adjusted via an AES 42 

headphone designed 

matched by a striking design. The ring-shaped 

A further benefit of RF condenser 

interface and a PC. 

for professional 

transducer is encased by a precision material 

monitoring, the 

HD 280 Pro is suitable 

for a very wide range 

of applications. 

The exceptional 32dB attenuation of external 

noise makes it particularly suitable for use in 

high-noise environments. 

made of stainless steel, while the ear pads are 

handcrafted from a high-quality microfibre fabric 

that is extremely comfortable to wear and easy 

to maintain. Featuring a specially-designed, 

four-wire, high-performance cable with Teflon 

insulation, the HD 800 delivers the ultimate in 

both audio and aesthetic performance. 

HD 650 

The audiophile HD 650s were developed from 

the award-winning HD 600 and feature 

improved materials for even better sound 

reproduction. Key features of these highend 

headphones include highly optimised 

magnet systems for minimum harmonic 

and intermodulation distortion, lightweight 

aluminium voice coils to ensure excellent 

transient response, and a specially developed 

damping element, made from fine acoustic 

metal mesh, which guarantees a precise 

damping over the entire diaphragm surface 

and ensures consistency in all climates. 

SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNHEISER+ + + + SENNH 

Specialists 

From the past – the MD 2… 

HD 600 

The ideal choice for professional engineers 

recording classical music, the HD 600s deliver 

exceptionally natural, spatial and accurate 

sound, with an advanced diaphragm design that 

eliminates standing waves in the diaphragm 

material. Other features include computeroptimised 

neodymium ferrous magnet systems 

for optimum sensitivity, a wide dynamic range, 

and minimised harmonic and intermodulation 

distortion. Lightweight aluminium voice coils 

ensure excellent transient response, while highquality, 

open metal mesh earpiece covers result 

in an …to the extremely present – the SKM transparent 5200 sound. 

with MD 5235 microphone head. 

Sennheiser electronic GmbH & Co. KG 

SENNHEISER 

Sennheiser Am Labor electronic 1 GmbH & Co. KG 

Am Labor 1 

30900 Wedemark 

30900 Wedemark 

Germany 

t +49 +49 (0) 5130 (5130) 6000 600 0 

f +49 (0) 600 300 

+49 (5130) 600 300 

e info@sennheiser.com 

w www.sennheiser.com 

A complete list of Sennheiser subsidiaries and 

partners around the globe can be found at 

www.sennheiser.com. 

Sennheiser U.K Ltd 

3 Century Point 

THE INTERNATIONAL MICROPHONE BUYER’S GUIDE 21 

Halifax Road 

High Wycombe 

Bucks HP12 3SL 

t +44 (0) 1494 551551 

f +44 (0) 1494 551550 

w www.sennheiser.co.uk 



+++SHURE++++SHURE++++SHURE++++ SHURE++++ SHURE++++ SHURE++++ SHURE++++ SHURE++++ S 

Shure SRH Series 

Headphones 

Shure’s SRH Series of studio referencing headphones offer 

monitoring solutions for a wide range of potential users, from 

the home/project studio engineer, to the recording engineer, all 

the way up to the studio professional. 

SRH440 

The SRH440 headphones are 

designed for recording and 

monitoring in the comfort 

of your home studio. 

Power handling, sensitivity, 

background noise, and an adjustable 

headband and collapsible construction 

provides extra comfort and portability. 

The SRH440s are Shure’s entry-level 

professional studio referencing 

headphones, priced at £109.99. 

and impedance have all 

been optimised to achieve 

high quality performance 

with pro-audio devices 

such as mixing consoles, 

DJ mixers, and headphone 

amplifiers. Features include 

a dynamic, neodymiummagnet 

transducer, a 

40mm driver, 105dB SPL/ 

mW sensitivity, a maximum 

input power of 500mW, and 

an enhanced frequency response designed 

to deliver accurate audio over a 10Hz-22kHz 

SRH440 

SRH840 

The next step-up in the SRH Series 

are the SRH840 headphones, 

which are designed for 

professional audio engineers and 

serious musicians in applications 

such as studio recording and 

critical listening. The SRH840s 

have the same closed-back, 

circumaural design as the SRH440s, 

and include a wide, padded headband 

designed to provide an ergonomic fit for 

superior comfort over extended periods. 

frequency range. A closed-back, circumaural 

design rests 

comfortably 

over the ears 

and reduces 

They have a precisely tailored frequency 

response to deliver rich bass, clear mid-range, 

and extended highs, and a collapsible design 

provides easy storage and portability, with the 

included carrying bag giving the headphones 

protection. Features include a dynamic, 

neodymium-magnet transducer, a 40mm driver, 

102dB SPL/mW sensitivity, a maximum input 

power of 1000mW, and a wide frequency range 

of 5Hz-25kHz. The SRH840s are priced 

at £199.99. 

(straight and coiled) and a replacement set of 

velour ear pads, ensuring a long-lasting lifetime 

of use; and feature the same closed-back, 

circumaural design as the rest of the models in 

the range resting comfortably over the ears and 

reducing background noise, plus a zippered hard 

case which offers complete protection when not 

in use. The SRH940s will be priced at £249.99. 

SRH940 

SRH840 

SRH940 

At the top of the SRH Series sit the SRH940 

headphones, which are due to be released in 

June this year. These headphones are designed 

for professional audio engineers and studio 

professionals, and provide accurate response 

across the entire audio spectrum to deliver 

smooth high-end extension with tight bass. 

They will come with two detachable cables 


Shure Distribution UK 

Unit 2, The IO Centre Lea Road, Waltham 

Abbey Essex, EN9 1AS 

t +44 (0) 1992 703058 

f +44 (0) 1992 703057 

e info@shuredistribution.co.uk 

w www.shure.co.uk 



+++++ULTRASONE++++ULTRASONE++++ULTRASONE++++ ULTRASONE++++ ULTRASONE++++ ULTRASO 

First Choice For 

Professionals 

Specialist In Headphones 

Ultrasone, founded in 1991, is located close 

to the Alps in South Germany and specialises 

in headphones. Day-to-day commitment 

leads to explicit expert knowledge and makes 

Ultrasone one of the leading developers and 

manufacturers of headphones throughout the 

world. Constant development leads to high 

quality pro headphones equipped with the latest 

technologies and beneficial accessories. 

Ultrasone’s Technologies Are Unique 

Ultrasone invented the inimitable S-Logic 

Natural Surround Sound and Ultra Low 

Emission technologies, thus integrating safer 

hearing aspects without neglecting the latest 

technologies. The consideration of all these 

aspects is fundamental for modern headphones. 

S-Logic Technology 

Unique? Yes! Revolutionary? Definitely! 

The patented S-Logic technology is described 

as ‘Natural Surround Sound System’. No other 

digital surround system can compare with this 

standard. The sound of normal headphones 

will sound direct and even on both sides, while 

the S-Logic system pushes sound around your 

head. It appears as though you are listening to 

speakers metres away. Even at very low levels, 

this spacious sound allows you to hear and listen 

to each and every individual sound. And on 

top of that, the S-Logic technology does not 

require additional 

equipment! 

How does 

S-Logic work? 

S-Logic sends 

music around 

your head, 

not just into it, because this technology uses 

decentralised driver positioning. Did you know 

that you use and need the outer ear for your 

three-dimensional understanding to define the 

direction and distance of where a sound comes 

from? Instead of hitting the inner ear directly, 

with S-Logic the signals are reflected off the 

surface of the outer ear in different directions 

before entering the auditory canal, to create a 

natural three-dimensional sound. S-Logic is the 

only headphone system that includes your entire 

sense of hearing. S-Logic does not change your 

personal hearing, but it intensifies it for your 

individual needs and listening pleasure. 

S-Logic doesn’t need artificial echo, digital 

sound processing, or cross over run time delay. 

You can hear the sound just the way the sound 

engineer has mastered it. 

Ultrasone’s ULE-Technology 

Most headphone drivers produce low-frequency 

magnetic fields as they convert an electrical 

signal into the acoustical signal that we hear 

as music. Ultrasone has developed a special 

MU-Metal shielding that we call ULE (for Ultra 

Low Emissions) to reduce this radiation by up to 

98%, compared to conventional headphones. 

This technology has withstood the test of 

international review and is recommended by 

technical surveillance organisations. 

Ultrasone originally developed 

ULE-technology for 

professionals, since they 

spend half of their lives 

in headphones. 

Safer Hearing 

S-Logic allows at the same time 

a reduction of sound pressure 

levels at the eardrum by up to 

40% (3-4dB). 

This may reduce the risk of hearing 

damage while ensuring hours of fatiguefree 

listening. 

Professional 

Sound Quality 

& Accessories 

The highest 

sound quality is 

guaranteed due 

to high profile 

technologies 

and high-class 

materials. 

Naturally, 

Ultrasone 

headphones offer 

accessories desired 

by professionals 

to support dayto-day 

needs in 

the studio or on 

the road. 

The headphones 

are placed in a safe 

transportation 

box together with 

accessories such as extra 

detachable cable and 

extra earpads. 

THE headphone company 

Take a closer look at our website. The options are 

yours to explore. If you have any questions, please 

feel free to contact the Ultrasone team any time. 

Ultrasone 

w www.ultrasone.com 

e Infodesk@ultrasone.com 

MONITORING & HEADPHONES 2011 – PROMOTIONAL FEATURE 

27

FAST, ACCURATE, DETAILED 

BESPOKE E.A.R. DISCRETE CLASS A/B AMPLIFIER | CLOSED CABINET DESIGN 

Corian Front Baffle | 50kHz folded ribbon tweeter | Brutally Honest 

“A very revealing monitor that’s hugely informative about the mix and very easy to work with, 

even on long sessions” Hugh Robjohns – Sound On Sound 

For more information call Unity Audio on 01440 785843 

f: 01440 785845 e: sales unityaudio.co.uk www.unityaudio.co.uk

Sonnox - Audio Media

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