Audio Media International January 2015

January 2015 www.audiomediainternational.com

International

TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

LIVE FOCUSSound Services on the acclaimed Hydra series p24

STUDIO PROFILESawmills celebrates 40 years of success p26

REVIEWSennheisers Esfera system p38

Meeting the demand for ever-more challenging installations p28

AUDIO IN EXTREMIS

For informationand your FREE

Exhibits-only Pass

Conference: April 11-16, 2015 Exhibits: April 13-16

See pages 22-23

www.audiomediainternational.com

January 2015 3

What better way to begin the New Year than with a fresh start? Its that time again, when people all over the world and many of you, I imagine will have promised to quit smoking, or get down the gym more, or whatever your personal pledge may be, in order to kick o 2015 as positively as possible.

The New Year is a time for change, and so it just seemed right to make this the month we launch our rst ever issue of Audio Media International something that weve been planning for quite a while.

Bringing together Audio Media and Audio Pro International wasnt an easy decision to make, but it is certainly one that Im glad we made, and if all the messages of support and encouragement are anything to go by, it seems Im not alone.

Merging the two titles hasnt just led to a wider reach for the magazine; its allowed us to combine the best features of AM and API. Those of you who looked forward to your monthly editions of Audio Media will notice similarities with the layout of AMI but with a rather snazzy makeover I have to say and Im sure Audio Pro International subscribers will welcome the arrival of a brand new responsive website to help us maintain and grow the vast following we had built up over the past decade, as well as a new-look daily e-newsletter.

As this is a publication for the pro-audio end user, I want to be able to involve you, the readers, in the development of Audio Media International. Thought of a techy topic that is crying out for coverage in the media, or a studio/install project that demands some attention? Let me know and Ill look into it. I hope to hear from some of you soon.

Adam Savage EditorAudio Media International

WELCOMEIain Betson is a BBC trained engineer with experience ranging from being a station engineer and studio consultant to a presenter and company board member. He has worked in the broadcast

industry, both in the UK and internationally, for nearly 30 years. He constantly wonders where all that time went.

Alan Branch is a freelance engineer/producer and ex-member of the On U Sound Crew. His list of credits includes Jamiroquai, Beverley Knight, M People, Simply Red, Depeche Mode,

Shed 7, Sinead OConnor, Bjork, and Sade.He also recently mixed Jeff Becks new Live in Tokyo 2014 Blu-ray.

Jim Evans has been involved in and reported on the professional audio and music industries for more than four decades. Founding editor of Pro Sound News Europe, he has written for

Audio Media since its inception and is a regular contributor to a number of leading industry publications and websites. His television credits include collaborations with the late Peter Cook and Micky Most.

Alan March joined Sennheiser UK in 2008 after 21 years in various roles at HW International and Shure Distribution UK. He is also actively involved in British Entertainment Industry

Radio Group (BEIRG) working for the benet of all those who use radio spectrum. He is now product management (professional) and head of spectrum affairs at Sennheiser UK.

Editor

Adam [email protected]

Managing Editor

Jo [email protected]

Staff Writer

Matt [email protected]

Commercial Director

Darrell [email protected]

Account Manager

Karma [email protected]

Production Executive

Jason [email protected]

Head of Design

Jat [email protected]

Press releases to:[email protected]

NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.

Audio Media International is published by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England.

Editorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000

Audio Media InternationalISSN number: ISSN 2057-5165 (Print)

Circulation & Subscription enquiries Tel: +44 (0)1580 883848 email: [email protected]

Printed by Pensord Press Ltd

WELCOME

Experts in the issue

CONTENTS

January 20154

26

ALSO INSIDE 18 COMPANY PROFILE: AUDIOLOGIC We speak to the Essex rm about its rst 10 years in business

20 GEO FOCUS: CANADA Matt Fellows explores how the pro-audio market is faring on the worlds second-largest landmass

PRODUCT NEWS 6 STEINBERG RELEASES CUBASE PRO 87 TANNOY ADDS TO VX SERIES 8 WORK PRO EXPANDS NEO FAMILY

FEATURES 24 LIVE FOCUS Adam Savage meets with audio supplier Sound Services to learn about the Hydra series of club nights in East London

26 STUDIO PROFILE Matt Fellows delves into the illustrious history of Sawmills Studio in Cornwall

28 INSTALLATIONS IN EXTREMIS Jim Evans reports on the struggle to provide high-quality sound installations against natures biggest challenges

TECHNOLOGY 32 HOW TO Point1Posts Adam Daniel on assembling a Dolby Atmos mix

34 EXPERT WITNESS Ashley Smith, Gear4Musics live sound expert, outlines the importance of the right amplier choice

35 FOCUS: POWER AMPS We round up some of the latest offerings on the market

REVIEWS38 SENNHEISER ESFERA 42 RODE STEREO VIDEOMIC X44 METERPLUGS PERCEPTION46 PRISM SOUND SADIE 6.148 ELECTRO-VOICE ETX

SHOW NEWS 10 A SUMMARY OF THE EARLY NAMM NEWS 12 ISE 2015: WHAT WE KNOW SO FAR

PEOPLE 14 OPINION Doctor of Audiology Michael Santucci offers some hearing health tips for audio professionals Alan March, Markus Warlich and Alex Milne discuss the future of wireless technology in the UK, Europe and the US

50 INTERVIEW: LEE DENNISON Adam Savage chats to White Lights head of audio about the companys new sound department

38

PRODUCT NEWS

January 20156

STEINBERG CUBASE PRO 8 NOW AVAILABLESteinberg has started shipping its Cubase Pro 8 soft ware, o ering a vast range of new studio-grade audio and MIDI tools for composing, recording, editing and mixing.

Both Cubase Pro 8 and Artist 8 designed primarily for musicians have come through a major engine rebuild, which lets the user run more instruments and tracks.

ASIO-Guard 2 improves the audio processing performance for instrument tracks and channels, and automation enhancements are also key to Cubase Pro 8, providing VCA faders and virgin territories. Steinberg has added Render In Place to both versions too, for bouncing MIDI and audio parts easily.

Chord pads, Chord Assistant modes and MIDI tempo detection are introduced to the creative feature set of both Pro 8 and Artist 8, while the new Rack Zone delivers a dedicated area for the MediaBay sound browser and VST Instrument Rack. The redesigned Track List and Inspector, the new plug-in manager, global workspaces, plus improved windows handling on PCs improve ease-of-use.

Other features include a rejuvenated Quadrafuzz multiband distortion plug-in, a new Virtual Bass Amp, Multiband Expander, Multiband Envelope Shaper and various other e ects.

Groove Agent SE 4 now o ers an acoustic drum kit, the Acoustic Agent, with 20 drum style patt erns. The MixConsole has also been expanded, and theres a new version of VST Connect ideal for remote recording over the web.

A number of downloadable updates and upgrades are available exclusively through the Steinberg Online Shop. Those who have activated Cubase 7.5 and Cubase Artist 7.5 aft er 15 October 2014 are eligible for a free, downloadable Grace Period update to version 8 as well.

www.steinberg.net

MOTU SHIPS MONITOR 8 MIXER

BLUE UNVEILS YETI STUDIO An all-in-one vocal recording system, Blue Microphones new Yeti Studio package combines the Yeti professional USB microphone with custom recording soft ware from PreSonus, advanced studio vocal e ects from iZotope, and custom preset templates for voice-overs, podcasts and music.

The Yeti features proprietary condenser capsules set in a three-capsule array that provides high sound quality and the versatility of four di erent recording patt erns: cardioid, bidirectional, omnidirectional and stereo. It also o ers a built-in headphone jack for zero-latency monitoring; direct controls for headphone volume, patt ern selection, instant mute and microphone gain; and comes with PreSonus Studio One Artist Blue Microphones Edition recording and iZotope Nectar Elements studio vocal e ects soft ware.

www.bluemic.com

The 24 x 16 x 8 Monitor 8 mixer from MOTU features a six-channel headphone ampli er and USB/AVB audio interface with console-style 48-channel mixing and DSP e ects.

Monitor 8 can serve as a primary audio interface and monitor mixer in the studio, as a complete monitoring solution for live performance, or as a dedicated monitoring component of a MOTU AVB audio network system.

Users can create multiple mixes from a variety of inputs, including eight channels of high-quality balanced (TRS) analogue, 16 channels (two banks) of ADAT optical, 32 channels of audio streamed from other MOTU interfaces on a connected AVB audio network (if present), and host soft ware audio channels over USB or AVB Ethernet.

All of these inputs can be mixed to eight stereo output groups, while XLR main outs and balanced 0.25in aux outs feed primary and secondary studio monitors or PA speakers. Users can then set up six additional independent monitor groups, each with multiple mirrored outputs that include two sets of 0.25in headphone outs (front and rear panel), a summed 0.25in mono output, and balanced stereo 0.25in outs. Monitor mixes can be sent to 12 sets of headphones, six stage monitors, four stereo in-ear modules and two sets of powered speakers.

Powerful DSP delivers large console-style mixing with 48 channels, 12 stereo busses and 32-bit oating point e ects processing, including modelled analogue EQ, vintage compression and classic reverb.

Monitor 8 operates without a computer as a stand-alone mixer and headphone amp, or users can control Monitor 8 over WiFi from an iPad, iPhone, tablet, smartphone and laptop or several devices simultaneously for multi-user control of the Monitor 8s multiple mix busses.

www.motu.com

PRODUCT NEWS

TANNOY ADDS TO VX SERIESTannoy has launched a new addition to its VX Series of premium-grade passive sound reinforcement loudspeakers.

The new model, VX 8M, introduces a number of subtle changes across the range to provide more exible solutions for mobile and versatile environments.

The latest full range Dual Concentric loudspeaker from the company provides a compact, yet punchy and sonically vibrant solution for small to medium-scale sound reinforcement.

With a tightly controlled 90 dispersion, the VX 8M has a peak output of 119dB and a recommended amplier power of 260W, making it suitable for a wide range of applications.

A new birch plywood enclosure has been ergonomically redesigned to oer a greater degree of exibility, while maintaining the power and sonic clarity of the VX Series. The new design includes 40 and 60 angles, making the VX 8M ideal for use as a dedicated oor monitor, with the 8in driver oering exceptional vocal monitoring clarity. The enclosures added pole mount and vertical yoke mean the user has a range of mounting options.

Audio connection on the highly portable speaker consists of a recessed termination panel with two SpeakOn connectors.

An enhanced steel grill has been added to the VX 8M, as well as two of the larger format boxes in the line, the VX 12 and the VX 15. This make the loudspeakers suitable for oor monitor use in medium to large-sized applications where more power and punchiness is required.

Stuart Archibald, product manager for Tannoy, commented: The VX 8M oers unrivalled exibility in terms of use and mounting location. From the oor to a table top or pole mount to ying bracket, this cabinet can be mounted in any way you choose, making it perfect for any application where crystal clear sound reinforcement is required.

www.tannoy.com

YAMAHA UPDATES NUAGE TO 1.6

Yamaha has released a v1.6 update for its Nuage post-production and studio recording system, which allows seamless compatibility with Steinbergs Cubase Pro 8 DAW software.

Nuages IP-based Dante network infrastructure delivers maximum system design exibility and post-installation expandability, Yamaha says. With 1.6, it has also become an eective way to bridge the gap between production, broadcast and live sound applications. It supports full remote control of Yamahas new RMio64-D Dante/MADI conversion audio interface, allowing selection of SRC, word clock sources, and other parameters via the Nuage display. This enables convenient audio communication with

external MADI devices for signicantly increased system expansion capability.

The latest Nuage software also provides numerous improvements to overall operation, developed in response to feedback from users, including quick division of audio events within the selected range, a stereo panner type selection from Nuage Fader units, channel strip access to cut lter slope, gain, phase, HA high-pass lter, and +48V parameters, as well as overall ON/OFF switching of selected channel inserts and dynamics bypass.

The update is available now as a free download from the Yamaha Pro Audio website.

www.yamahaproaudio.com

January 2015 7


PRODUCT NEWS

January 20158

WORK PRO EXPANDS NEO FAMILY Work Pro has added the NEO 5 A ES and NEO 5 IP to its loudspeaker line up.

The NEO 5 A ES, an updated version of the NEO 5 A, is an installation speaker developed to maximise savings in energy consumption by shutting down when not receiving audio signal, reducing its consumption to below 1W.

The second product, the NEO 5 IP, is a waterproof version of the NEO 5. Due to its high IP rating (IP65), this two-way passive loudspeaker can brave outdoor installations in safety, withstanding unfavourable weather conditions such as rain or wind.

Both versions are available in black and white to suit the requirements of any audio installation.

www.workproca.com

BITWIG UPDATES STUDIO SOFTWAREBitwig has launched the rst major update for its Studio software.

Studio 1.1 allows users to download and modify a manufacturer control script, or create and share their own. The platform features Plug-in Delay Compensation (PDC), which ensures that, no matter how many plug-ins or devices are added to the mix, everything will playback in time as intended. Also featured is multi-out VST, allowing users to sidechain one voice o another within the VST or anywhere in the program, and multi-in VST, with device slots for any available VST inputs.

It also enables users to route anything from anywhere to any point in their project using the new suite of routing devices, including the Audio Receiver, Note Receiver, Note MOD, and De-Esser.

www.bitwig.com

ARTURIA RELEASES V COLLECTION 4Arturias V Collection 4 is a premium-packaged reference software collection of keyboards and drum machines with a total of over 6,000 professionally-produced presets controllable via an external MIDI keyboard, running standalone or within any DAW.

All 12 of Arturias Analog Classics range of software recreations of classic analogue instruments are now included, including the latest VOX Continental V, Solina V and Matrix 12 V additions. Also new to V Collection 4 is SPARK 2, Arturias advanced sound-sculpting and beat performance software featuring over 170 drum machines and over 5,500 patterns ranging from hip-hop to many of the latest EDM genres.

www.arturia.com

January 201510

SHOW NEWS

RADIAL TO REVEAL ICECUBE ISOLATORRadial Engineering will display a new ultra-compact balanced line isolator at NAMM.

Designed to t inside a tool kit to eliminate hum and buzz caused by ground loops, the IceCube IC-1 measures less than 10.16cm x 3.81cm x 3.81cm. The compact design features an XLR-F input at one end and an XLR-M output at the other, with solid 16-gauge steel construction and durable powder coat nish.

Connection to and from the IceCube IC-1 is done using standard three-pin XLR cables and it is also equipped with

a ground lift switch to further assist in reducing noise.

Radial will also launch stereo versions of two existing direct boxes: the JDI Stereo and the J48 Stereo. The JDI is designed to deliver a phase-accurate, distortion-free signal and handle excessive transients to produce a natural vintage compression.

The J48 works within the con nes of 48V phantom power to deliver wide frequency response and more headroom with less distortion, and introduces a new

way of lift ing the pin-1 ground without cutt ing o phantom power.

By employing an internal switching supply, the unit converts phantom power for more rail voltage, resulting in less distortion and more gain without the use of an input pad. The power system also allows the relocation of the ground lift inside the power supply, enabling the stage technician to lift the ground without having to revert to costly and environmentally hazardous batt eries.

www.radialeng.com

NEW

AT NAMM

PMC EXPANDS TWOTWO RANGE PMCs new sub2, a subwoofer providing greater headroom and dynamics than the smaller twotwo sub1, will be presented at NAMM 2015.

A low-distortion active subwoofer featuring PMCs ATL bass-loading technology with Class D ampli cation and DSP-based ltering and bass management, the units built-in ampli er delivers 400W of power to the LF driver with an active frequency response from 20Hz up to 200Hz. Also featured is an AES3 input with a built-in sample rate converter, a pair of balanced stereo

analogue XLR inputs and a single parametric equaliser to assist with in-room alignment. The digital input is also passed through to the subs analogue and digital outputs for connection with other devices, allowing the twotwo sub2 to be used as a high-end digital-to-analogue converter to drive other analogue monitors from a digital stream if required.

The company will also o er visitors a chance to see the QB1, its large-scale studio monitor launched in Autumn 2014, and can be found at booth 6598.

www.pmc-speakers.com

MXL UNVEILS PORTABLE MIXER AND CAMERA MICMXL Microphones will be showcasing its new MM-4000 Mini Mixer and portable audio mixer for mobile phones, tablets, DSLRs and computers.

It enables audio recording to a device using up to four electret mics simultaneously, consolidating four analogue inputs into one analogue or digital output.

The unit is compatible with all MXL Mobile Media microphones and features a digital output that allows it to work with the iPhone or iPad using Apples camera adapter, a headphone jack for direct audio monitoring, multiple power

options and a line level out for mobile devices with adjustable output.

It will also show the MXL GOLav lavalier mic. Compatible with GoPro Hero3, Hero 3+ and Hero4 cameras, the omni-directional GOLav is the rst lavalier mic for GoPro that has the right angle mini USB connector built into the mic cable, so no adapter is needed.

A foam windscreen and bonus fuzzy windscreen are included to minimise wind noise and plosives. along with a 5ft Mogami cable for sound clarity and durability.

www.mxlmics.com

MASTERCHECK NEW FROM NUGENAt the NAMM Show, in co-operation with Music Marketing, Nugen Audio will introduce MasterCheck, the rst modern loudness tool for the music industry, as well as a signi cant update of Visualizer, the companys audio analysis tool.

The MasterCheck plug-in reveals how the consumer will hear audio on platforms such as iTunes and Spotify by using internationally recognised loudness, dynamics and true-peak standards. Designed for every aspect of music production, including recording, mixing, mastering, archive, and restoration, MasterCheck

can also be used for producing podcasts at optimal loudness levels for dialogue clarity within the listener environment.

Version 2 of Visualizer, meanwhile, features numerous user interface enhancements including a fully resizable interface, a multiview feature that enables engineers to compare multiple sources with a single plug-in, and a di erence view showing the di erence between two input signals. Visualizer is available in a version supporting Avid Pro Tools HDX, as well as a stand-alone application version.

www.nugenaudio.com

ISOACOUSTICS INTRODUCES APERTAIsoAcoustics is set to unveil its new Aperta line of sculpted aluminium acoustic isolation stands designed for medium-sized professional studio monitors and speakers.

The stands are said to provide an aesthetically pleasing and cost-e ective means to enhance the sound clarity and transparency of medium-sized speakers, using the oating design that the company is known for.

Aperta stands o er an integrated tilt adjustment feature that enables the user to dial in the optimum tilt angle, with ne gradation markings provided to ensure the best possible precision of the angle adjustments.

With an overall size of 6.1in (w) x 7.5in (d), the Aperta stands complement medium-sized studio monitors and speakers weighing up to 35lbs.

www.isoacoustics.com

January 201512

The news that ISE is to move to a four-day show next year could not have come as a surprise to many. Its growth in popularity has been prett y evident in

recent years, with the Wednesday of the 2014 show drawing an att endance (25,961) greater than that of the entire event just ve years earlier (24,912).

But before we all get to enjoy another night in Amsterdam, theres the small matt er of ISE 2015, which looks set to be yet another record breaker.

More than 950 exhibitors are already booked in and the organisers are expecting to exceed the 51,000 att endees who visited last year.

In addition to the show oor, there is a wide range of events taking place in and around the RAI Centre. The day before ISE opens its doors, the biannual AV Networking World Congress is taking place at the Amsterdam Holiday Inn. Audinate is supporting its ISE exhibits and oor presence with the all-day media networking event, which the company says will bring together the industrys leading audio manufacturers, including Yamaha, Bose, Symetrix, Lab.gruppen, Lake, Bosch/RTS, Att ero Tech, Studio Technologies, Focusrite and Presonus.

The event will showcase a major interoperability networking demonstration of Dante-enabled products and systems, some of which are to receive their ISE debuts. The event will also feature presentations, workshops and interactive panel discussions led by industry design consultants, AV installation contractors and IT networking experts.

Back at the RAI, 9 February will see the return of the AudioForum, a day-long training event dedicated to professional audio topics and philosophies.

The focus of this edition of AudioForum

will be the digital tools that help audio designers and systems integrators perfect the design of audio systems, installations, speakers and components.

Topics up for discussion this time will include electroacoustics, simulation soft ware, measurement instruments and design tools.

The pro-audio industry is also well represented in InfoComms Professional Development Programme. Highlights include Lectrosonics Gordon Moore discussing Digital audio protocols what are your options? at 16:00 on 10 February, and Five new technologies that will change the industry; an AV perspective with technology evangelist Joe Cornwall at 10:00 on 12 February.

ON THE SHOWFLOORAudio-Technica is bringing its ATND971 cardioid condenser boundary network microphone to the show; a world- rst, the unit promises to bridge the gap between audio and IT as the rst wired microphone to transmit audio and control data together over Audinates Dante network protocol. A simple Ethernet connection allows the network microphone to communicate across an existing network of Dante-enabled devices and with the microphones programmable user switch control any of those devices at the push of a butt on.

Genelecs new 8351 monitor will be making its European tradeshow debut at ISE 2015, stand 3-C111. The 8351 is a coaxial three-way Smart Active Monitor system that Genelec developed in response to the need for increasing audio perfection in acoustically challenging production environments.

The company will also have a 3D listening room on its stand and will once again be a key participant in the Immersive Sound Experience feature area at the

show. At both locations, there will be a fully working 3D system complete with loudspeakers from the 4000 Series.

As well as its Q-Sys network audio platform, QSC is due to display its CXD-Q ampli ers at the event. The new models combine Flexible Ampli er Summing Technology (FAST) from the CXD/PLD ampli ers with Q-Sys network connectivity and processing to create what the company is calling the ultimate audio routing and power solution for installed sound applications.

There will also be three new AcousticDesign loudspeakers on the QSC booth this year. The AD-S6T is a 6in, two-way surface-mount loudspeaker featuring the QSC X-Mount system, while the new AD-S112sw surface mount sub comes with a long-throw 12in driver, with yoke-mount hardware to optimise boundary-coupling.

Merging Technologies is introducing Ovation 6 and Pyramix 10 at ISE 2015. These new releases build on the success of Pyramix 9.1 and introduce 3D panning for the rst time. This not only addresses the cinema and consumer immersive audio formats; it is also designed to o er sound designers working in the AV business a new range of options.

Networked audio interfaces such as Horus and Hapi will be available with the ADA8 combination A-D/D-A board, which o ers 48 channels in and out with Horus, and 16/16 with Hapi.

Audac will be showcasing the newest additions to its loudspeaker range at booth 4-U35: the MERO2 and CELO2 loudspeakers. With a compact, high-end in-wall and ceiling build, these speakers are designed to blend into any interior. The MERO series includes three models: MERO2, MERO5 and MERO6, while the CELO series consists of the CELO2, CELO5, CELO6 and CELO8. They feature an unobtrusive design with a slim grill

sporting a thin border of only 1mm, and its limited grill depth extrudes the surface by only 3.2mm when installed.

Visitors will also get to check out the CRS12GT, a new loudspeaker from Alcons created to meet the requirements of digital cinema immersive surround sound formats. Featuring Alcons proprietary pro-ribbon driver technology, the two-way, passive- ltered CRS12GT combines clarity and intelligibility with a high dynamic range and up to 90% less distortion than traditional cinema surround systems on the market, the rm says.

Bose Professional is taking three new RoomMatch Utility (RMU) loudspeaker models, the RMU206, RMU108 and RMU105, to the RAI. Featuring RoomMatch array modules, these models are designed either to complement a RoomMatch full-range array installation or to be used on their own for foreground music, or in under-balcony, zone- ll and vocal-range oor monitor applications.

The Tactus Digital Mixing System is new from Peaveys Crest Audio. It provides a simple, customisable touchscreen operating interface that puts all audio routing, processing and mixing tools within easy and immediate reach.

It has been designed by Crest in partnership with Waves Audio, and works with the new Waves eMotion Mixer for SoundGrid. The Tactus system also allows the use of Waves audio processing plug-ins for live events.

Three new products, Dugan Model M, Model N and Model K featuring automatic microphone mixing technology will also be revealed by Dan Dugan Sound Design at ISE, adding MADI I/O and Dante I/O capabilities as well as a physical interface to the Dugan range.

SHOW PREVIEW

RAI-SING HIGH

www.iseurope.org

ISE returns to Amsterdam next month for its last outing as a three-day show, and it seems theres a lot to look forward to...

January 201514

Weve all heard the cautionary tales of rock stars with severe hearing loss. Anyone who works in pro-audio,

including sound designers, engineers and producers, faces similar risks. Fortunately, the most common form of hearing loss is entirely preventable. Id like to oer a little bit of knowledge and present a few tips on how you can preserve your hearing while still producing the same outstanding audio that your profession demands.

SEE AN AUDIOLOGIST ONCE A YEARYou would be amazed how much hearing loss can be prevented simply by following this one simple rule. For people who rely on their ears professionally, its really a must-do.

Why? Because noise-induced hearing loss (NIHL) happens slowly over time. Its onset is almost imperceptible, typically caused by repeated overexposure to loud sounds on a regular basis. Most people dont notice it, as the loss builds up slowly over the course of years.

Getting an annual hearing screening from an audiologist is simple, painless, and results in an audiogram that graphs your hearing acuity at key frequencies. By comparing annual audiograms, any changes in hearing can be easily spotted. This is, by far, the most reliable method of diagnosing hearing loss before it becomes serious.

KNOW HOW LOUD YOURE LISTENINGFor years, studio producers would monitor at extreme levels while mixing and mastering music, often for sessions lasting many hours. Many actually believed they were safe as long as the sound coming from the monitors was clean meaning not distorted. Nothing could be further from the truth.

NIHL is caused by overexposure to loud sound any loud sound. There is no special dispensation for sound quality. While distorted audio is certainly more fatiguing mentally, hearing damage is driven by daily

exposure time to excessive decibel levels. Theres nothing wrong with enjoying

some high volume music. The key is to be aware of the levels and length of time involved. Below is a chart to help you see if you are putting your hearing at risk.

The chart shows two dierent safe exposure guidelines the traditional OSHA scale used for industrial workers and the more conservative and scientically accurate NIOSH scale. They utilise dierent methodologies, but both show the acceptable daily dosage (length of time) of SPL before signicant risk of long-term hearing damage.

The OSHA scale (bottom) uses a

baseline of 90dBA and uses an exchange rate of 5dB meaning that the acceptable daily dosage is cut in half for every 5dB increase in level. Historically, this scale protects 78% of people from NIHL.

The NIOSH scale is signicantly stricter, but therefore more eective. Under NIOSH guidelines, the baseline level is 85dBA, and the exchange rate used is 3dB. Since each 3dB of increase requires double the amount of energy, this is the more scientically valid scale. Following NIOSH guidelines should protect about 96% of people from NIHL.

PRESERVING THE PROFESSIONAL EARThe keys to maintaining your hearing health are awareness and behaviour. Measure your studio environment so you know how loud you are listening.

Its not that dicult to calibrate your system to determine where the danger line lies. There are both hardware and software solutions available the most obvious being the classic SPL meter.

There are also smartphone apps that can help, such as dB Volume Meter or SoundMeter+ for iPhone and Sound Meter or deciBel for Android. (Important note: smartphone apps should be calibrated to ensure accurate readings.)

The bottom line is simple: we live in a loud, loud world. If you have got into the habit of monitoring at 85dBA or more routinely, its important to nd ways to turn it down.

OPINION

RESPECT YOUR EARS!Hearing health tips for audio professionals.

Dr Michael Santucci Au.D. is founder and president of Sensaphonics, which describes itself as the technology leader in custom-t in-ear monitors and earplugs. His personal mission and corporate cause is to preserve the hearing of musicians and audio technicians.

MICHAEL SANTUCCI

85 88 90 91 94 95 97 100 105 110 115

8hr 4hr 2hr 1hr 0:30 0:15

16hr 8hr 4hr 3hr 2hr 1hr 0:30 0:15

Level, dBA

SAFE EXPOSURE TIME

NIOSH

OSHA

January 201516

On 19 November 2014 Ofcom, the UK spectrum regulator, announced its intention to clear existing users primarily Digital Terrestrial

Television (DTT) and Programme Making and Special Events (PMSE wireless microphones, in-ear monitors and some talkback) from the 700MHz frequency band. These users have been operating

in this band for over 40 years but must, it seems, now make way for additional mobile broadband services to be provided by the Mobile Network Operators (MNOs).

Coming aft er the recent 800MHz clearance, the result will be 168MHz of prime spectrum taken from Broadcasting and Services Ancillary to Broadcasting and Programme Making and Special Events (SAB/PMSE). The decision, when implemented, will have profound consequences, both for the broadcast and entertainment sectors that create, distribute and export content, and consumers in the UK and abroad who consume that content.

Many believe that MNOs already have plenty of existing spectrum, which, if re-farmed sensibly, would provide plenty of capacity. Indeed, at a recent Ofcom Stakeholder meeting, EE publically stated that the mobile sector already has enough spectrum and that the MNOs just needed to move the data around the networks bett er.

Spectrum management moves incredibly slowly. This can have the e ect of decisions being overtaken by technological and/or political developments. The technologies employed today are light years from those in place when the clearance of the 700MHz band was rst mooted. Additionally,

enabling roaming across each others networks would signi cantly increase capacity without having to allocate the MNOs more spectrum.

Meanwhile, technology continues to develop. There is already talk of 5G, which may operate in the GHz frequency bands. Are we going to clear the 700MHz band, then nd it was not really required?

There are several ironies associated with this decision. Firstly, the claimed increase in data demand is lm and video content. This decision will, perversely, remove access to the very band that is critical for the production of the best of that content. Its wireless production tools that facilitate making the kind of content that users expect and demand. In simple terms, this decision runs the risk of ending up with a large delivery pipe, but nothing of any quality to send down it.

Secondly, one of Ofcoms prime responsibilities is to minimise the interference between con icting or competing services. In this decision, Ofcom admits that some people will be adversely a ected by interference to their DTT reception, but is doing its best to downplay the numbers. But are we about to enter a world whereby, in order to watch DTT interference free, people will need to switch o their mobile phones?

For many years there has been dialogue within the mobile sector, from the International Telecommunications Union (ITU the highest level of spectrum management), down through the regions and into national regulators.

Meanwhile, the broadcast sector has believed that broadcasting, and DTT in particular, is sacrosanct.

There are those in this debate who regard the very concept of free-to-air TV as anathema. They would love to switch o DTT so the only way to receive media content would be across consumer subscription networks. While Ofcom has implied that DTT is safe until at least 2030, a watchful eye should be kept on developments. The pressure will remain and the public should be aware.

So is the 700MHz band clearance a Digital Dividend Too Far? The PMSE sector says yes, and that not enough has been demanded of the MNOs to get their own houses in order rst. It could be viewed as a land grab for the mobile sector, predicated on perceived bene ts to consumers that they do not need and are, in reality, unwilling to pay for. All this at the cost of capping any future growth in the free-to-air TV sector and imposing serious constraints on the industrys ability to make the quality content that consumers expect.

OPINION

THE SPECTRUM CONUNDRUMWe asked three experts what the future might hold for wireless system users in the UK, US and Europe.

Alan March is product management (professional) and head of spectrum a airs at Sennheiser UK.

ALAN MARCH

Markus Warlich is pro audio product specialist at Sony Professional Europe.

MARKUS WARLICH No matt er where you are in the world, physics is the same and the speci c frequency range is not interchangeable. The bene ts

of antenna size, di usion, and material

penetration vary according to transmission power.

As the surging growth of mobile devices continues more pressure is being put on bandwidths to deliver. You cannot expand a bandwidth wider than what is physically

possible, so as we increase the amount that we read and watch in a mobile world we will see further pressure on bandwidth.

Looking ahead to the WRC 2015 (World Radiocommunication Conferences) its possible to assume that well lose the 694-790MHz frequency range in Europe, so it would be reasonable to suggest not buying a radio mic or in-ear system which works over 690MHz.

The implications are that customers who have invested in equipment that works only in high frequency ranges may nd themselves losing out. Not only this, but the European Commission will rule that all member states will have to provide an additional 30MHz worth of bandwidth where possible, to meet demand for wireless audio.

January 2015 17

OPINION

The reigning atmosphere in the United States is that of uncertainty. As in many other countries, a large percentage of UHF spectrum currently

used for OTA TV is being cleared for other purposes mostly cellular services and mobile broadband.

Since almost all professional wireless audio devices operate on UHF broadcast band frequencies between 470-698MHz, these changes threaten the pro-audio community with signicant hardship.

Six years ago, in 2008, the FCC removed wireless audio devices from the 700MHz band when they repacked 700MHz TV stations into lower channels as a byproduct of the DTV transition. In the next six years, the FCC will remove TV stations and wireless mics from the 600MHz band as well.

Unlike the 700MHz band, the federal government cannot evict broadcasters at 600MHz, so they have devised an

unprecedented legal manoeuvre called the incentive auctions to do so.

The incentive auctions will purchase TV channels from broadcasters and auction them to bidders back-to-back. Some broadcasters may choose to remain on the air, but will be removed from 600MHz and placed on a dierent channel. In eect, broadcasters can either choose to accept a fat cheque to go out of business, or be compensated for the forced repacking of their stations to a lower channel.

To be blunt: 600MHz will no longer be available for users of wireless audio devices. However, numerous variables make predicting exactly when this will happen dicult.

The auctions may be delayed by litigations, an insucient number of broadcasters may relinquish their channels, or the repacking of TV stations post auction may take longer than expected.

Of most concern to professional audio is the possibility that spectrum remaining

post-auction (~500-600MHz) will be too congested to use. If a large percentage of TV stations choose to remain on the air, the same number of stations will be packed into half the spectrum. Furthermore, the FCC has authorised the operation of a new breed of radio called a white space device (WSD). Presently, WSDs are nonexistent. But if at some point in the future they become ubiquitous, it will be impossible to operate large numbers of wideband FM microphones without interference.

On the bright side, the incentive auctions are not scheduled to begin for another year and a half. Once they are complete, wireless microphones will still have up to 39 months to vacate the 600MHz band. That means, conservatively, the pro-audio community may operate 600MHz equipment for another four to ve years.

The FCC has addressed the pro-audio industry directly in two ocial documents. They have proposed many new bands of operation for our equipment.

There are also a few ways to protect yourself from future harm.

First, avoid purchasing new equipment that operates in the 600MHz band. For projects that require only a handful of channels, strongly consider purchasing equipment in an ISM band like 2.4GHz, 900MHz, or even 5.8GHz.

Second, if you routinely operate 50 or more channels it is essential that you apply for a Part 74 licence as soon as possible. This licence allows greater transmitter power and protection from WSD interference.

Third, arm yourself with the fundamentals of wireless communications. Building reliable wireless systems will require basic knowledge of what radio waves are and how they behave. Frequency co-ordination, external antennas, cavity lters, RFI shielding and other tools will be necessary.

The future of wireless audio in the United States is daunting, but not hopeless.

Alex Milne is marketing manager at Boston-based RF Venue, a manufacturer of wireless audio antennae and hardware.

ALEX MILNE


January 201518

COMPANY PROFILE

For something that began as a two-man business just a decade ago, Audiologic has come a long way in a short space of time. Thanks largely to its att itude

towards service and brand strategy, the award-winning rm has developed into a well-respected provider of audio and commercial sound equipment for the UKs pro-AV and install contractors.

Set up by MD Simon Stoll and nancial director Matt Boland, Audiologic had a fairly eventful 2014, taking on four exclusive brands and hiring key new sta .

Despite tough market conditions, business at the company has remained strong over the past 12 months. To nd out the reasons behind this, and discover what might lie ahead for the team, Audio Media International caught up with Stoll (SS) and sales and marketing manager Andy Lewis (AL) at their Harlow headquarters.

How did the company get started?SS: Audiologic has progressed from being two guys working from a living room, doing everything, to a team of excellent

individuals committ ed to making us the best AV solutions provider in the industry.AL: Quite early on in the life of the business we picked up some exclusive brands, a key determinant in our success.ARX was the rst exclusive brand, quickly followed by AMC.

These deals were secured aft er visits to major trade shows in Frankfurt and Amsterdam and began to propel us towards wider industry awareness.

In the 10 years weve been in existence, weve increased our turnover tenfold a growth trajectory that we aim to continue. Given the tough market conditions during that time, its safe to say that we take a lot of satisfaction from our strong position.

What do you believe sets you apart from the competition?SS: Customer service is the key and our main goal has always been to improve e ciency and the scope of our o ering in line with our customers needs. This is illustrated by the expansion of our portfolio from just audio to include cabling, racking and now video and control products.

We are labelled a distributor but I really see us as a service provider. Its that emphasis on customer service, which comes in so many forms, that makes us di erent from our competitors. In our view the harder they nd it to categorise us the bett er.AL: The fact that as individuals we all possess a high degree of technical competency in respect of the products that we stock is fundamental to our operation. The contents of the warehouse are a well-understood means to an end for us, not simply a collection of kit.

We also have some AV customers, whose focus is more towards the V of AV, who dont have internal audio specialists and so they use us as their

Now 10 years old, Essex-based distributor Audiologic is continuing to gain ground in the UK market at a steady pace. We met up with the management team recently to discuss their impressive progress.

THE LOGICAL CHOICE

In the 10 years weve been in existence, weve increased our turnover tenfold a growth trajectory that we aim to continue.Andy Lewis

Audiologics Matt Boland (left) and Simon Stoll

January 2015 19

COMPANY PROFILE

www.audiologic.uk

audio department. That is the case with a number of our customers we look to help them integrate the audio into their visual area of expertise. Its an arrangement that works really well.

What do you think are the other reasons for your recent success?SS: Our main strengths have always been the ability to communicate eectively with our customers, understand their needs exactly and provide a solution that fully meets their requirements. Customer testimonials have consistently shown that we achieve that, but we are always striving to maintain and further improve that ethos.

We have always put a huge emphasis on our technical know-how and are in the process of enhancing that capability signicantly by growing our team. Our medium-term aim is to oer a more complete solution to a wider range of markets. AL: Its the added value we oer. We provide a level of support that is maybe compartmentalised at other distributors.

We are not straitjacketed in our roles by being either commercial or technical because while that might be neat and tidy, its no bad thing to visit a site and be able to take a simultaneous overview of what will work commercially and technically.

We are now at the point where were able to cater for every aspect of a project apart from the installation itself. We are able oer a service to our customers whereby we communicate with their end users, attend a site visit on their behalf and specify the right solution. Our customers can thus concentrate on winning the job, undertaking the installation and then rely on our assistance when it comes to commissioning.

Weve grown and well continue to do so. Were still a team of just 10 people.

What application sectors do you feel youre strongest in at the moment, and are there any that youre looking to target specically?AL: Education is always going to be the mainstay of what we do, certainly in the short to mid-term. We want to establish ourselves in retail spaces and hospitality. Some of our brands are well recognised in retail across mainland Europe, but not necessarily in the UK and thats something we have to tackle. Undoubtedly our biggest challenge over the next two to three years is to become established in more vertical markets.

Weve had our rst big retail project in the last year which took us outside our comfort zone, completing a rollout of over 800 stores.

You seem to prefer to do business as a small team, but you were clearly pleased when you took on business development manager Dave Smith last summer. Why was that such a coup for you?AL: Dave has exposed us to new markets and his commitment and enthusiasm is already starting to pay dividends.

Dave comes from a consumer background, so hes putting us in front of companies who we didnt necessarily know had a commercial install arm. We are now, for example, in talks with a brand that is undertaking a 660-store refurb. Dave was able to initiate a conversation which has led to a fruitful relationship with this new client.

Have you got any future plans that we should know about?AL: We have an exciting new venture coming soon Audiologic Connect. A sister brand to Audiologic, Audiologic Connect will promote the ancillary side of our business. We own a cable brand, Quartex, and as part of our Audac distribution we also distribute Procab cables and the Caymon rack brand. These

brands form the main thrust of Audiologic Connect. While these products could never be considered sexy they are absolutely fundamental to everything audio after all speakers dont work without cables. Customers will be able to buy direct from the Audiologic Connect website, at list price, and obviously our trade customers will benet from their usual discount.

Quite a few exclusive brands joined your portfolio last year too. Has this become a priority? AL: You can leave yourself exposed if your focus is entirely on third-party brands. Our mixed model of third-party and exclusive brands allows us to provide the best possible choice and solution for our customers and gives us security.

The exclusive brand line-up grew in 2014 with Phoenix, Nexo (as a semi-exclusive), Xilica and Aurora Multimedia.

Our strategy is to take quality brands that are sometimes under-represented within a territory. We then promote and support them, which enables us to provide our customers with quality products that suit their budget and their project specications.

We play the long game and we have the patience and the expertise to build our brands responsibly.

Finally, what can you tell us about Aurora Multimedia? Why are you so excited about that one?

AL: Aurora Multimedia has a fantastic oer. They are the manufacturer of the industrys rst non-proprietary web-standards-based IP control systems, as well as advanced HD video distribution and processing and a whole lot more.

We have a catalogue of products that require controlling. Previously we had to look for solutions from third-party providers because we had nothing in-house. Now we can oer a comprehensive solution.

If the Holy Grail of this business is to be able to oer installers a one-stop shop for all their requirements for a particular job, then by securing this deal, were well on the way towards that situation. These products oer a genuine alternative to proprietary IP control systems and can be integrated with a whole raft of products that we provide, enabling us to move to a whole new level in supplying complete solutions for our customers.

There is really only one audio manufacturer who can condently say that they have an end-to-end audio solution from microphone to speaker and everything in between. Other companies dabble in it a little but there is always one or more links in the chain missing. Our short-term goal is to be able to achieve that Holy Grail from a commercial audio perspective.

Nexo was just one brand added to Audiologics lineup in 2014

ARX was the rst exclusive brand on Audiologics books


January 201520

GEO FOCUS: CANADA

HEADING NORTH With the second-largest land mass in the world but a population of only 35.5 million people, Canada has always faced unique challenges in the pro-audio industry. Matt Fellows explores the situation as it is today.

Population:35.5 million

Oft en overlooked in the business, Canadas pro-audio market caters to a population of just over half that of the UK, a country it dwarfs 40 times over. This has meant many Canadian

pro-audio businesses have found themselves in a prohibitive situation, focusing primarily on the importance of overseas business. But in the wake of nancial crises over the past decade, how is the market faring within Canada currently?

It may be tempting to write o Canada as an ailing addendum to its North American neighbour, the US, and therefore victim to the same well-publicised nancial woes, but industry experts are quick to dispel these assumptions. Dave Dysart, president of HHB Canada, points out: One key consideration is that Canada did not su er nearly as badly through the last recession as the US did. Our banking laws protected our economy from the e ects of the sub prime mortgages, and stock market variances.

Barry Steinburg, sales manager at Xilica Audio Design, echoes this sentiment: Canadas banking system, government protection structures, and lack of debt meant that Canada was less a ected by the economic downturns around the world than many other countries.

Having safely dodged the recessions bullet, the current pro-audio climate is tentatively positive, with most people we spoke to agreeing that things could be a lot worse. Danny Bracken, senior production account manager at rental and staging company Allstar Show Industries, comments: The market is somewhat healthy. Not overly but far from being in a recession. Weve been experiencing a slight growth here in Alberta for the past ve years sometimes up to 35% per year.

Steinburg believes that the pro-audio market in Canada is stable, quite healthy, and growing, and Peter Janis, president of Radial Engineering, thinks as a whole Canada has enjoyed a very healthy economy over the past several years.

Dysart notes: Contracting and live sound markets are quite strong in most territories. We have an active Canadian music scene, and Toronto in particular is one of the strongest live music markets anywhere. On the other hand, however, the MI market is somewhat soft

in most areas, although business appears to be picking up. It is dominated by one retailer, who has over 65 stores. We are seeing the rise of a new generation of specialist MI retailers, who focus on speci c market segments and appear to be able to succeed even in a market dominated by one key retailer.

So the market appears to be holding steady in spite of nancial distresses, but how has it fared under the forward march of technology a ecting the industry? In the studio and recording markets, president and founder of Holophone and Area 51 Productions Michael Godfrey believes that the current industry climate is poor and gett ing poorer for studios there are too many small ones and artists can now compose at home.

However, Dysart disagrees, arguing that the market is on the up: The recording market has recovered to a great degree. We are seeing the return of larger studios that understand their role in the production process and market their facilities accordingly. Some examples would include Noble Street Studios and Revolution Recording in Toronto.

This paints a picture of a market saturated, but not one where larger studios are out of luck. However it is a contested arena thanks to the closing quality gap between professional and personal recording equipment and the latt ers overall rise in availability. It can be seen that Canada, like so many other markets, is feeling the e ects of the rise of cott age industry and will continue to feel it for the foreseeable future, as Janis notes: Cott age industry is the framework moving forward and business opportunities can oft en be located anywhere so long as there is electricity and an internet connection.

While this places the market upon an uncertain and potentially inert landscape as Godfrey asserts, Dysart believes that this is instead an untapped opportunity for some industry sectors rather than a death knell: The constantly increasing amount of horsepower available allows for the production of top-class material outside of the traditional model. The smart studios and production companies recognise this, and cater to this method of working.

Janis certainly agrees on this mentality of the smart company, highlighting how he has capitalised on this

There is a possibility there may be an unbundling of cable channels in Canada which will have a huge eff ect on advertising revenue, and thusly new productions.

Possible loss in Arts funding from the provincial and federal government levels.

Changes to provincial tax credits eff ects where post production is carried out.

Have there been any signifi cant changes to legislation, regulations or laws that have aff ected the industry in recent years?

January 2015 21

GEO FOCUS: CANADA

market shift , overhauling production focus and design to match demand: As budgets become constrained for recordings, there has been a shift to home-based recording. This has spawned an increased demand for higher performance, pro-oriented acoustic treatment. With improved PA systems and the universal adoption of in-ear monitoring, there is now a greater focus on improving the signal path from the instrument to the PA. This has increased the demand for higher quality direct boxes. And with so many artists working at home and then heading on the road, the equipment that they use in the studio now must play double duty. So this has brought awareness to the importance of product durability.

The internet is another area where technology has changed the rules of the game. Companies have been forced to rethink their market penetration approach as consumers nd themselves increasingly well armed. This is happening worldwide, and Canada is no exception, as Dysart explains: We have seen similar changes to those seen in other markets. The increase in web-based retailers is occurring in Canada, although perhaps not as quickly as in other countries. The consumer is more price

savvy, as the internet is a great leveller when it comes to comparing prices. As we all know, you get more power at a lower price than ever before.

James Dreyer, owner of Dreyer Bros Sound, believes that he has felt the e ects of this shift in the install sector: Ten years ago we were making an easy 25-point margin on most sales online retail has done a good job of killing that margin overnight and now we are lucky to see a seven to ten point margin on sales.

So how will the industry sectors unfold in the future, now that the market has stabilised and is enjoying gentle growth? Dysart says: We will continue to see growth in the live sound and recording markets. Regardless of how much content people can access over the web, there is still a desire to see live music and events. Delivery methods will continue to be re ned, and broadcasters will need to keep up. The links between broadcasters and telecommunications providers will become tighter.

Zoning in on the recording sector, Janis comments: I believe the shift will continue towards smaller, more agile

recording and post facilities that will o er value-based production for artists, TV and lm. Gaming will continue to play a major factor, and the shift towards improved audio will likely move the consumer up a notch from compressed les, but audiophile quality will likely be reserved for the few.

And focusing on installation, he comments: The move towards fully networked solutions means that the audio contractor now must become an IT specialist. This will cause multiple markets to converge, including home theatre, security, hi- , sound contractors, AV contractors, and anyone that is supplying technology to businesses or homes. Entrepreneurs will shift to solution-based o erings with service contracts. Major corporations will view the connected home as the future and competition for products and technology will be erce.

The awareness of bett er audio coupled with an ageing baby boomer generation will force restaurants, banks, airports and theatres to pay greater att ention to improving audio intelligibility. This will create demand for bett er audio systems with an ear towards bett er acoustic treatment.

How do you expect your sector to perform in 2015 compared with 2014?

Better

0% 10% 20% 30% 40% 50%

Worse

Stay the same

60% 70%

Whats having the biggest negative eff ect on the market at the moment?

Economicuncertainty

0% 10% 20% 30% 40% 50%

Falling budgets

Slow payments

Govermentlegislation

Other


January 201524

Being one of the worlds most desirable destinations for pretty much anything, its hardly surprising that London was once generally considered

to be the UKs clubbing hotspot.Punters were spoilt for choice when

it came to venues and parties, and most Londoners would never dream of going elsewhere for their night out, due to the seemingly endless amount of options available to them.

Today, though, things appear to be changing, according to some reports. The closure of major clubs like Turnmills, The End and now Plastic People, and issues such as the cancellation of Bloc Festival in 2012 have not helped, and now many people are choosing other areas of the country to see their favourite DJs.

In recent years the city has seen a rise in the number of events held in warehouses

and other temporary locations, but even these are often not entirely free from controversy, as a lot of the venues are not properly tested, and are simply unsuitable for big, noisy dance gatherings.

Of course, some organisers are still getting it right, like the team behind The Hydra event series in Wapping.

Situated in a building used as a high-end photography studio during the week, and co-founded by promoter Dolan Bergin, The Hydra has been receiving rave reviews recently for a number of reasons, one of them being sound quality. So whos responsible? Surrey Quays-based Sound Services, with its highly versatile Funktion-One sound system.

In fact, the project has already been running for over two years, and originally started out in various venues that were

ideal in many respects, but werent without their complications.

We did several one-o events, which got really strong bookings and the label showcases particularly went really well. We had some diculties with venues but the ethos was right great music, great sound system, in interesting spaces, says Sound Services technical director Rich Cuey. But a series of diculties, including licensing and council issues, made it impossible for us to continue in these venues.

At that point I expected Dolan to say this is a pain, we cant keep doing this, but hes as stubborn as we are and it just made him more determined to nd a solution to the one thing that was stopping him putting on these amazing nights.

And that solution turned out to be Studio Spaces E1, which, despite serving a very dierent purpose from Monday

to Friday, has had soundproong and air conditioning equipment worth around 300,000 installed in both its 1,000-capacity main warehouse space and smaller Black Studio room to ensure it keeps the noise police at bay, and its clubbers comfortable.

It seems Burgin and Yuval Hen the studios owner really went the extra mile when it came to keeping the sound in.

Weve got almost unlimited volume in there. When the work was nished and we did the rst noise tests the consultant was outside with the meter and it got to the point where we couldnt turn it up any more and there was still nothing, reports Cuey. You could probably get 130dB in that dance oor if you wanted to. Knowing that you have the headroom and space to do that is incredible.

This allowed the team to work with few limitations when it came to speccing the

Londons clubbing scene has come through some challenging times lately, but the acclaimed Hydra series, held regularly in the East End, continues to grow in strength. Adam Savage met up with audio supplier Sound Services to nd out why.

LIVE FOCUS

GOING UNDERGROUND

Funktion-One loudspeaker system in the main Unit 1 Warehouse, which can be set up dierently depending on the genre of music required.

It may have taken a while to get it exactly right, but Cuey and Sound Services owner Curt Gilmore are now able to cater for a wide range of styles, with a Funktion-One Infrabass 218 bass enclosure for the low end a weapon that other clubs and venues would surely love to have in their audio arsenal.

It meant we were allowed to use the Infrabass as were using it, and Curt has got a real gift for timing these things, explains Cuey. Weve got the Infrabass doing 20-40Hz, then the F121s and Res 4s on top, in a four-point arrangement.

In a concrete room its very dicult to get the Infrabass working exactly in time with the higher bass thats in there. A lot of people wouldnt be able to tune that.

We got great results from day one and by learning and treating the room and tweaking a few bits the set-up in there is really special, and you can feel that everything is working in time and the energy from that low end is incredible. It complements a lot of what the artists are playing.

We can do things dierently for every label showcase or performer and thats got to be a good thing. It can go from a really dark underground club with just a few red lights and a real basement feel to it, to something more showcasey for a massive label like Ninja Tune, and I think it does both of those really well.

The Black Studio is also fully equipped with Funktion-One gear when The Hydra comes to town. It might be a smaller space than the warehouse, but that doesnt mean Sound Services devotes less attention to its conguration.

There is the same sort of four-point but with fewer speakers. The enclosure that were using instead of an Infrabass in there

is actually a prototype of the [Bass Reex] BR221 and Curts tuning that to do the same job as the Infrabass.

By deploying the BR under the DJ table, all that low-end energy is coming from the DJ in the source. Where the DJ is we also use two F1201s or F101s as a front-ll and its almost like being in front of a hi- the clarity and detail is amazing.

Speaking of those DJs, some huge names in the eld of electronic dance music have oered glowing reports of their experiences at Studio Spaces E1, and some have even named it their venue of choice for exclusive one-o events. Positive feedback from clubbers is obviously important, but approval from those on the other side of the table is perhaps even more desirable.

When Francois K and Kerri Chandler came over and said that was amazing and on a par with Cielo [another revered Funktion-One-equipped facility in New York City] we were over the moon, continues Cuey.

It is consistently the only venue in London where Dixon wants to put on his own parties. He didnt care about the money or how many people he could t in, he wanted to do something in London and chose Dolan, The Hydra and Studio Spaces. It doesnt really get any better than that.

Going back to the noise discussion, the people behind The Hydra have done a lot more than just spend a signicant amount of cash on treatment to stay in local residents good books. Cuey believes the secret is to become a real part of the community, rather than sit back and hope nobody takes action.

Studio Spaces was such a good proposition because they [the owners] knew there were issues with noisy venues being closed down, and that there were properties nearby, so they wanted to make sure that the building could not be heard by those people, he says.

Simply being there to address any complaints is the key to success. The people who run the clubs or events have got to be more diplomatic, transparent and open, and engage with the people who could potentially have a problem with it. Those who dont do that not only give others a bad name; they do not help the cause when youre trying to plan or build new places.

And thats not all according to Cuey, the situation is creating a deterrent for those who otherwise would have been keen to launch new clubs and events in the city.

Were in a really dicult time when nothing new is opening. There used to be ve or six spaces in East London where you could do one-o events and gradually one-by-one theyve all been shut down because all it takes is one neighbour to complain, states Cuey.

Its such as disadvantage to the people who want to do this that a lot of them have given up and its really gone downhill. One of the most vibrant things about London is its music and events its what were really good at and we led the eld with so it really saddens me.

It wont be until it dries up and stops that people realise what we had and what we dont have now.

With that in mind, Bergin, Sound Services and not forgetting the clubbers themselves can perhaps count themselves lucky to have a place like Studio Spaces E1 at their disposal.

If there were more spaces like it in London for events such as this, there would surely be less of a cause for concern.

January 2015 25

LIVE FOCUS


www.funktion-one.comwww.sound-services.co.uk

A typical Hydra turnout The Sound Services team (L-R): Rich Cuey, Curt Gilmore, Nav Ubhi and Michael Oram

The Funktion-One set-up in the Black Studio

January 201526

The landscape of studio recording has always been a shifting and mutable one, and never has this been more true than today with the rise of

home recording and rampant piracy. But there remains a stalwart bastion of studios waving the ag for the classic generation of recording, and Sawmills Studio is one of them.

Founded in 1974 by record producer Tony Cox on the banks of the idyllic River

Fowey in Cornwall, the studio is one of a diminishing number of residential studios in the UK.

Its been a stop-start journey for the studio through the decades, but it has always gone from strength to strength during its working years.

It was an active period from 1974 to 80, explains record agent and current owner Dennis Smith. Then Tony Cox sold

Sawmills to his engineer Simon Fraser who used it as a family home and musical workshop. It remained commercially dormant until 1983 when Simon wanted to relaunch the studio. We reopened with new equipment that I introduced during 1985 as a partnership.

In 1987, legendary record producer and engineer John Leckie worked in Sawmills Studio for the rst time. Having worked with artists from John Lennon to Pink Floyd, Leckie has continued to be involved with

various Sawmills projects over the years, including production of Muses rst album Showbiz and the now-revered follow-up Origin of Symmetry with producer Paul Reeve, mixed by regular sound engineer John Corneld.

Smith continues: By 1992, the market was dead for studios Simon wanted to sell up, and oered his half of the business and the property to me. So what did I want to do? I decided to buy him out. It was a big gamble, but it paid o. Within two years

DOWN BY THE RIVERSIDE

Responsible for producing work from artists including Robert Plant, Oasis, The Verve, Supergrass and Muse, Sawmills Studio celebrated its 40th anniversary last year. Matt Fellows explores the story of this historic facility.

STUDIO PROFILE

we had recorded Denitely Maybe, the Oasis debut, and we signed a production deal.

With that, Sawmills had cemented its destiny at the centre of the Britpop movement, which also celebrated an anniversary in 2014 20 years since its inception. The studio would go on to record a number of key artists in the genre, brandishing an inuence on UK music that extended into the new millennium.

We have oered numerous production deals, Smith continues. The most notable successes to date have been Supergrass and Muse, who have grown to become one of the biggest bands on the planet today.

Were happy to take just a little credit for that achievement!

Being such a sequestered retreat for artists, Sawmills has acquired an eminent reputation thanks to a combination of its prodigious output and unique qualities, as Corneld notes: People were aware of Sawmills from the early days, this studio down by the river, and it always seemed like this kind of mystical place which it is, its in a fantastic location. I think the uniqueness comes from the atmosphere and the people, and the atmosphere is created by the place down by the river, its beautiful and stunningly serene.

Smith believes that this provides an escapist quality that proves conducive for an artists work: I think there has always been people who insist on an aesthetically pleasing environment. Being so isolated keeps the artist focused, and it gives an element of privacy. Weve never been a truly industry place. Weve never put gold discs around the walls. Weve always felt that people want to get away from that.

While the aesthetic environment of the studio is responsible for a large part of the sound and success it has produced, its other ace in the hole is its arsenal of vintage gear. Corneld explains: I got involved around 1981 or 82, and there was still the same basic setup as there was when it rst opened. We originally had a 16-channel Sound Techniques desk which had been expanded by another eight

channels on the end, a pair of Tannoy HPD monitors, a Studer A62, Revox A77 and an Ampex MM1100 so it was quite sparse.

And that key arsenal hasnt required much expansion or modernisation: The essential layout of the studio is pretty much the same the monitors are dierent, weve had Quested 212s since 1985 or 86. We also have an Ampex ATR and the EMT Plate is still there, in a separate room. And, of course, theres computer screens everywhere now, like every studio.

In 1986, the studio acquired what has become its centrepiece, the Trident 80B console, which, as Smith notes, still remains our console of choice. Corneld comments: Weve added another 24 channels to the Trident console, making additional circuit boards on a metal plate. We added automation to it, which we did on a BBC microcomputer. Trident mic amps are quite noisy so we designed our own, which we put in a select few channels for where we needed low noise.

Its got a sound that I personally love. Its a got a really fat bottom end and total clarity, which is something I miss when Im not recording with it.

A quintessentially classic studio, Sawmills has still had to keep up with the advance of technology and the emergence of standard recording practices; Smith explains that the studio has carved its own niche here, like it has in every area, by swimming against the tide: Weve always been an advocate of Soundscape rather

than Pro Tools as a reliable and sonically better system, he reveals.

When asked if he would agree, Corneld immediately replied: Absolutely. In the mid-90s when it became apparent that you needed to make this jump to a Pro Tools system or a Soundscape system, I listened back to everything and went Wow, Soundscape just sounds like the tape, but without the fuck-ups. I grew up with Soundscape and personally I still prefer the sound of it. I can work in Pro Tools but I prefer to work in Soundscape because of the workow.

Things have changed but I still approach it in exactly the same way in a very analogue way. I still run my system very much like a tape machine.

Smith recalls: When we went to record Muse for their rst live DVD Hullaballoo, which John recorded and mixed at Sawmills, we recorded the whole thing on Soundscape rather than Pro Tools. They recorded over two nights spotlessly and without a single dropout. The engineers running the mobile were most impressed with the trouble-free operation of this alternative recording platform. Nobody else had done it at that time.

When it comes to building on the studios stellar successes in the past, Smith and Corneld both agree that the path forward is clear: to carry on with the winning formula. As Smith notes: We dont have plans for expanding the studio. Our view is that if it aint broke, dont x it.

January 2015 27

STUDIO PROFILE


With such an illustrious back catalogue, Sawmills is spoilt for choice when asked to focus on a single work. Sound engineer John Corneld selected Supergrass 1997 second album In it for the Money a project he looks back on with pride and fondness.

The second album was recorded entirely at Sawmills, just between myself and the band. Corneld recalls. They were very happy with the aesthetic of the place. It worked a treat. They were very chilled, laid-back sessions. They didnt have too much written a lot of it occurred at the time because they felt they could write there, so they came down with a bunch of ideas and it all got put together at the studio.

Key equipment during recording included the Trident 80B, an EMT 140 stereo plate reverberator and various Joe Meek compressors and AKG mics.

In the summer sessions it was fantastic because we had them set up outside on the grass, so it was cut live we had mics out across the creek recording boats, birds and wildlife at the same time, which you can hear on the album if you listen carefully, adds Corneld.

And it was all on tape. We were working on the Otari MTR-90. It diers from using DAWs in that you can get three songs, maybe four, on a reel of tape, and tape costs a fair bit of money, so you cant do take after take. And that forces people to focus.

We had a brass section come down and we set them on the grass. They stopped in the middle of a take and said Were getting wet! We looked out the window and the tide had come in and they were all standing in the water.

When you record, you end up like family with everyone at Sawmills. It was a fantastic time.

Photo by Matt Holloway

www.sawmills.co.uk

The most notable successes to date have been Supergrass and Muse, who have grown to become one of the biggest bands on the planet today. Were happy to take just a little credit for that achievement!Dennis Smith

January 201528

The live sound reinforcement sector is used to coping with extreme weather conditions. Increasingly, xed or permanent installation

integrators are being asked to provide systems that can conquer the elements for longer than a wet weekend at Glastonbury. And manufacturers have not been slow in tapping into a booming market sector.

Community Professional Loudspeakers can claim to be a pioneer in the eld of

weatherised speaker technology with decades of experience. The durability and performance of R-Series and WX-Series is renowned as being outstanding. Thats why we oer the user a ve-year parts warranty and a 15-year construction warranty on both ranges, says the companys Max Lindsay-Johnson.

Community pioneered the design and use of its Weather-Stop Grille in the rst R2 loudspeakers in 1998. Since then, we have continually rened the design using

the latest materials and technologies available, to enhance performance and reliability. All hardware is grade 304 stainless steel. We have recently introduced a number of improvements to our original designs, including dual-layer powder-coat (DLPC) technology, UV-resistant synthetic cloth mesh and most recently, NeverWet. Put simply they are designed and built to sound incredible while lasting a lifetime in the most challenging environments.

The weather hasnt changed, but what has are the loudspeakers we now deliver that meet the all-weather standards weve always achieved, Lindsay-Johnson added. Community realised early on that the market required not only completely weatherised products, but ones that were capable of oering strong speech reinforcement while simultaneously oering outstanding musical performance. We engineered the R-MAX and WX-Series specically to meet these requirements.

INSTALLATIONS IN EXTREMIS

From the mountains of Tibet to the Mexican border and many places in between, systems integrators battle with the elements to provide quality sound installations. Armed with sun lotion and thermals, Jim Evans reports.

FEATURE

Specialist cables are, of course, an essential part of the equation. Sommer Cable recently introduced the Aqua Marinex cable series, especially designed for extremely wet weather conditions. The cables are suitable for permanent laying in water depths of 50-100m (depending on which version is employed), says the company. A special protection sleeve prevents the intrusion of moisture and provides the necessary pressure compensation prevailing in the depths. A UV-resistant and sand-repellent jacket surface also enables the Aqua Marinex series to be used outdoors on boats or for inshore installations.

Optocores bre cables are also being employed increasingly in the great

outdoors. Our products are designed to survive even the most dicult temperatures and weather conditions, says applications engineering manager Maciek Janiszewski. Our devices can operate in extremely low as well as extremely high temperatures. We have existing customers in the Middle East and Australia as well as Russia and Canada at the other end of the weather spectrum. They all use the same devices. Also bre cabling is far less aected by the environment and is much more reliable than copper.

Back at the sharp end, QSC oers loudspeakers that are constructed using ABS materials with UV paint inhibitors on the cabinet and feature aluminium grilles and mounting accessories, which, when combined, tend to wear well in a variety of environments.

In addition to the use of materials, says Phil Sanchez, a few of our loudspeakers feature IP54 ratings, which help to minimise water and particulate incursion.

That said, every environment aects a product dierently and concerns a contractor faces in South Florida or on a cruise ship are very dierent to those faced by a contractor in the desert of Southern Nevada or the plains of central Canada in the winter. The use of ABS materials, UV inhibitors, aluminium grilles and mounting accessories, and IP54 ratings, are considerations that can help with long-term durability.

Sanchez cautions: The term weather-proof should to be taken with a grain of salt because no loudspeaker is absolutely weather-proof. Weather resistance

has always been a concern in tough environments and the fact that AV is being deployed in places typically not seen in the past means concerns over durability are likely increasing.

As new technologies are introduced across the entire economy, customer expectations are increasing, including the demand for improved durability.

Another US manufacturer whose name crops up regularly when outdoor installations are mentioned is Technomad. Weve been producing weatherproof loudspeakers for 20 years, geared towards the requirements of the pro-audio market, with secondary business in the residential market, says vice president Rodger von Kries. More recently, weve expanded our range to also oer weatherproof amplier modules, the PowerChiton series, which can drive two to three speakers per module. With available audio distribution options such as wireless, ethernet and twisted pair, installers can now easily deploy entire audio systems without having to worry about providing a weather-secure location for the electronics.

Weve designed and sold subwoofers for a large theme park customer, which were installed below street level in vaults which could ll up with water during rain storms, an example of extreme water exposure. Recently, a customer installed a large system of Berlins and PowerChiton amp modules in a ski area in the Alps where the entire system will be operating in snow and freezing temperatures for months on end.

We also have a separate but related product line which is used extensively by

the US Armed Forces for mobile eld PA systems.

Meyer Sound systems are regularly chosen for their ability to endure signicant outdoor use. Our weather protection techniques have evolved over the years as more customers that emphasise reliability and durability turn to Meyer Sound for audio needs in some of the harshest environments, says Meyers business development manager Marc Goossens. For example, power users in the cruise ship industry provide a valuable opportunity for us to continue to improve our design and materials, and our success in these challenging applications has attracted new customers who need weather-protected products.

Some new customers have turned to Meyer Sound because they heard about our weather-protected products on cruise ships enduring prolonged use at sea. And we have been implementing the lessons from these power users to other products, including the new steerable CAL column array loudspeaker. CAL has now been installed in outdoor applications such as the California Memorial Stadium at the University of California Berkeley and the Khalifa International Tennis and Squash Complex in Doha, Qatar.

French manufacturer APG regularly customises its products for use in dierent climates. Managing director Grgory Dapsanse reports: All speaker membranes in standard APG products come with a weatherproof coating treatment.

Whether its boiling hot or freezing

January 2015 29

FEATURE


As new technologies are introduced across the entire economy customer expectations are increasing, including the demand for improved durability.Phil Sanchez, QSC

Cypress Mountain is a world-class resort for all forms of winter sports and leisure. Located just outside Vancouver on Canadas west coast, it was also host to the freestyle skiing and snowboarding events of the 2010 Winter Olympics.

Allstar Pacic Integration Media Solutions based in Vancouver was asked to nd an audio system solution for the Patio Ski and Snowboard Park at Cypress Mountain. As the weather can include sub-zero temperatures, heavy snow, rain and direct sunlight, all within a 24-hour period, careful consideration had to be taken to nd loudspeakers that could withstand these extreme conditions and ensure good performance for both music and speech applications.

After detailed evaluation, Myk Shaik, Allstar Pacics System Engineer, felt the Community R.5-99 was the best t, both from a performance perspective as well as ease of installation. Designed for high

power music and speech, the two-way, 12in coaxial R.5-99 provides full-range audio with 90 x 90 dispersion. The system is sponsored by Skullcandy who wanted to use the product as a vehicle for advertising the brand. Allstar carefully added the Skullcandy logo to the grilles of the loudspeakers,

ensuring the look that both the client and sponsor appreciated.

A single pair of R.5s was used to achieve coverage of the park. With the ability of the audio to travel far up both sides of the main ski areas on the mountain, the loudspeakers provided the quality and coverage that Shaik wanted. The loudspeakers are powered by QSC RMX series ampliers and a portable rack located in the power house allows for multiple applications from daily programme music to competition reinforcement, with quick and easy setup.

Andrew George, terrain park manager at Cypress Mountain, comments: Having the opportunity to partner with leading-edge sound companies such as Skullcandy and Allstar Pacic in bringing music to our terrain parks has been a fantastic experience. From events to our daily operations, our customers will agree that skiing and snowboarding is even more fun with a soundtrack.

APG Sector SC20 loudspeakers have been handling the extreme conditions of Lhasa for the past eight years

January 201530

FEATURE

cold, APG is able to provide robust gear for every need. Our products are used in saline and damp environments like tropical islands as well as mountain environments where temperatures can often hit sub zero.

For example, our APG Sector SC20 loudspeakers have been withstanding tough weather mountain conditions day in day out for the last eight years in the Potala Palace Place in Lhasa (Tibet). Pilgrims have also been kept informed on their way to Lourdes since 1991 by 250 APG speakers, and the products are still delivering awlessly. We also tted th

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Audio Media International January 2015