Mel LambertFollowing two years of lacklustre financial per-formance in a downturn economy, the AudioEngineering Society last year posted a small butsignificant surplus of income over expenses, atrend that is predicted to continue for several years.

The news comes at the end of a turbulent 2011for the AES, including calls for a fresh commercialstrategy for the society’s operations. The decision wastaken mid-year not to renew its contract with execu-tive director (ED) Roger Furness, who left the poston 31 December after 17 years of service.

“We need to adjust to reality and find anoth-er production model,” AES president JanAbildgaard Pedersen acknowledges in an exclu-sive interview with PSNE. “We reduced the sizeof the London AES Conventions, knowing thatthe interest from exhibitors was down from pre-vious years; we needed a different plan and tolook at new business opportunities. TheBudapest Convention in April will offer smallerand medium-sized companies the ability to showoff current R&D programmes. And if theresponse [from exhibitors] is there we can always

move into larger halls at the Budapest Congress& World Trade Center.”

Recent US government filings (required for allnon-profit corporations such as the AES) show thatwhile income from member subscriptions, thejournal, conferences and conventions droppedslightly in 2010 to $3.1 million (compared to $3.3 million in 2009), expenses were dramaticallyreduced to close to $3.1 million ($4.0 million in2009) resulting in a modest $35,000 profit. In con-trast, during 2008 and 2009 the society sufferedlosses of $506,000 and $655,000, respectively.

Within Europe, the cost of regional conventionshas fallen dramatically. The AES financial filingshows a cost of $1.14 million for 2008’s AmsterdamConvention, $787,000 for 2009’s Munich Con -vention and $167k for 2010’s London convention.“The RAI Center in Amsterdam was expensive,”Abildgaard Pedersen concedes. “For the LondonConventions in 2010 and 2011 we opted for a smallervenue – Budapest follows that continuing trend.”

“We looked at every aspect of the society’s opera-tions,” Furness explains, “to determine how we couldcut costs without it showing to the outside world.

While that [strategy] included opting for a smallervenue for the London conventions – we went from a$30,000 loss for Munich in 2009, to a profit ofaround $30,000 for London in 2010 – we also lookedat reducing costs for the US conven tions. We alsoreduced the office costs in New York and Brussels

by renegotiating the lease for the AES HQ inManhattan, as well as other savings across the board.

“And AES membership is at an all-time high;in 2010 we saw an increase of around 20%.”The society also saw a 10% increase in the saleof AES publications.

As 2010’s non-profit filing illustrates, majorexpense reductions were made in Salaries, down to$873,000 for 2010 compared to $902k in 2009,plus Office ($208k from $234,000), Occupancy($116,000 from $238,000), Conventions ($1.0 mil-lion from $1.6 million) and Others ($70,000 from$118,000). Additional savings were made inInformation Technology, Travel and EuropeanOffice expenses.

“It’s a matter of trying to do good housekeeping,”the outgoing ED offers. “We looked for cost reduc-tion wherever possible. It is too early to predict resultsfor 2011, but we expect to at least break even; for2012 I’m predicting that the society will make a prof-it larger than we saw for 2010.”

“Our conventions are unique,” AbildgaardPedersen concludes. “The AES is the only real society that focuses solely on audio technologies.We have received a lot of positive reactions to ourplans for the Budapest Convention in April. It willbe a flexible show, with space for small as well aslarger companies that want to take demo rooms.We have gold in our hands; the opportunity is thereto move forward with good results.”

Speaking in mid-December, AbildgaardPedersen said: “We expect to name a new execu-tive director by the end of the year.” At press time,the status of Furness as executive director Emeritushad still to be decided. Qwww.aes.org

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The business of professional audio

Jan Abildgaard Pedersen, AES president

Allen & Heath will launch a new digital desk at NAMM 2012. GLD is billed as a user-

friendly, scalable and cost-effective (under £7,000 for a basic package) digital mixing

system, borrowing elements from the successful iLive series. At the heart of the set-up,

the GLD-80 mixer provides 48 input processing channels, eight stereo FX returns

using iLive's FX emulations, 30 configurable buses, 20 mix processing channels, and

enough DSP power for full processing “without compromise”. The clue is in the

name: think GL console, (D)igital. “We really want to service the market which has

been fabulous for us with the GL series for over 15 years – and is still going, in fact,”

confirms sales and marketing manager Debbie Maxted. “Many of our GL customers,

who are predominantly small rental companies, houses of worship and live venues,

are considering going digital but haven’t been able to afford quality digital solutions

till this. We’ve been able to port across lots of the iLive technology, like the FX, and

the basics of how you mix on it, as this has been so successful at the higher end of

the market.” Maxted revealed that around 5,000 iLive systems (modular and fixed

format) have been sold worldwide since the 2007 launch.Q

+ Preview special, PSNE @ NAMM, starts on p23

UNITED KINGDOM

AES turns cornerEXCLUSIVE

Financial filings suggest notes of optimism following society’s cost-cutting strategy

EXCLUSIVE

AED gets sillyfor SennheiserInternational dry-hire company AED Rent hasmade a substantial investment in Sennheiser in-ear and wireless microphone systems, PSNE canreveal. The package includes 108 channels of 2000series equipment for in-ear monitoring, and 120channels of 3000 and 5000 series wireless micro-phones. The deal will allow AED Rent, which hassubsidiaries in the Netherlands, UK, France andGermany, to offer the brand throughout Europe.

+ Marc Maes has the full story on p20

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© 2010 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid, the Avid logo, and Interplay are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. The Interplay name is used with the permission of the Interplay

news & contents 3

UNITED KINGDOM

Five years after an expansion drive supported by Matrix EquityPartners, DiGiCo has initiated the next stage of its development bysecuring secondary investment of nearly £50 million (€60 million)from ISIS Equity Partners.

The announcement comes as the UK-based manufacturer pre-pares to celebrate the 10th anniversary of the D5 Live – the iconic livesound console which served as a primary catalyst for DiGiCo’s world-wide growth and remains a flagship of the digital audio revolution.

Matrix is continuing its association with DiGiCo, although it hasreduced its investment size in the business. “As [Matrix partner] Bob Henry said, they love the company and believe in the futurevision,” DiGiCo CEO James Gordon tells PSNE. “We wanted to keepMatrix included as they have been very good partners.”

Both Matrix and ISIS have non-executive directors on the board,but are not taking a management role. “Basically, it’s a standard pri-vate equity arrangement – they find a company and managementthey believe in, and invest money in the business plan. [From aDiGiCo perspective], it allows us to remain independent and take thecompany in the direction we believe it should be going in,” saysGordon, who describes the ISIS investment as a “fantastic oppor-tunity for DiGiCo to build further on the achievements of the pastfive years”.

Denise Emmanuel, investment director at ISIS, commented:“DiGiCo is a fantastic example of an entrepreneurial company and

management team that is able to deliver growth even in a difficultenvironment. The combination of leading technology and exportsmakes DiGiCo a prime example of just the type of business that private equity should be investing in.” Qwww.digico.org

In this issue...

January 2012 � www.prosoundnewseurope.com

Fit and feisty: James Gordon (left) and fellow DiGiCo directors

David DaviesA total of 256 audio com panies are set to exhibit at the 2012 edi-tion of ISE, representing a new high-water mark for the sector atthe annual AV and systems integration trade show. Set to drawmore than 750 exhibitors overall, ISE 2012 will take place at theAmster dam RAI from 31 January to 2 February. Attendance expec-tations for the show are considerable after a 2011 edition that attract-ed 34,870 visitors – up 22% on the previous year.

Audio is playing a major part in driving this growth, as illustrat-ed by this year’s expansion into Hall 7. Approximately half of thecompanies in this area are drawn from the pro-audio sector, and areeither new to the show or expanding their presence.

As well as having the opportunity to see a multitude of new prod-ucts on the showfloor, attendees will be able to benefit from training

sessions organised by InfoComm. Further underlining the central-ity of audio to the show, PAMA (Professional Audio ManufacturersAlliance) will, for the first time, hold its initial European gatheringof the year at ISE.

“PAMA schedules meetings to coincide with trade shows that havestrong exhibitor support from the PAMA membership,” Wilbert tellsPSNE. “Because ISE has a significant pro-audio component and is earlyin the year, it made sense for PAMA to convene a meeting at ISE.”

A PAMA panel will also participate in a session on the future ofaudio networking during the pre-show InfoComm Future TrendsSummit on 30 January. Qwww.iseurope.org

+ For a full ISE preview turn to page 40

ISE plans greatest ever audio presence

DiGiCo boosted with£50m investment

News3 Second investment boost for DiGiCo4 Neodymium costs: 18 Sound speaks out

Studio10 SAE London extension officially opened11 SSL desk opens up Secret Garden12 Perfect Analog: tape is back (again)14 STUDIO BOOKINGS listing

Broadcast16 TVBE launches Fast Turnaround TV conference17 Calrec Audio makes first sale Artemis into Europe18 80 Hertz boost north-west media facilities19 Halo Post continues to upgrade and expand

Live20 AED Rent makes massive investment in Sennheiser 31 Wigwam boost Optocore stock for Coldplay tour32 Midas PRO9 on the road with Evanescence33 TiMax takes to the stage in Germany34 Final celebration for Antwerp Youth Capital35 Clair Bros: being greener36 LIVE EVENTS listing

Installation37 Brighton bars invest in audio38 First Stagetracker FX installed in Sweden39 Former church adds digital cinema to its offering40 ISE 2012 PREVIEW

Business42 Test and measurement: keeping up standards46 Nightclub audio: staying up all night

Back pages48 Hither & Dither50 Interview: Clive Green, Cadac co-founder

Technology 6 New products

8 Product review

AEA KU4 ribbon microphone

Loudspeakers, meet the Management. Designed to meet the needs of the largest and most complex sound systems, the DP448 provides a no-compromise solution toaudio management, with multiple I/O (inc. digital), 24-bit/96kHz converters and masses of DSP power for complete flexibility.

Ready to show your system who’s boss? Visit www.xta.co.uk to find out more.

www.xta.co.uk

4 Series DP448 Audio Management System

Manufacturer secures input from ISIS Equity Partners, writes David Davies

NETHERLANDS

NAMM special 23 Educational sessions focus on pro audio

24 Allen & Heath GLD, Steve Vai honoured

27 Studiomaster, JoeCo, Rycote and TC

28 Yamaha, Riedel, Roland and Cadac

In the past year, the price of neodymium (or neo)has caused much concern in all areas of the pro-audio world (check out Gez Kahan’s feature in theJune issue of PSNE for the full low-down). In short,this rare earth, which is predominantly mined in China, is important to production of the magnetic material in virtually all of today’s light-weight loudspeakers.

To summarise Gez’s coverage, by the back endof 2010, the situation had reached fever point. Theprice of neo had been steadily rising due to China’sdecision to whack up its taxes on rare earth exports(REE) and sharply reduce its export quotas. As activity in the East began to get heated, pricesreally got crazy: between January and July 2011,the price of neo had risen by a massive 300%.

So, the question is, where are we now, and howare businesses being affected? On a recent visit to18 Sound in Reggio Emilia, Italy, PSNE asked headof sales Giacomo Previ to comment.

“The problem is,” says Previ, “you are not ableto predict the cost of a magnet in the next sixmonths. There’s a lot of guesswork, though weexpect that in that time the price will be stable. Butthat’s not in our control; it’s down to the Chinesegovernment, basically.”

It certainly is. Previ confirms that today, the neo export price is fluctuating around $250(€192)/kg after hitting a $400/kg peak in July, andthat in 2010, before the increases, it was about$100/kg. So today’s is still a whacking 150% increase.

However, what’s more concerning, surely, isthe sharp increase in the price of dysprosium,another rare earth, also extracted predominantly inChina, and very much part of the neo issue.

“The reality is that the neo magnets are madefrom neodymium mixed with dysprosium,” Previexplains. Dysprosium has one of the highest mag-netic strengths of all the elements; hence substi-tuting a small amount of the neodymium withdysprosium increases magnetic coercitivity. In otherwords, you get a better magnet. But when it comesto rare earth metals, dysprosium is even more, well,rare. “Just 1g of dysprosium costs a fortune. Put it

this way: the export price in 2010 was $220/kg; andnow, it’s $1,900.”

That’s a staggering statistic, for sure, so whatare manufacturers supposed to do to battle thiskind of price hike and market volatility?

“Various companies are already trying to useneodymium magnet speakers only when they reallyneed to; on compression drivers, very light speakers,and line array systems, where weight and size is veryimportant. They’re going back to using ceramic magnets wherever possible: where they have space

inside the box or where weight isn’t an issue. Today,that’s the main story; there is nothing more to it.”

So does this mean that the pro-audio industryis going to have to come up with some kind of par-adigm shift? And if a shortage of neodymium mag-nets arises, which is certainly a possibility, do wekiss goodbye to the plethora of discreet little boxeswith their state-of-the-art compression drivers?

“We’re not in that situation, no, but it’s certainlynot easy at all, ” he opines. “Containing pricing wasimpossible in 2011, of course, because the cost ofrare earths was absolutely crazy, but because theprice has stabilised to a certain degree now, we hopeto be back in control in 2012; prices will be higher,sure, but at least we know how much higher now.We have to be equipped in this climate. It’s man-ageable, but it’s not just a neo issue; it’s a typical prob-lem of rare-earth material speculation.”

Could it not be argued though, that it’s difficultto imagine manufacturers remaining profitable inan industry where small has absolutely proven itselfto be the new big, when one of the key ingredientsthat made that possible in the first place mightalready be out of reach? And who’s to say the pricewon’t shoot up again?

“If you asked me the same question whetherwe’re going to have problems with regard to the man-ufacture of lightweight speaker systems and linearrays in, say, next May or June, and we’re still in thedark, so to speak, then I would say maybe,” he says.“This kind of volatility in the market will be moreeffective in the long term due to the economic situ-ation; everything is correlated. The oscillations infinancing worldwide are completely relevant to thisissue, from one side of the world to the other.”

On a positive note, 18 Sound is continuing tosell well in China and its business is expanding;Previ is encouraged that the Chinese market isrecognising this. Considering China is one of theonly growing economies left in the world today,that can’t be a bad thing. Qwww.eighteensound.com

Editor’s commentDave RobinsonHAPPY 2012 EVERYONE! I hope youhad a great Christmas break and aspectacular New Year celebration.

As usual, the pro-audio industry hits theground running on the exhibition front. In a few weeks we have the ISE show inAmsterdam. The organiser promises moreaudio content than ever, and hurrah forthat we say. Our preview is on page 40.

Soon after this there’s Broadcast VideoExpo – and after the success of theManchester debut in November, the BVEteam will have high hopes for the mid-FebOlympia event.

But before all this, there’s NAMM inmid-January. You will notice we’re running a NAMM preview with adifference: in fact, an eight-page ‘mini-mag’.The NAMM committee are pushing thepro-audio angle like never before, and wewholly support that. Specifically, they wantthe Anaheim show to appeal to foreignvisitors and exhibitors.

So, what you will find in PSNE @ NAMM is not just a round-upof forthcoming products. Instead, we’veasked Joe Lamond, CEO, to tell us whatmakes NAMM compelling for the pro-audio community; and why non-USbusinesses should be heading there. Inkeeping with that theme, we asked onlycompanies that are (ostensibly) non-USbased to send us preview material; andwe invited respondents to tell us why theygo to NAMM, and to comment on theirexport business in general. PSNE @ NAMMstarts on p23.

Sontronics’s Trevor Coley sums up NAMMfor me I think, as I sit here on a miserable dayin London: “Did I mention the sunshine?” Q

www.prosoundnewseurope.com � January 2012news & welcome4

Giacomo Previ, head of sales at Italian loudspeakermanufacturer 18 Sound, talks practical ways ofdealing with the volatile price of neodymium. Paul Watson gets the point

Polar extremes

Giacomo Previ: unstable times

Pict

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by Jo

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ITALY

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Martin Audio’s MLA makes its debut at the Royal

Albert Hall, and that must call for a celebration!

Sound rental company RG Jones has been

producing sound reinforcement infrastructure for

the Raymond Gubbay Classical Spectaculars at the

RAH since 1993. This year, FOH engineer Simon

Honywill had the opportunity to specify the

acclaimed Multi-Cellular Loudspeaker Array for a

venue which is notoriously tricky to control. With a

programme featuring the ‘greatest hits’ from the classical canon, Honywill reports that the MLA’s performance

was “even beyond his expectations” as it dealt with the Hall’s reflective architecture. “We’ve made a massive

leap forward with the MLA,” he says. “The results were remarkable.” Q

www.rgjones.co.uk

UNITED KINGDOM

DPA’s tried and true miniature condenser capsule in a sleek housing with a newly designed self-adjusting single-ear mount.

TM features superior transparency

NAMM - Anaheim, California Stand no. 6996

ISE - Amsterdam, Netherlands Stand no. 7R172

:

Meet us

TM

headset mic

What is it? A range ofpassive speakers andsubwoofers designed forsound reinforcementapplications.

Details Tourmax SX112,SX115 (pictured) andSX215 passive loud -speakers incorporate 12”,15” and 2 x 15” low-frequency drivers(respectively) plus 1”neodyminium high-frequency units. Coverageis 90° (H) x 60° (V) usingelliptical waveguides, andpower handling for thethree models is 200W,300W and 500W(continuous). Frequencyresponse is quoted at65Hz-20kHz for theSX112, extending down to55Hz for the SX115 andSX215 models. The trapezoidal design of the enclosures is said to significantlydecrease the resonance in the cabinet and features recessed handles, full-lengthmetal grills and a black textured finish said to be scratch and dent resistant. 

The Tourmax SXSUB15 and SXSUB18 are passive subwoofer systemshousing 15” and 18” low-frequency drivers – both fitted with 3” voice coils andcapable of up to 400W (continuous) power handling. The frequency range andcrossover of the SXSUB18 and SXSUB15 have been specifically tailored toprovide smooth, low-end sound reproproduction in the 35Hz-200Hz range.Both models are housed in rugged, compact, 18mm Baltic birch plywoodenclosures with durable metal handles and a black painted finish. 

And another thing… The Tourmax range also includes the active SXM112Aspeaker, suitable for use as a wedge monitor on stage, but also pole-mountablefor applications such as side fill, drum or keyboard monitor and as a mainspeaker in smaller setups.www.altoproaudio.com

Nigel Lord compiles this months list of hot new products

TourmaxALTO PROFESSIONAL

What is it? A pair of studio outboard units based on early Decca designs.

Details Modelled on outboard units used in the legendary Broadhurst Gardens studio in West Hampstead, the DAVSumming Mixer is a passive device offering 32 inputs on four DB25 connectors and stereo outputs on XLR. Using anexisting stereo preamp, it’s possible to connect DAW outputs into the inputs of the DAV Summing Mixer and its outputsto the pre to maintain its qualities within the mix. DAV has also unveiled a revised version of the famed Decca heritageBG4 limiter/compressor. The BG4 MkII (pictured) is a 1U rackmount stereo design without the switches and filters ofthe original unit which customer feedback suggested were little used.

And another thing… The new BG4 MkII is available for around half the price of the previous version.www.kmraudio.com

Summing Mixerand BG4 MkII

DAV ELECTRONICS

What is it? A pair of digital interfaces offering touchscreen interactiveremote control of audio systems designed in MediaMatrix NWaresoftware for the NION platform.

Details The nTouch 180 and nTouch 60 feature full-colour, resistivetouchscreen panels measuring (respectively) 7” and 2.4” diagonally, and used to display and control projects hosted on aMediaMatrix NION or nControl processor. Based on an Intel Atom N270 CPU, the nTouch 180 controller runs anembedded version of NWare Kiosk software for NION – the control arm of NWare system design software. Systemdesigners can program nTouch in NWare and then control an audio project designed in NWare from a remote location.Once the nTouch is programmed, it runs independently of external computers and connects to a NION or nControl viaEthernet network. 

The nTouch 60 works in conjunction with nControl to provide the same functionality as the nTouch 180 in a smallerformat. It communicates directly with nControl or NION processors over Ethernet or via EIA-485 network. Power isprovided over Ethernet or via 12V-48V DC supply and the unit mounts via standard NEMA (1-gang). The OLED screen issaid to deliver “extremely high-quality” graphics, with both models operated by hand or stylus and offering easyconnection and installation. Options include surface, panel, flush and general VESA mounting. 

And another thing… The nTouch 180 is powered by 12V DC supply and is software upgradeable via USB stick.www.peavey-eu.com

What is it? An acoustic measurement software application.

Details ViTUNE is designed to help audio professionals and hi-fienthusiasts ‘tune’ rooms without the need for specialist training.Based on a simple traffic light indication system, roommeasurement is carried out in four steps: configuring the soundcard, testing the signal level, entering the room dimensions and

simply clicking ‘Go’. The software also includes an advanced section showing results for full frequency response,smoothed frequency, impulse response, reverb time and energy time curve. A choice of two products are offered forfixing reverberation time problems and controlling first reflections. ViTUNE also indicates the exact frequency to whichVari Bass – Vicoustic’s portable stand-alone bass trap – should be tuned.

And another thing… ViTUNE is currently available free of charge on the Windows platform. A Mac version is due forrelease later in the year.www.vicoustic.com

ViTUNEVICOUSTIC

What is it? Open-back studio headphone designs for critical mastering, monitoring and‘audiophile’ applications.

Details Said to offer exceptionally natural sound, wide stereo imaging and increased depthof field, SRH1440 and SRH1840 (pictured) headphones are designed to provide referencemonitoring comparable to that of nearfield speakers. An open-back, circumaural designincorporating 40mm neodymium drivers allows sound to move more freely and withminimal distortion.

The SRH1440 is suited to recording applications delivering full-range audio with extended bass and featuresdetachable dual-exit cables with gold-plated MMCX connectors. The flagship SRH1840 model incorporates individuallymatched drivers said to offer smooth, extended highs and accurate bass with optimised impedance allowing directconnection to a wide range of portable audio devices.

And another thing… Both the SRH1440 and SRH1840 models are supplied with a comprehensive selection ofaccessories such as cables, adapters, a spare pair of velour earpads plus a metal storage case.www.shuredistribution.co.uk

SRH1440, SRH1840

SHURE

www.prosoundnewseurope.com � January 2012technology6

New products

What is it? A range of six two-channel models from Camco’s D-Power seriessuitable for live sound, installation and theatre applications.

Details The D7/D4/D3/D2 models utilise a hybrid Class H amplifier enginewith power outputs ranging from 1,000W up to 3,300W per channel, while theD05 and D1 versions employ Camco’s new UMAC Class D technology,delivering 250W and 500W per channel, respectively. All models are said tooffer smooth and responsive handling throughout the power range, benefitingfrom the latest advances in SMPS technology and light weight across a broadrange of professional applications.

Frequency response across the entire range is quoted as 20Hz-20kHz (+/-0.2dB) and THD+N at <0.01% (typical). A-weighted signal-to-noise ratio is>113dB (D05, D1), 115dB (DP2, DP3, DP4) and 110dB (DP7). All models can feed 4-, 8- and 16-ohm loads and the Class H models can also operate down to2 ohms. Peak limiting circuitry is included across the range (three-stepswitchable on the Class H models) – as is the broad range of protection featureswhich include inrush-current limitation, power on/off transients, temperature,output DC and ‘intelligent’ fuse protection. LEDs are included for power on,signal, protect, clip and output current indication.

And another thing… All the amplifiers in the range can be operated in bridge mode for significantly increased power output into 8-16 ohm loads and 2-16 ohm loads (Class H models).www.camcoaudio.com

D-Power SeriesCAMCO

nTouch SeriesPEAVEY

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ISE 2012 attendees represent every link in the communications business value chain. With manufacturers, distributors, integrators, specifiers and technology managers from over 100 countries walking the show floor, you’re bound to meet new contacts to help you grow your business. If they’re industry people worth knowing, you’ll find them at ISE 2012.

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Wes Dooley, a passionate recording engineer, isthe man behind Audio Engineering Associates(AEA). His true love is for the now defunct RCAline, but that dedication extends to all ribbonmics (he runs the sole Coles 4038 service centreoutside of the UK). Dooley’s upbringing andexperiences, such as serving as assistantengineer for the likes of US legend WallyHeider, provided him with an insight into theuse of the ribbon microphone and a respect thathas served him well over many decades.

AEA began servicing RCA microphones afterthey ceased production in 1976. Many yearslater Dooley and colleagues realised that theyhad been manufacturing replacement parts somuch for their mics that they could actually go,as Dooley says “100% spare parts”. Enter AEA’sforay into microphone manufacture.

The KU4 large-diaphragm ribbonmicrophone is, as AEA states a ‘contemporaryrealisation of the RCA KU3A’. The KU3A derivesfrom a long line of RCA ribbon microphonesdeveloped in the 1930s mostly for filmrecording. The RCA 44 and later 77 becameworldwide classics, but it was the KU3A thatendured in the film studios and, of course,recording studios. The KU3 combined theoriginal sound of the warm RCA 44 with a newunidirectional polar pattern enabled by a lobe tothe rear of the ribbon leading down to anacoustic ‘labyrinth’ within the lower case of themicrophone. The labyrinth acted a little like an absorber for those signals coming from

the rear of the microphone and in the KU4 itworks very effectively providing an attenuationof 12dB at 180˚.

AEA’s ‘contemporary realisation’ is simplystaggering in terms of stature and thereforeweight. To assist, AEA can provide a snug nyloncarry case with plenty of rigid foam to protect italong with a fantastic cloth bag. The KU4’sproportions are near-enough identical to itsoriginal, but with some new design features. On the original KU3A an XLR socket used to jutout at a curious angle from the bottom of the michousing. This has been replaced by a strain reliefand fixed, high-quality, braided cable. I’m suresome might prefer the XLR functionality to haveremained. The yoke stand is of a better design too.

Putting the KU4 through its paces, Irealised I was holding a microphone whichsimply reproduces the sound in front of it. Onclassical guitar the KU4 was extremely honestto my ears in my trusted mic positions where acondenser would sit. However, exploringpossibilities soon found a sweet spot where thetone of the guitar and position of themicrophone were in harmony providing awarm and exceptional capture.

Despite the modern manufacturing methodsavailable, you still need to handle this ribbonmic with care – the ribbon can snap with largegusts of air movement. AEA does provide theparts so that ribbons can be replaced ifnecessary. Placing the KU4 gingerly up to aguitar amp provided a fantastic array ofopportunities. I would have loved to have tried astereo pair as overheads, but given the rarity ofthese units in the UK, that would be pushing it!Even in mono the KU4 works wonderfully as anambient mic.

However the KU4 shines on vocals whetherspoken (RCA’s heritage of sound stages) orsinging capture in the studio. Vocal takes were silky, detailed and un-hyped by today’sstandards. To some this might seem out of

character in modern music recording, but thiscan pay dividends when balancing a mixtogether later. The warmth provided by the KU4 just might stop you fumbling around for a valve emulator plug-in.

Overall this is a mic that displays no pretence.What you capture is what you get. There’s verylittle hype or overriding ‘colour’ to impose uponyour recording other than ribbon warmth.Comparing the KU4 with the flood of newribbons on the market, you quickly appreciate theRCA heritage and RCA sound that has enduredfor generations and thanks to Wes Dooley willcontinue for many more to come. Q

fFrequency response ‘below 30Hz to above 20kHz’(plots show response to 40kHz)

fMaximum SPL: 140+dB SPL above 200Hz for 1%third harmonic

fOutput sensitivity: 2.8 mV/Pa into unloaded circuit

fOutput impedance: 300 ohms nominal

fSuper cardioid pattern

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£4,270 (€3,234)Distributed by Affinity AudioPhone: +44 1923 365 400www.affinityaudio.com

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AEA KU4 ribbon microphoneRibbon mics have recently experienced a resurgence in popularity. Audio Engineering Associate’s KU4leaves Russ Hepworth-Sawyer speechless after reviewing his history notes

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Prosf Excellent sound – rich, even and lacks usual proximity effect

f Super cardioid polar pattern makes this very functional

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Consf Some might prefer the XLR socket to have stayedon the mic housing

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The School of Audio Engineering (SAE)London’s new Bankstock studio com-plex was officially opened in November.As reported previously, £4 million (€4.8million) has been invested by the Schoolin 14 interconnected studios (five liverooms and nine control rooms,designed and specified by MunroAcoustics) in a building near theRegent’s Canal and just a short walkfrom the main Dalston base. SAELondon is now the largest audio engi-neering educational campus in the UK.

Welcoming colleagues, associates andstudents to the facility, Professor ZbysKlich, MD and CEO of SAE InstituteUnited Kingdom, commented: “SAELondon has a simple strategic vision: tobe the world leader in private higher education in creative media technolo-gies. We started in 1976 with a small col-lege, about 20 students, in Sydney – itwas the vision of a man called TomMisner . At the end of 2010, the SAE had9,000 students in over 50 campuses in23 countries around the world. That’sone hell of a story!

“What is it that makes SAE special?I’ve tried to distill the essence of it, and in my view it is simply this: the

marriage of technical mastery with creative artistry.”

Prof Klich thanked the efforts ofMiddlesex University, including TerryButland the deputy vice chancellor, whohave collaborated with SAE to developprogrammes and accreditation.

He went on to reveal the reasonswhy SAE owner Navitas endorsed themove of the SAE HQ from Byron Bay(“And why would you leave 32 degreesin Byron Bay…?”) to Oxford, UK.

A major fact, said Klich, was becauseof the “enormous encouragement

and support” the institute receivedfrom the British government, partic-ularly the department of trade andinvestment. Andrew Levi, managingdirector of the UKTI, standing in for universities and science ministerMP David Willetts, accepted the com-pliment and responded: “This is agreat step and we are really pleased tobe involved.”

Munro Acoustics used the latest construction techniques toachieve maximum isolation at the eco-friendly facilities. For instance, thewindows between studios are installedwith internal triple glazing to preventsound leakage between live and control rooms.

Luca Barassi, manager for the site,said: “The first thing we did [duringthe project] was to build a test studiofor noise assessment; it was a roomwithin a room – you could say it wasa £25,000 soundcheck. It passed withflying colours and is now the drumrecording booth.”

Andy Munro added: “What I likemost is that Bankstock really feels likea serious studio complex rather thanan institutional building – and theyalways make me feel uneasy.” Qwww.munro.co.ukwww.sae.org

SOUNDBITESf KMR Audio has announced theavailability of a proprietary movingfader automation system for theAPI 1608 recording console.Featuring Automated Mute andSolo switches and unlimited FaderGroups with two dedicated GroupMasters, the API AutomationPackage retrofits easily to existing1608 consoles. Other features ofthe self-contained, save-to-SDmemory card system includeunlimited Mix Restore points and DAW control with unity gainaudio bypass.www.apiaudio.comwww.kmraudio.com

f Mastering engineer MandyParnell took a trusty ‘box of tricks’– including her Prism SoundOrpheus FireWire ComputerInterface and the latest SADiE 6software – when she went toIceland recently to work on Björk’sgroundbreaking new album,Biophilia. Invited onto the projectduring its closing stages after theexperimental singer/songwriterhad concluded she was unhappywith some previous masteringsessions in New York, Parnellworked out of a Pro Tools-equipped studio belonging to mixengineer Addi 800.www.prismsound.comwww.sadie.com

f Production of the latest filmfrom acclaimed British directorTerence Davies, The Deep BlueSea, drew on the expertise ofLipSync Productions andLipSync Post. Audio-mixing ascene in which a crowd performsin a London Underground stationduring an air raid was a particularhighlight of the project, as re-recording mixer Robert Farrrecalled: “It was a great scene forthe sound mix as we hadwonderful reverb from thetunnel, the echo of the singing,and the low rumble of bombsdropping in the distance.”www.lipsyncpost.co.uk

f PowerFX has announced theintroduction of cloud-basedsound library services. Taking outeither a ‘Pro Sound EffectsAccount’ (£109/€128 per year) or‘Pro Loops & Samples Account’(£144 per year) allows the user togain instant access to more than20,000 sounds in a searchableonline database. “For sound userstoday, it’s not about owning; it’sabout having access and simplelicence to use just what you need,when you need it,” said PowerFXCEO Bil Bryant, who expects theservice to resonate with producersworking in multiple locations.www.powerfx.com/library-access

Expanded SAE is go

www.prosoundnewseurope.com � January 2012studio10

fstudio newsUNITED KINGDOM

(L-R) Andrew Levi, UKTI; Luca Barassi, SAE Institute London College manager and

project manager; MD and CEO Professor Zbys Klich

Marc MaesThe first ‘Meet the designer’ workshop,organised by pro-audio distributoriDeal Audio attracted some 40 studioowners and engineers.

Under the banner ‘Meet the design-er’, Matthias Aerts, managing directorof iDeal Audio invited Michael Deming,president and founder of CharterOakto the Depot venue in Leuven.

Deming took the opportunity topresent the SCL-1 processor, the PEQ-1Program Analyser and the brand’s lineof microphones.

“The attendance was beyond ourexpectations,” enthuses Aerts. “MichaelDeming, from his background as pro-ducer, impressed the audience with hisexpertise and product knowledge, explain -ing how the CharterOak microphonesare designed and their applications.”

Inspired by the success of the work-shop, Aerts wants to continue the seriesof Meet the designer masterclasses – nextis a workshop on digital clocking hostedby Grimm Audio’s Eelco Grimm atMotorMusic studios later this month. Qwww.idealaudio.be

Meet the designercalls for follow-up

BELGIUM

Sound effects for one of the year’s most anticipated video games, Portal 2, were

captured with the use of a Sound Devices 788T digital audio recorder.

In order to record effects for the game, the Valve Software audio team utilised

three main set-ups with the 788T, including an Aquarian Audio hydrophone, a

Schoeps M-S set-up with the Schoeps CMIT 5U as the mid mic and CMC68 as the

figure eight, and a Core Sound TetraMic. The M-S setup and the TetraMic were in

Rycote windscreens and, though usually mounted on a boom pole, were used

instead as handhelds and also on a regular mic stand. All of these were run straight

into the mic inputs on the 788T, while usually recording at 24/96.

Effects captured with the 788T ran the gamut from water balloons in the Valve

garage to whale song in Hawaii.

“The 788T has worked flawlessly since day one,” said Valve Software lead sound

designer Dave Feise (pictured). Q

www.sounddevices.com

UNITED KINGDOM

Major investment for London creative teaching college

Michael Deming journeyed from Connecticut to host the demo

Pict

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SSL desk opens up Secret Garden

January 2012 � www.prosoundnewseurope.com studio 11

Nigel LordSanden Studio – a division ofNorwegian company Sanden Media –recently installed an SSL AWS 948 console/integrated controller as a majorupgrade for its Studio A. The AWS 948replaces an Avid C24 controller to takeadvantage of the console’s combinationsignature SuperAnalogue sound qual-ity and DAW control for streamliningproduction workflow.

“We have been interested in attain-ing an AWS for many years, but whenthe 948 came out, we made the deci-sion to go for it,” said chief engineer,Roald Raasberg. “When we moved to adedicated controller from an analogueconsole, we were happy at first, but feltlike we were missing something bygoing all digital. We wanted to go backto an all-analogue signal path, but also

needed to have fast switchover capabil-ities between sessions and a way to con-trol Pro Tools.”

The first project for the AWS was theNorwegian-Irish group Secret Garden.“When we played back the session mixeswe had created and spread it out over 48channels through the AWS, the soundwas overwhelmingly good and veryrevealing,” stated Raasberg who turnedoff many plug-ins and EQ settings fromthe Pro Tools tracks and relied on theAWS’s EQ and sound quality to set a newbenchmark for the sessions. Qwww.solidstatelogic.com

NORWAY

UNITED KINGDOM

Playback through the AWS was “overwhelmingly good”

SOUNDBITEf Bournemouth University hasbeen named as the first UKaccredited SADiE TrainingEstablishment. Pete Nash, PrismSound and SADiE’s broadcastconsultant, is in charge of theaccreditation process. “Weestablished the scheme to giverecognition to those trainingfacilities that are offering exemplarystandards in terms of technical andcreative awareness of SADiE. Byhaving accreditation, Bournemouthstudents can prove they have beentrained to a very high standard andthoroughly understand the SADiEediting equipment they are likely toencounter in the real world.”www.sadie.com

Nigel LordPro audio specialist KMR Audio hassupplied a pair of Barefoot MM27 mon-itors to London-based music libraryImagem Production Music – the largestindependent production music pub-lisher in the UK. “We release 40 to 50albums a year and needed a pair ofmonitors that could be used for mix-ing and mastering the huge range ofmusic,” explains studio manager, IainRoberton. “KMR were great. The demounits were in huge demand and thewaiting list for production units isinsane but they managed to squeeze intwo demos at short notice and securedus a pair.”

The Barefoot MM27s are part of astudio upgrade which includes newplug-ins by Waves, TC and Abbey Roadplus a shared storage system. Designedto break down the barriers betweennearfield, mastering and main moni-tors, the compact and powerful enclo-sures are said to be exceptionallyneutral in critical listening applications.

“We were blown away by theBarefoots,” adds Roberton. “The clari-ty of the low frequencies, the solidityof the stereo image and the detail at lowlevels are astonishing – scary even.They’re really the best near/midfieldmonitors I’ve ever heard.” Qwww.barefootsound.comwww.kmraudio.com

More InfoScan with your smartphonefor full details of our digitalmixing consoles

Imagem’s Iain Roberton, Alex Black,

general manager and (front) engineer

Taz Mattar with the MM27s

Imagem stepsup with KMR’sBarefoot kit

f“I am passionate about soundand I know what I want to dowith the machines.”

Adrien Rodriguez of Perfect Analogexplains his philosophy and modusoperandi in a simple sentence. TheFrenchman was speaking exclusivelyto PSNE in London after a visit to theMusic Production Show at EmiratesStadium and subsequent appointmentswith studios and pro-audio partiesaround the capital.

Rodriguez’s immediate goal is sim-ple. In his warehouse 100km south ofLyon, near Valence, he has around adozen fully restored Studer 48-tracktape machines (models A80, A820,A800 MkII) awaiting purchase fromhigh-end studios.

“What I’ve done is take the best-sounding tape recorders and refur-bished them as new, which is quite ajob: changing capacitors, aligning andtuning them to Studer’s specification,measuring and checking them and pro-

ducing a tape recorder that sounds likea new machine.”

Let’s be clear here: Rodriguez isdoing this without any kind of approvalfrom a Studer representative – asStuder no longer makes analoguerecorders there is no one from who toseek consent.

“I have done this on my own, forpersonal reasons, believing that thereis still some interest in these machinesfor certain uses,” he says. “I thought itwould be interesting to buy the bestmachines – where I know the servicehistory, or that they have been welllooked after – and then to refurbishthem so everything is running as itshould. Analogue gear is interesting ifit’s working perfectly; if it’s not, then itis just a museum piece.”

The recorders have been acquiredfrom a number of sources over the pastfour years, including from Rak Studios,Swiss Radio, and London’s Town Housewhen that facility closed in 2008.

Sometimes, he says, he played a “gam-bling game”. “I would enter a studio witha full wallet, talk to the owner and makethem an offer there and then. Rodriguezwas literally renting transport in Franceand driving it 1,400km to the UK. “AndI don’t know whether I’m going to gohome with a machine or not…”

He has found some studio ownersand engineers to be “hard-headed” abouttheir precious technology. Having paida six-figure sum 20 years ago for a newStuder, they expect to receive £10,000for parting with the item now. “That’snot going to happen,” he says firmly.

Having acquired a dozen or so of thehistoric pieces over several years,Rodriguez has assembled a small net-work of technical experts to aid withtheir restoration – though, he adds, itwas tough finding engineers with theright skills. “I did a lot of the solderingmyself because I like it!”

Four years after this enthusiasticFrenchman started his quest, the time

has come to make some money. “In dif-ferent parts of the world, people havestarted talking about tape recordersagain. These machines still have an ide-ological power – you see the wheels turn-ing, it has a character that clicking on amouse does not.” He’s made his firstsale to Australia, but, now the businessis online properly, it’s time to shift theother units.

The arrival of Endless Analog’s CLASPis contributing to the renewed interestwith tape, admits Rodriguez. For theuninitiated, Chris Estes’ clever box of tricksroutes all your audio to tape, then lines itup with sample accuracy in you digitalaudio workstation, in real-time. In short,CLASP (£6,000 from KMR in the UK)integrates the tape machines into theDAW workflow, without fuss. “It’s an easyidea done in a simple way,” saysRodriguez. “So anyone who knows noth-ing about tape can use tape, with theirDAW, easily. Before CLASP it was a lotmore complicated.”

Could Rodriguez make his schemesuccessful without CLASP? “Yes,because when I started this business, Idid not know about it. But CLASP ismaking people talk about tape, and that’sall good publicity for me.

“CLASP makes me think I’m notalone,” he ponders. “If we create productthat sounds really great, then people arewilling to pay money for it. That’s why Iam selling my tape machines in thesame state of mind as if they were newequipment. Everything has been meas-ured, proved, checked, photographed;the buyer receives full documentationof how it works, inside and outside.That’s why I’m called Perfect Analog!”

Does he and Endless Analog have a‘deal’ in place? “No, we have a philoso-phy deal! My mind and Chris Estes’ mindare working the same way: if we push forexcellence, it will work; if we go halfway,make something that’s not good enough,then people aren’t going to buy it.” Qwww.perfectanalog.com

FRANCE

Perfectly formedstudio12

Adrien Rodriguez hopes his new business venture will aid thepropagation of the apparent rediscovery of analogue tape inthe recording sector. Dave Robinson captured the conversation Adrien Rodriguez and his lovingly-restored Studer machines

FOR MORE INFORMATION

or Michael Mitchell at +1 631 673 3199, mjmitchell@broadcast-media.tvfor further details on how you can promote your business and network with keydecision-makers at this unique TVBEurope event

Who should attend?

Chief Operating Officer; Directors of

Operations; HHead of Outside Broadcasts;

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CONFERENCENEWTVBEUROPE’S BRAND

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Contact Lucy Wilkie on

+44 207 354 6000 or

lucy.wilkie@intentmedia.co.uk

Steve Connolly, Publisher+44 207 354 6000, steve.connolly@intentmedia.co.uk

Ben Ewles, Sales Manager+44 207 354 6000, ben.ewles@intentmedia.co.uk

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Studio bookingsThe Studio Bookings listing is a free service. All information is provided by the companies listed andPSNE cannot be held responsible for any factual errors. To be included in the listings, please contactLianne Davey, studio bookings editor, on +44 20 7226 7246, or email Lianne.Davey@intentmedia.co.uk

If you want your web address to be included in the magazine AND in thedigital edition of Pro Sound News Europe for just £50 a year, please email

Lianne on Lianne.Davey@intentmedia.co.uk for an order form

ARTIST PROJECT CLIENT PRODUCER ENGINEER

ARTIST PROJECT CLIENT PRODUCER ENGINEER

www.prosoundnewseurope.com � January 2012studio bookings14

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tickets now on saleCafé de Paris – February 16th 2012

The MPG Awards ceremony will see the UK music industry coming together in one roomto celebrate with the shortlisted candidates and sponsor companies. Starting with awelcome reception, the awards ceremony will be hosted by BBC 6 Music’s NemoneMetaxes. After the awards presentation will be the after party till 1am.

There will be a limited amount of tables available on the night to sell and individual seats onthese will be sold on a first come first served basis. Awards Only tickets will be available thisyear offering you the chance to see the awards ceremony and join in the after party.

To book your ticket visit www.mpgawards.co.uk/tickets.html or contact karen@bubblesqueak.co.ukSponsorship and advertising opportunities are also available.

Information on the MPG Awards can be found at

www.mpgawards.co.uk

headline sponsors

media partners sponsors

The first Fast Turnaround TV con-ference will examine the technologiesand workflows behind big live/as-live productions and is set to bechaired by John Ive, currently directorof business development & technologyat the IABM.

Fast Turnaround TV is hosted by ProSound News Europe’s sister titleTVBEurope, which has previously man-aged high-calibre conferences tacklingleading-edge issues such as 3D Mastersand IT Broadcast Workflow.

Ive is a consultant and technolo gistat IveTech and formerly director of strategic planning at Sony Broad cast. Hisexperience spans senior management,technology, operations, marketing, training and research and development.

Fast Turnaround TV addresses the mounting battle to hold onto viewers, where large live and as-

live productions (sports, shows, pol -itical and cultural events, etc) arebecoming the cornerstones of a broad-caster’s schedule.

“Watercooler TV pretty muchequates to Fast Turnaround TV – high-pressure shows with complex collabo-rative workflows, where the potentialfor chaos or catastrophe is never faraway,” says Fergal Ringrose, editor ofTVBEurope and the IBC Daily. “Theseare now more important than ever forbroadcasters, production companies,facilities houses and equipment ven-dors, as the traditional TV audiencecontinues to fragment and evolve.

“Fast Turnaround TV is a uniqueTVBEurope conference that address-es the new realities of staging andprofiting from big ‘event’ televisionproductions.” Qwww.fastturnaroundtv.com

Fast Turnaround TVsweeps into London

UNITED KINGDOM

fbroadcast news

David DaviesRoath Lock – BBC Cymru Wales’ newlyopened studios in the Porth Teigr areaof Cardiff Bay (formerly Roath Basin) –has been provided with a new dubbingsuite designed by Munro Acoustics.

The infrastructure is built around aDFC Gemini console from AMS Neve– a desk that is used in several otherBBC dubbing theatres. The console fea-tures 16 faders, providing four layersand six banks, yielding some 384 chan-nels of audio.

The new suite will provide dubbingfacilities for two programmes producedby BBC Wales: Pobol y Cwm andCasualty. The Munro design was com-pleted by local construction teams.

Munro acoustic director Andy Munrocommented: “It is now possible toachieve cinema quality sound and videoin the new high-definition formats,which has created a demand for veryhigh-quality post-production facilities,and it’s great to work with BBC Wales tohelp build this level of development.”

Occupying some 170,000sqft, RoathLock includes a total of nine studiosand will provide a permanent home to

flagship BBC dramas including DoctorWho and Upstairs Downstairs. Qwww.munro.co.uk

Munro designs new dubbingsuite for BBC Cymru Wales

UNITED KINGDOM

David DaviesCounty Cork-based OB facilities com-pany Television Mobile (TVM) Ltd haspurchased three SoundField UPM-1stereo-to-5.1 upmix processors for usein two of its five-strong OB truck fleet.

TVM already has a SoundField DSF-2 digital microphone system in one OBvehicle, and one of the UPMs will bedeployed in this facility to upmix VTRoutput and sound effects in stereo to 5.1.The other two UPM-1s will be sited inanother TVM OB vehicle, where theywill be used to upmix VTR sound/effectsand the output of the stereo mic pairwhich captures crowd ambience.

Looking ahead, TVM head of soundPat Keogh remarked that the aim is “toget everything into 5.1 now. We currentlyhave a new truck being built which willcome into service in February, and thatwill have a SoundField DSF-2 mic sys-tem and a UPM-1 from the outset.” Qwww.soundfield.co.uk

Upmixer hat-trickfor SoundField

IRELAND

John Ive has experience across many sectors of professional broadcasting

The new suite will provide dubbing facilities for casualty

www.prosoundnewseurope.com � January 2012broadcast16

TVBEurope’s new conference to be heldon 13 March 2012 at Soho Hotel

TVM now boats three UPM-1s

SOUNDBITESf Lawo recently hosted the latestof its Digital Workflow workshopsat Rastatt in Germany. ‘Integratedand innovative – from the mixingconsole to the microphone’ was afree seminar led by experts fromSennheiser, Neumann andInnovason who presented thelatest product developments andexplained their role in the digitalworkflow. The workshop offeredsound engineers and Tonmeistersthe opportunity to try digitalmicrophones and mixing consolesin small groups and includedlectures on Neumann productsand Innovason’s Eclipse GT digital console.www.lawo.de

f A leading Belgian broadcasterhas taken delivery of nine BelDigital Audio 7150 digital audiosynchronisation delays. The unitsare now installed in VMMa’s linecentre to sync the audio from itsISDN codecs with incomingimages. “We bought this modelbecause it can be set to deliverlong delays and has a choice ofpresets for different delaylengths,” explained VMMa’s Chris Wolters.www.beldigital.com

fAudio features prominently inthe shortlist for Best PostProduction House in next year’sBroadcast Awards. Allcompanies selected for theaward have established sounddepartments that have beenactive in audio-for-picture workthis year. Halo Post Production(see p19), Bristol-based Films@59and Deluxe 142 are among thenominees; Deluxe 142’s recentwork includes comedy seriesMiranda and Episodes and thedrama Any Human Heart. The2012 Broadcast Awards take placeon 2 February at the GrosvenorHouse Hotel, Park Lane in London.www.broadcastawards.co.uk

f Sky News Radio (SNR) hasinvested in a Logitek Remoradigital audio mixing console,purchased via UK distributor Preco,for its Millbank studio inWestminster. SNR delivers news toover 300 commercial stations, withmore than 34 million listenerstuning into its bulletins every week.“We wanted somethingstraightforward and easy tooperate when interviewing,”explains SNR technician, DerekCole. “We will be using the Remorawith a Netia newsroom system,allowing London-based reportersto produce and edit material andsend this as a completed file to ourstudio in Osterley.”www.logitekaudio.com

January 2012 � www.prosoundnewseurope.com broadcast 17

Kevin HiltonCalrec Audio has made its first sale ofan Artemis console into Europe. Thedeal with commercial outside broadcastcompany Telerecord is also the firsttime the manufacturer has sold intoItaly and marks another step in itsefforts to expand beyond its core UKand US markets.

The Artemis Beam desk, with 340channel processing paths, has beeninstalled in a multiple camera HD OBtrailer, which is due to go into operationearly in the new year. Telerecord wasfounded in 1976 and works for leadingbroadcasters and production companiesin Italy, including Infront Sports andMedia, Sky, Mediaset and RAI. It beganworking in HD in 2004 and 3D in 2007.The sale of the console was arrangedthrough Calrec’s Italian distributor, Aret.

Calrec’s sales manager for Europe,Middle East and Africa, Chas Rowden,says Europe is “a very logical area ofexpansion” for the company. Rowdenfeels that by adopting FPGA circuitsand fixed point architecture for its newgeneration of console, Calrec has a def-

inite advantage over its competitors,many of which are still using SHARC(Super Harvard Architecture Single-Chip Computer) technology.

Although many large-scaleEuropean broadcast centres are being

planned, Rowden says such opportu-nities for equipment sales comeround only every five to eight yearsdue to the level of investment and planning involved. Rowden hasdeveloped relationships with “every

major state broadcaster in Europe”and believes that, as with Telerecord,there are also opportunities for single sales into OB and nationalbroadcast stations. Qwww.calrec.com

Calrec hits the bullseyewith Artemis in Italy

Calrec’s sales manager for Europe, Middle East and Africa, Chas Rowden, with Alessandro Asti of Aret

ITALY APPOINTMENTS

f Frank Eischet is the latestaddition to the core team ofGermany’s Riedel. Eischet –who joins in the role of chieffinancial officer – is able to call on 10 years of seniormanagement experience. Hesucceeds Uwe Bingel, who isleaving the company to pursue a new career path.www.riedel.net

f Mike Grieve has joined TSL assales director. He moves fromQuantel following a long career inbroadcast technology which alsoincluded Filmlight and Autodesk.www.tsl.co.uk

fMost of the focus on mediafacilities in the UK this yearhas centred on the north-west

of England – and Salford in particular.But city neighbour Manchester is hav-ing its own audio, film and TV studioexpansion through The Sharp Project.A central part of this is post-productionand music facility 80 Hertz.

Building a new audio post-productionhouse in today’s uncertain economictimes takes a lot of belief. Building a newmusic recording studio with a big orches-tral room could be an even bigger leapof faith. 80 Hertz studios has both – andis out of London into the bargain. But itis in Greater Manchester, which alreadyhas a healthy TV, radio and music sceneand is now seeing massive growth inthese sectors that could seriously chal-lenge the English capital.

Much of this is due to MediaCityUK(MCUK), the broadcast and film devel-opment at Salford Quays that is nowhome to the BBC, among others. Butin Manchester itself The Sharp Projecthas created another centre for mediacreation and production.

80 Hertz was the first business tonegotiate a lease and move into TheSharp Project.

The music and post studio was setup by engineer and producer GeorgeAtkins, a graduate of ManchesterUniversity with a BA (honours) in music,business and IT. After graduating Atkinsspent a year looking for a job but even-tually decided that working for himselfrather than for someone else on “a pit-tance” was a better prospect.

He set up 80 Hertz and workedwith indie band Keith and then LillyAllen. This brought in more work butin 2008 the new owners of the build-ing where he was based decided toredevelop it into offices, leaving him,

he says, “with a load of gear and someclients but no studio”.

While freelancing at BlueprintStudios Atkins heard about The SharpProject, which was conceived byManchester City Council as a “digitalcontent production complex” and isbased to the north-east of the city centre in the former UK logistical ware-house for consumer electronics man-ufacturer Sharp.

Building work on the new 80 Hertzbegan in August 2010 and was fin-ished by late April this year, with finaltouches like patchbay termination andsystem testing after that. “We’ve builtit to have everything, we hope, that wecould want now and possibly five yearsin the future,” Atkins says. “The ethoswas to build a recording studio withthe best live room in Manchester andalso have a post-production arm to take

advantage of what’s coming up toMediaCity, because we want to getsome synergy with them.”

The 5.1 dubbing theatre is basedround an Avid (Digidesign) C24 deskworking with Pro Tools 10 HD, whichis the main digital recording format,although the facility is what Atkinsdescribes as “cross-compatible”, withNuendo 5.5 and Logic Studio 9 alsoavailable. Monitoring of 5.1 is onRogers LS5/8s, with an ADAM rig alsoavailable. Pictures for audio-to-videowork are from a digital HD projector.

ADR can also be carried in boththe voice booth behind the re-recordingsuite and the voice-over area off the recording studio. On the otherside of the music control room is thecentrepiece of 80 Hertz, a huge1,000sqft (93sqm) live room, whichAtkins says can accommodatebetween 30 and 40 players.

This also houses a drum room andan amp cabinet, while the controlroom is big enough for musicians toplay in, with space for old-fashionedsynths as well as guitars. The mixingconsole is a custom 24-fader NeveGenesys, which Atkins describes as “very multi-purpose”. This is

reflected in it being able to acceptFireWire inputs, so a client can bringin a laptop and use the desk as aninterface. A counterpoint to this high-tech capability is a Studer A810reel-to-reel tape machine. The main loudspeaker monitors areWestlake BBSM 12s, plus YamahaLS10s and ADAM A7xs for near -field monitoring.

A major feature of 80 Hertz is the connectivity and communication. Net -work ing is over Cat6A circuits; a keypart of it is the headphone network,

which not only allows people in different studios/control rooms andvoice booths to hear what is going onbut they also have control over eightchannels of monitoring feeds throughindependent, personal mixers.

While attention might be moretowards the shinning, if dull, buildingsdown at MediaCityUK and the facili-ties inside, George Atkins feels it willreach capacity and is confident that 80Hertz – and The Sharp Project as awhole – will not only pick up the slackbut attract business in its own right. Atale of two cities indeed. Qwww.80hertz.comwww.thesharpproject.co.uk

80 Hertz at the Sharp end

George Atkins opted to go it alone rather than work for a “pittance” for someone else

www.prosoundnewseurope.com � January 2012broadcast18

As the north-west of England continues to experience a media boom, Kevin Hilton paid a visit to new Manchester-based post-production and music facility 80 Hertz

UNITED KINGDOM

“We’ve built it to have everything, we hope, that we could want now and possibly five years in the future. The ethoswas to build a recording studio with thebest live room in Manchester and also havea post-production arm to take advantageof what’s coming up to MediaCity ”

fThe UK post-production sec-tor is a strange beast. It con-tinues to suffer the vagaries of

the economic situation – broadcastingand advertising budgets in particular –and while there have been some high-profile causalities over the past fewyears, many of the remaining compa-nies are investing and growing.

While high definition (HD), digitalintermediate (DI) and now stereoscopic3D (S3D) have been behind the majori-ty of high-profile installations and newbuilds in the past few years, the trend ismoving in favour of audio.

Halo Post Production has also madea strong statement of intent by takingover the lease of the Noel Street soundfacilities vacated by Pepper Post, whichwere shut down, along with video andDI suites at Greek Street by parentgroup Future Films in June.

Founded by chief executive and dub-bing mixer John Rogerson in 2004 asan audio-only house, Halo already hadfour sound studios split between prem-ises on Margaret Street and GreatPortland Street. Halo’s managing direc-tor Jo Beighton says the company hadalready been booking for “expansionspace” and was “quite far along” in theprocess when the Pepper Post roomscame on the market.

“I would say audio is our strongestdraw in terms of why clients choose tocome to us,” Beighton comments, “andthe rest of the facilities have been builtaround that.” She adds that bothRogerson and head of sound DannyFinn winning RTS best sound awardsfor non-drama and entertainment inrecent years – including for RichardHammond’s Invisible Worlds in 2009-10 – helped “carve quite a niche in fac-tual programme production wherepeople required extensive sound designon top of straightforward mixing”.

The facilities at Noel Street com-prise offline cutting rooms, gradingareas and four audio suites. Three are reasonably sized and used forbroadcast mixing and ADR but it isStudio 1, the 8.3m-wide, 12.1m-long,4.35m-high re-recording theatre, thatwas regarded by industry observers asthe major selling point and the rea-son why the premises would not beclosed forever.

Beighton says the company waslooking to widen its client base into filmand drama, and Studio 1 offers thepotential to do that. “We’re also in amuch smaller market, with only threestudios of the necessary size for cine-ma and drama work available in Soho[Goldcrest, De Lane Lea and Halo], so

the big room here puts us in a uniqueposition,” she observes.

David Turner, previously head ofsound at Pepper and before that aVideosonics staffer for 18 years, has beenappointed director of film post-production to help bring in this newwork. Another recent arrival is RogerBeck, formerly chief executive atTechnicolor Creative Serves, who is over-seeing the integration of Noel Street withHalo’s existing facilities in his role aschief operating officer. Part of this hasseen Noel Street connected to the otherbuildings over a dark fibre network.

Beck says there has been “a lot todo”, including upgrading the infra-structure at Noel Street. Three of thefour studios are being completely re-equipped. The AMS Neve Libra consolein Studio 3 has been removed; Beckexplains the aim is to get a featureslicence for the room, which was tradi-tionally used for mixing trailers andcommercials. “This will give us moreflexibility,” he comments.

Danny Finn adds that “the onset ofPro Tools 10 allows us to do all the mix-

ing within the box, using floatingpoints”, although Studio 3 will have a24-fader D-Control. Another require-ment for Halo was being able to do anyjob in any of its audio suites, whether atNoel Street or the other buildings, allow-ing operators to move between themand know that everything would load upand work. This calls for a consistency,Finn explains, which did not include theexisting Libra, although outboard gearthat is already in use will stay as the-atrical clients often insist on this.

Studio 2 previously had only infra-structure connections, allowing customers to bring in preferred equip-ment. It now also has a 24-fader D-Control, while Studio 4 features aneight-fader model that will be used for

prep, pre-mixing and voice-overs but,says Finn, with the capacity for expan-sion where necessary.

Corresponding changes are beingmade to the biggest room at MargaretStreet, Theatre 2, which is having a 40-fader D-Command installed for factualand drama TV work. A new departureat Margaret Street is feature ADR. Finnsays that in the past Halo only did thiskind of work for projects it was alreadymixing but now the facility is looking toattract sessions on a stand-alone basis.

Noel Street’s big Studio 1 has nothad any substantial changes since Halotook over but software upgrades havebeen made to the AMS Neve DFCGemini console to accommodate 7.1.This change was the first to be madeso that that the Aardman/Sony festiverelease Arthur Christmas, which wentinto cinema last week, could be mixedin the big room. Qwww.halopost.tv

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January 2012 � www.prosoundnewseurope.com broadcast 19

Halo has dramatic intentionsHalo Post Production took over the closed dubbing suites of Pepper Post in NoelStreet, Soho during September. Kevin Hilton looks at the background to the expansionand how the company is upgrading the studios to cater for today’s market

UNITED KINGDOM

Studio 1 offers the potential for Halo to widen its client base into film and drama

“Audio is our strongest draw in terms of whyclients choose to come to us and the rest ofthe facilities have been built around that”

SOUNDBITESf For the 18th consecutive yearEntec Sound & Light willsupply technical production forthe Bootleg Beatles UK tour. Thetouring PA is a d&b Q Series linearray, mixed with a YamahaPM5D-RH. Monitor engineerSimon Lutkin (Yamaha M7CLconsole) is said to be “keepingwith the period feel of theperformance” by using wedges(d&b M2s) and wired mics(Shure SM57s and 58s). Many ofthe backline elements also dateback to 1960s.www.entec-soundandlight.com

f Roland Systems Groupproducts are currently travellingthe country with Toyah Willcoxwho kicked off the final leg of herFrom Sheep Farming To Anthem2011 tour at the beginning ofOctober in Southampton. PaulNicholson who runs Salisbury-based Midas ProSound and RedSquare Audio specified theRoland M-300 Live MixingConsole for the tour togetherwith the Digital Snake and S-1608stage unit running both FOH andmonitor mixes. www.rolandsg.co.uk

f The 78-year-old blues legendJohn Mayall recently completed a25-date UK tour with a pair ofYamaha digital consoles. FOHsound was mixed on a YamahaM7CL-48, with an LS9-32 at themonitor position. “I’ve used theM7CL before and I liked it, so Iwas happy to specify it for thistour,” said Claude Taylor, Mayall’smanager and backline tech. “Youhave all the advantages of adigital console, but I have to mixthe show on the fly because ofJohn’s unorthodox style ofgrabbing the microphone andsinging through the harmonica.You’re riding the faders everysong. It’s the way John’s operatedfor decades and you have to reactquickly, but the M7CL is verygood for mixing like that.”www.yamahaproaudio.com

f MC2 Audio has announcedshipping of its E100 amplifier,previewed at last year’s Prolight+ Sound and on show at PLASAin September. The flagship of thesuccessful E series amplifiers, theE100 is currently the company’smost powerful four-channelamplifier and also the firstproprietary Class D switchedmode model to be developed byMC2. Designed to run cool evenin difficult working environments,the E100 delivers in excess of2,500W into 4 ohms (all channelsdriven) from a 2U, 11.8kg chassis. www.mc2-audio.co.uk

In order to keep pace with increasingdemand for wireless systems and toreplace part of its current RF inven tory,international dry-hire company AEDRent has decided to invest in a sub -stantial number of Sennheiser in-earand wireless microphone systems. Thedeal will also allow AED Rent, whichhas subsidiaries in the Netherlands,UK, France and Germany, to offer thebrand throughout Europe.

The Sennheiser equipment includes108 channels of 2000 series for in-earmonitoring, and 120 channels of 3000and 5000 series wireless microphones –60 EM3732 dual channel receivers, 84 SKM5200 handheld transmitter and60 SK5212 pocket transmitters.

“In view of the expected problemsand shortage of frequencies we optedfor the broad spectrum EM3732 series,”explains Koen Conaerts, sound engi-neer and account manager with AEDRent. “We know that in certain coun-tries our clients will be facing new rules – the revolutionary thing aboutSennheiser is that the system operatesmany systems on a limited bandwidth.The unique auto-scanning systemallows our clients to work in mostEuropean countries. And then there isthe Sennheiser frequency-finder web-site and app as a useful tool.”

“AED Rent’s choice of Sennheiser isto be seen as a strategic internationaldeal,” adds Hans Kortenhorst, man -aging director, Sennheiser Benelux.“We’re extremely happy that AED Rentwill be using our brand on a wide inter-national scale through their clients, andboost Sennheiser’s presence in thedomain of professional audio. The pro-fessionalism, modern and innovativevision of AED Rent on the audio rentalbusiness gave us an extra reason toclose an European partnership.”

Conaerts says the Sennheiser invest-ment will strengthen AED Rent’s posi-tion as a leading dry-hire company inEurope. “We’re looking at the internation-al tours with our UK subsidiary – that’swhy we opted for the top range series inSennheiser. Simultaneously we want toincrease our service towards clients cater-ing for the broadcast and theatre busi-ness, where Sennheiser traditionally hasa strong and well-respected footprint.”

The fact that AED Rent was able toconclude a partnership with Sennheiser,

going beyond the regular ‘buy and sell’,was also crucial. “The support ofSennheiser, especially in view of the forthcoming adaptations of RF legislation in different countries, isessential. We greatly appreciate theircommitment towards us,” explainsPiet Verstraete, sound engineer andaccount manager with AED Rent.

Kortenhorst adds that a true partnership starting with such a commitment requires optimal serv-ice and support – in addition to agree-ments allowing specific elements ofservice and maintenance carried outin AED Rent’s workshops, “AEDRent’s engineers will be trained to provide ‘first level user support’”,concludes Kortenhorst.

With rapidly increasing rentaldemand for wireless in-ear systems andorders for wireless microphone systemshaving tripled, AED Rent is looking for-ward to offer the new Sennheiser sys-tems to the pro rental AV companies.

At press time, Pro Sound NewsEurope learned that AED Rent haveplanned a significant investment in JBLequipment – the deal will be made public during the upcoming NAMMtrade show (19 January). Qwww.aedrent.comwww.sennheiser.be

AED’s Koen Conaerts (left) and Piet Verstraete (right) with Hans de Hertogh

(pro-audio business area manager Sennheiser Belux)

flive news

In what is said to be one of the biggest investments in Sennheiser wireless systemsthis year, AED Rent is eyeing those professional AV companies involved in the international touring market, notes Marc Maes

Massive Sennheiserdeal for AED Rent

BELGIUM

www.prosoundnewseurope.com � January 2012live20

Drumming up a storm in Paris: Rolling Stone

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NAMM will be hosting its usualtimetable of social events and‘NAMM University’ sessions duringthe January show.

Each day of the NAMM Showstarts with an educational BreakfastSession held at the Hilton AnaheimHotel’s Pacific Ballroom, providingattendees with a free hot breakfast andan informative presentation on strate-gies and techniques that can help tostrengthen their business. Attendeeswill enjoy musical artists, special guestsand speakers.

The NAMM Show kicks off onThursday 19 January at 8am with ashow favourite – Breakfast ofChampions – featuring NAMMpresident and CEO Joe Lamond ashe welcomes the industry and agroup of industry ‘champions’ for aseries of up-close and personal dis-cussions about the current state andfuture of the music industry.Attendees are encouraged to listenin on the thoughts of these vision -

aries and hear their views on today’schallenges and possibilities.

The NAMM University sessionsstart on Thursday at 10:30am andwill be held every 30 minutes at theIdea Center on the NAMM Showfloor, Booth 5501 in Hall B. The pro-fessional development sessions aredesigned to offer valuable insightabout current business trends andpractices to attendees throughout theduration of the NAMM Show.

A total of 43 sessions are beingheld this year on a wide range of topics in industry segments such astechnology, music lesson programs,sales, retail ideas, marketing, retailoperations and finance. Idea Centerpresenters include NAMM Top 100Dealers and industry experts.

Thursday’s NAMM Universitysessions include ‘Making the Mostof Your Store’s Staff ’ presented byRand and Cindy Cook of TheCandyman Strings & Things, win-ners of the Wanna Play Dealer and

Best Use of Social Media award cat-egories in NAMM’s Top 100 DealersAwards. That day will also feature‘Meet the Music Store Stars:Marketing Secrets of a SuccessfulRetail Store’ moderated by Jen Loweof Boom Boom Percussion, withPaul Decker, Levi Kujala and DustinTucker of Music Villa.

Friday’s Breakfast Session will be on the topic of ‘Real-TimeMarketing & PR: How to InstantlyEngage Your Market, Connect withCustomers, and Create Products thatGrow Your Business Now’, featur-ing David Meerman Scott, market-ing strategist and bestselling authorof The New Rules of Marketing andPR and Marketing Lessons from theGrateful Dead. Friday’s other sessionswill include ‘Tune In to the Voice thatCounts: Insights On Customer-Driven Innovation’, moderated bySteve Schwandner of Seeldeas, Inc,with Gregg Gammon and Jodi Smithof Buddy Roger’s Music.

The Breakfast Session onSaturday will highlight ‘The Top 10Web Marketing Trends for 2012’,presented by John Arnold, marketingauthor and columnist at entrepre-neur.com. Saturday’s NAMM U sessions will feature Danny Rocks ofthe Company Rocks and ScottRobertson, APR, NAMM’s directorof marketing and communications,moderating a panel of industry retailprofessionals and sparking discus-sion on ‘How to Ignite Your Businessin Five Minutes or Less’. In addition,a double session will be held on ‘Howto Implement Your Social MediaStrategy’ moderated by Danny Rocks

and a panel of retail experts, and aspecial interactive Q&A double ses-sion will feature ‘Financial QuestionsEvery Music Retailer’s Afraid toAsk’, presented by Alan Friedman,CPA partner, and Daniel Jobe andShaun Conrad of Freidman,Kannenberg & Company, P.C.

Sunday’s Breakfast Session is aNAMM Show tradition and features‘Best In Show – The Year’s HottestProducts’. Join Frank Alkyer, pub-lisher of Music Inc and a panel ofindustry experts who search everyaisle at the show for the best products,ideas and trends, and will select theirtop finds in a number of categories.

PSNE @ NAMMSHOW PREVIEW

NAMM University sessions have become increasingly popular

Dave RobinsonThe National Association of MusicMerchants (NAMM) has reinforcedits increasing commitment to

pro-audio brands with theannouncement of a full education-al session schedule for the HandsOn Training (H.O.T.) Zone during

the 19-22 January event. The ses-sions will focus on the pro-audiosector, in addition to entertainmenttechnology and music businessoperations segments.

Joe Lamond, NAMM presidentand CEO, tells PSNE: “TheNAMM Show brings together themost important pro-audio buyersand thought leaders from aroundthe world, and the top pro-audiomanufacturers don’t want to missout on that opportunity. Pro audioand live sound is one of the fastestgrowing segments in the industryand NAMM is committed to bringing valuable content such as the H.O.T. Zone sessions, whichthis year will include workshopsfrom the National Sound Con -tractors Association, and eventssuch as the TEC Awards to theseimportant attendees. 

“Also, recent changes in retail-ing have led many NAMM retailmembers to get into the pro-audiospace including selling andinstalling church sounds systems,

so we’re really seeing the lines blur-ring between MI and pro audio.”

The H.O.T. Zone, on level 2 of theConvention Center, presents a wealthof learning opportunities for profes-sionals in the recording, live sound,DJ, house of worship, commercial

systems integrators, and stage andlighting industries. Industry partners,publishers, organisations and asso-ciations will offer special trainingworkshops, master classes, clinics,mini-conferences and networkingopportunities during the show.

Lamond went on to underlinewhat non-US based companies,particularly those from Europe,stand to gain from travelling to theshow. “The NAMM Show bringstogether the entire music productssupply chain – buyers, sellers, distributors, reps and even topartists – all in one place. NAMM isthe world’s show and the placewhere the most new products arelaunched.  And while there aremany shows that industry prof -essionals around the world feelobligated to attend, the combina-tion of good business, learning andnetworking opportunities as well asa great show vibe together with thatgreat Southern California weatherduring the third week in Januarymake the NAMM Show the onethey want to attend.”WEB >> www.namm.orgNAMM will be held at the Anaheim Convention Centre, 19-22 January

Joe Lamond: “The NAMM Showbrings together the most importantpro-audio buyers and thoughtleaders from around the world”

University educationand a hearty breakfast

Hands On Training Zone more vital then ever, says organiser

NAMM pushes pro audioEight-page special on what the Anaheim show offers professional audio customers

SHOW PREVIEW

24 PSNE@NAMM

Dave RobinsonAllen & Heath will unveil GLD, auser-friendly, cost-effective and scalable live digital mixing sys -tem, conceptually based on the succ essful digital iLive series, at NAMM 2012.

A standard GLD 32-input sys-tem offers 28 XLR mic inputs withplug-and-play I/O expanders allow-ing easy expansion up to 48 inputs(44 XLR mic inputs).

At the heart of the system is theGLD-80 mixer, providing 48 inputprocessing channels, eight stereo FXreturns fed by iLive’s FX emula-tions, 30 configurable buses, 20 mixprocessing channels, and DSP

power to provide full processing“without compromise”.

GLD-80 has an analogue-stylechannel processing control sectioncomplemented by a graphical 21cm-wide touchscreen. A fully-customis-able drag-and-drop layout allowsquick and easy assignment of inputs

and mixes to fader strips. There are20 fader strips in four layers, eachwith a motorised fader, a channelLCD display which can be namedand colour-coded, plus a rotary con-trol for direct access to gain, pan andaux/FX sends. There’s plenty of I/Otoo: four XLR mic/line inputs, fourXLR line outs, four RCA inputs,four RCA outputs, and digital out-puts in SPDIF and AES3 formats.

The GLD-80 connects to arange of plug-and-play I/O racksto ‘build’ 28, 36 or 44 mic input systems. A primary AR2412 rack(24 XLR inputs, 12 XLR outs)and up to two AR84 expanderracks (eight XLR inputs, four XLR

outs each) can be connected over120m Cat5 runs using A&H’sdSNAKE protocol. (dSNAKE provides control to the remote pre-amp, and all mic preamps are scenerecallable.) AR2412 also includes a connection for personal monitor-ing systems.

GLD has the ability to record andplayback a stereo signal on a USBmemory stick. Standard iLive audioI/O option cards for Dante, MADI,EtherSound and Allen & Heath’sACE protocols can be fitted and willbe available soon, allowing multi-channel record/playback, FOH/monitor splits, and connection toA&H iLive systems, which can easilybe configured using GLD’s extensivesoft-patching.

“Designing a system which is suit-able for both the professional engi-neer and occasional user has been apriority. With GLD, our aim was totake much of the complexity out ofdigital mixing, opening up the tre -mendous benefits of digital technol-ogy to a wider group of customers,such as the rental companies, housesof worship and live venues where ourGL series analogue mixers have beenworking so successfully for years,”comments A&H MD, Glenn Rogers.“GLD offers high-quality processingand stunning sonic performance. Keyto the system is GLD’s remote plug-and-play I/O audio racks for flexible,easy set-up system building.”

+ In other news, Audio-Technica Ltdhas announced it has entered into anagreement with Allen & Heath Ltd toact as the exclusive distributor for themixer manufacturer in the UK. Thestrategic move mirrors a similararrangement in Germany, where Audio-Technica has been an Allen & Heathdistributor since 2005, seeing a significant

growth in sales over the last six yearsin the territory. Audio-Technica takesover from current distributor JHS witheffect from 1 February 2012 and will

be responsible for sales, technical sup-port and service for both existing andnew customers.WEB >> www.allen-heath.com

Allen & Heath going for gold with GLD

The basic package (GLD-80 mixer and AR2412 rack) will cost you less than £7,000

AR2412 rack: 24 XLR inputs, 12 XLR outputs

Graphical 21cm-wide touchscreen

The Guitar virtuoso, composer andproducer Steve Vai will be presentedwith the prestigious Les Paul Awardat the 27th Annual TechnicalExcellence & Creativity Awards, to beheld on Friday 20 January in the PacificBallroom of the Hilton Anaheim during the 2012 NAMM Show. Co-presented by the TEC Foundation forExcellence in Audio and NAMM, theTEC Awards recognises outstandingachievement in professional audio pro-duction and product design.

The Les Paul Award was estab-lished in 1991 to honour musicalartists who have had distinguishedcareers as innovators in the creativeapplication of audio technology. Pastrecipients include Paul McCartney,Stevie Wonder, Bruce Springsteen,Sting, Brian Wilson, Peter Gabriel,Lindsey Buckingham, HerbieHancock, Al Kooper, Steve Miller,Robbie Robertson and others.

A student of Joe Satriani at age 12,Steve Vai began his professional music

career working with Frank Zappa,with whom he toured and recordedbefore launching his solo career. Sincehis groundbreaking album Passion andWarfare, released in 1990, the bril-liance of his musicianship has awedmore than just rock fans and hasstunned concertgoers worldwide, pro-ducing sales of over 15 million recordsand earning multiple Grammys.

Steve Vai has received honorarydoctorates from Berklee College ofMusic and Musician’s Institute, and

is also involved with many worth-while organisations. He founded therecord label Favored Nations, formusicians, who in Vai’s words, “haveattained the highest performancelevel on their chosen instruments”.He has also served as a Trustee forthe Recording Academy, is on theboard of Hollywood Arts,  andworks closely with his own Make aNoise Foundation, raising moneyfor music education.WEB >> www.tecfoundation.com

Steve Vai to receive Les Paul Award at27th Annual Tech Excellence Awards

Steve Vai photo Larry DiMarzio

“Winter NAMM has been a hugely important date in the Sontronicscalendar, ever since we launched the brand there in January 2005,”says Sontronics’ MD and designer Trevor Coley, from behind his Saturncondenser (2010 NAMM debut). “Obviously it gives us the chance toannounce new products at the same time as showcasing our existing(ever-growing!) range, giving visitors the chance to see, feel and hearour mics. It’s also a great opportunity to catch up with our variousdistribution agents, Sontronics stockists and press contacts from aroundthe world, as well as chewing the fat with our friends in the industryand checking out all their new gear. And who can resist a beer in theCalifornian sunshine? NAMM — wouldn’t miss it for the world! Did Imention the sunshine?”WEB >> www.sontronics .com

(Picture with apologies to Rene Magritte’s Son of Man)

HOUSE OF KWelcome to the

Enter a place of infi nite possibilities. In this house, over 40 years of amplifi er, loudspeaker and DSP experience born under a single roof run through the veins of every K Family product. Incredibly intelligent and versatile, all 10 models work together in countless ways to solve your most diffi cult audio challenges. And just like any good home, the House of K provides genuine comfort, delivering service you can depend on today, tomorrow and for years to come.

Whether for Rental Sound, Installed Sound or Portable P.A., the House of K is wherever you make it. Contact your QSC sales representative and build your own house today.

© 2011 QSC Audio Products, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLCin the U.S. Patent and Trademark Offi ce and other countries.

Ten ModelsInfi nite Possibilities

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KW Series

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YOUR CHALLENGEYOUR CHOICE

2000 SERIES

EM 2050

SKM 2000

One off live shows, concert touring and theatre performances - whatever the wireless application Sennheiser 2000 Series allows you to master complex events with flexibility, reliability and confidence. With up to 75 MHz of frequency switching bandwidth and a full range of hardware components to choose from, 2000 Series gives you all the options when adapting to fast moving production environments.

SENNHEISER 2000 SERIES

Sennheiser UK Ltd, 3 Century Point, High WycombeBuckinghamshire HP12 3SL01494 551551 www.sennheiser.co.uk

New products from Studiomaster(now part of the SoundKing group)at NAMM include the portableHorizon 2012 powered mixer,shown for the first time in the US.The functional design incorporatesa shoulder carry strap, removablecontrol cover and a retractablepanel to angle the mixer for the bestworking position; the mixer can beused free standing or rackmount-ed. All mic/line input channels fea-ture the VMS optical compressor,Studiomaster 3-band EQ, withsweepable mid, and a total of fourAUX sends. Sixty millimetresmooth faders, Mute, PFL buttons,and SIGNAL and PEAK LEDscomplete the channel strip. A com-bined stereo and mic input channeleffectively adds three more micchannels. Twin onboard FX proces-sors feature real studio qualityreverbs and delays. A 2-channelUSB audio interface includes

assignable signal source; play-back from a computer can

be routed to the mainMIX output, or to

a stereo chan-nel giving

a c c e s sto EQa n d

a u x i l -iaries. The out-

put to the com-puter can be from the

main MIX, to record a per-formance, or from the DSP effect

sends to make use of plug-in FX.Each amplifier channel supplies acolossal 1,000W into 4 ohms usingClass G topology; stable into allloads with temperature and short-circuit protection.

Another NAMM debut is theStudiomaster XPX series ultra-portable moulded PA cabinet.Active and passive models are available in 12” and 15” driver seriesand feature “high sound quality” (reports Studiomaster),with neodymium drivers and 3” voice coils, and class D bi-amplification providing 750W RMSin the active models.

Marketing manager PatrickAlmond says about the XPX series:“We have been developing the XPXseries as a high-quality cabinet featuring great performance and afeature set, which in the passivemodels will perfectly complementthe new Horizon powered mixerand in the active models, supple-ment the hugely popular currentVPX active range.”

Studiomaster is also launching atechnologically advanced PA solu-tion in the form of the new AcousticImage6 (passive) and AcousticImage6A, (active) large-formatNXT driven flat panel PA systems.Investment in state-of-the-art devel-opment and manufacturing tech-nologies has improved thereproduction capabilities of flatpanel speakers, and enabled themanufacture of the larger scaleAcoustic Image6/6A panel (755 x555 x 86mm) that can “outperformconventional enclosures in small tomedium reinforcement applicationsand multi-speaker installations”, thecompany claims. WEB >> www.studiomaster.com

SHOW PREVIEW

JoeCo heads to Anaheim with a fullrange of analogue and digitalBlackBox Recorder models available,plus a show preview that’s still underwraps. Last year, 2011, was highly sig-nificant for the UK manufacturer,with the release of the BBR64-MADIthat captures up to 64 channels ofMADI data, while still retaining thecompact 1RU format of the standardBBR versions. JoeCo’s collaborationwith Audinate, creators of the award-winning Dante digital media net-working solution, also came tofruition during 2011 with the releaseof the BBR-Dante, designed to inter-face to a Dante network.

JoeCo will be joined at NAMM2012 by US/Canadian distributorFullScaleAV.

“Exports for JoeCo are very strongand the US and Canada are two of ourbest markets,” says JoeCo managingdirector Joe Bull. “The US in particu-

lar seems to be blessed with a positiveattitude and real belief in the adage that‘when the going gets tough, the toughget going’. Most of the customers I talkto in the US realise that they have tocontinue to offer something positive totheir customers rather than sitting backand moaning about how things usedto be. I find it very refreshing.”

On the subject of the NAMMshow, Bull adds: “It’s vitally importantas it brings together so many profes-sionals and retailers to exchange ideasand seriously consider their businessesand opportunities. It’s very difficult notto be buoyed by the blatant enthusi-asm that most of the attendees exudeand this often makes a very refreshingchange from the more downbeat atti-tudes at other trade shows around theworld. It’s also nice to catch some win-ter sun, even if it’s only on the way intothe convention centre every morning!”WEB >> www.joeco.co.uk

Launched in 2011, the BBR64-MADI captures up to 64 channels of MADI data

JoeCo catches onto anenthusiastic wave

Rycote, the UK-based manufacturerof microphone windshields andshockmount systems, is launching anew version of its InVision UniversalStudio Mount microphone suspen-sion at this year’s Winter NAMMshow. The existing InVision USMcan be used to mount microphonesfrom 18 to 55mm in diameter, andthus accommodates most studiorecording microphones, but the newInVision VB will hold the broadestlarge-diaphragm models from 55mmto 68mm, such as the NeumannM149 and M150, the sE Gemini 5and G3500, the Røde Classic II, andthe BLUE Microphones Kiwi andMouse, as well as design classics likethe original Neumann U47.

The InVision VB offers the samedurable design as the originalInVision USM, based on Rycote’spatented and “virtually indestruc-tible” W-shaped Lyre mounts, andprovides the same protection fromunwanted vibrations as the originalInVision USM, reducing noise fur-ther by up to 12dB when comparedto traditional elasticated mounts,

according to Rycote’s figures. Mostmicrophones can be mounted in seconds or removed thanks to theUSM’s smartly designed universalfour-screw locking system.

“ T h eo r i g i n a lU S M ,launchedat Win terNAMMt w oy e a r sago, hasbeen verysuccessful,”explains Rycote’ssales & marketing director StefanoPucello. “Studio owners who boughtthem began asking us if there was an even broader version for theirfavourite super-large-diaphragmmics. And now there is!

“NAMM has proven to be thebest exhibition in the Americas forreaching the MI and pro audio mar-kets, and it’s no coincidence that all of the models in theInVision USM range have received

their global launches at NAMMsince 2009.”

The US, and, more broadlyspeaking, the Americas as a whole,account for 25% of Rycote’s global

sales. And despite thecurrent internationalclimate, export salesthere have remainedstrong, reports thecompany, due in partto its expansion overthe past three years

into new salesareas – MI, pro

audio, video -g r a p h y

a n dDSLR

camera micro phone accessories –going beyond the company’s traditional strongholds in the location audio and broadcast record-ing markets.WEB >> www.rycoteinvision.com

Rycote’s advises of new InVision

Studiomaster flatout with launches

Studiomaster Acoustic Image6/6Aflat panel PA

TC has confirmed that its cross-platformLM6 Radar Loudness Meter, sched-uled for launch December 2011, willalso support Avid’s new AAX plug-in format. The upgraded device willbe on show at NAMM.

Avid presented a new plug-in for-mat for Pro Tools 10: AAX (AvidAudio eXtension) back in October atthe AES Convention. One of the mostreported frequently asked questionsfor third-party plug-in developers soonafterwards was how soon they wouldbe able to support this new format.“TC is proud to announce that itsLM6 Radar Loudness Meter, whichwas also revealed at AES, will in factsupport the new AAX format rightform the start,” says TC’s Kim Bang.

With the introduction of the newLM6 Radar Loudness Meter plug-in,audio professionals using MediaComposer, Final Cut Pro, Pro Tools,Logic Pro, Nuendo, Wavelab, Cubaseand other DAWS on a Mac or PC canbenefit from having direct access tothis meter which covers all mono,stereo and 5.1 productions.

The user interface of the LM6plug-in is similar to TC radar metersfor other platforms. Users familiarwith the radar will therefore be ableto move seamlessly between plat-forms, says TC.

LM6 shows loudness history in asingle, easy-to-read, radar-like view.

Each radar revolution can span fromone minute to 24 hours. Two numbersmay be selected for display below theradar, for instance Loudness Rangeand Program Loudness, while all mea-surements are retained on the Statspage. Loudness history and other keyinformation can be logged as a stan-dard formatted text file that mayaccompany a program for proof ofdelivery spec compliance.

LM6 employs a fully synchronous,high-headroom design in order to alsodisplay true-peak warnings and true-peak bar graphs correctly; and it con-forms with all of the major broadcaststandards based on Leq(K) – e.g. ITUBS.1770-2, ATSC A/85 and EBU R128(August 2011 update).

The LM6 Radar Loudness Meterplug-in is available for DAW platformssupporting Audio Units, RTAS orVST plug-in formats – and as ofDecember, AAX.WEB >> www.tcelectronic.com

TC Electronic promotesinteroperability

A broadershockmount forbigger mics

LM6, now updated for AAX

PSNE@NAMM 27

StudiomasterHorizon 2012powered mixer

Riedel Communications of Germanypremieres a suite of AVB (Audio-VideoBridging) products for the Artist dig-ital matrix intercom platform, andpresents MediorNet Compact to theUS markets at NAMM 2012.

Speaking about Riedel’s presenceat NAMM, Nils Quak, marketing andcommunications, says: “The US mar-ket is one of the largest in the world.Besides great opportunities this doesalso mean that some of the most excit-ing projects, events and installationsare realised here. We at Riedel love newchallenges and finding new solutionsfor events, installation and broadcastapplications, so the US is a really excit-ing and interesting market for us.”

He adds: “The NAMM show isprobably one of the largest exhibi-tions regarding audio. It’s a greatplace to meet clients and customersand to have a look at upcomingdevelopments within this industry.It’s a really inspiring exhibition andit would be a shame to miss it.”

Riedel’s new AVB product line pro-vides a real-time communication solu-tion fulfilling the demands ofprofessional intercom users. Based onofficial IEEE next generation Ethernetstandards like 802.1Qav, P802.1Qatand P802.1AS, AVB allows risk-free

utilisation of AVB-compliant facilityor enterprise LAN infrastructure forintercom applications. This allows fornew approaches in system and facili-ty design providing significant savingsin infrastructure investments.

The Riedel suite of AVB productsincludes the AVB-108 G2 Client Cardas well as the Connect AVB andConnect AVBx8 panel interfaces. TheAVB-108 G2 card is a regular Artistclient card to be used inside the Artistmainframe. It converts eight Artistmatrix ports into AVB and vice versa.The AVB-108 G2 client card commu-nicates either with other AVB-108 G2client cards in another Artist systems,e.g. for trunking, or with Riedel’sConnect AVB and Connect AVBx8panel interfaces.

MediorNet Compact – shown inthe US for the first time – is the costeffective and easy-to-use entry into theRiedel MediorNet world of integrat-ed media signal distribution and pro-cessing. It provides the flexibility of atrue real-time media network, includ-ing integrated signal processing, at thecost of simple multiplexing point-to-point products. With a networkbandwidth of 50Gbit/s MediorNetCompact provides enough capacityfor bidirectional transport of 12 HD-SDI signals, dozens of MADI streamsor GBit-Ethernet signals and hun-dreds of audio channels or intercomports – useful for streamlining theinfrastructure of mobile, studio andlive event applications.WEB >> www.riedel.net

SHOW PREVIEW

28 PSNE@NAMM

Virtual Circuitry Modelling technol-ogy and improved head amps withonboard 24-bit/96kHz A-D and D-Aconverters are among the features ofthe upgraded Yamaha 01V96i digitalmixing console, on show at NAMM.

This update of the classic deskacknowledges the burgeoningdemand for multi-track recording inlive sound applications with theincorporation of 96kHz, 16-in/16-out USB 2.0 audio streaming. Thenew facility provides full, single con-nection integration with every majorASIO and Core Audio DAW soft-ware; the latest version of Steinberg’sCubase AI recording/editing/mixingsoftware is bundled with the mixer.

Kazunori Kobayashi, generalmanager of Yamaha’s Pro AudioDivision, said: “With this new con-sole we are delighted to support abroader range of applications witha fully integrated, comprehensive sys-tem that meets the growing needsand requirements of our customers.”

Yamaha will celebrate 25 years ofdigital mixing next year.

“While the DMP7 was the first digital mixer launched in 1987, it wasactually the arrival of the Pro -grammable Mixer (ProMix) 01 in 1995that revolutionised the way we makemusic/record music forever,” says ChrisIrvine, Yamaha-Kemble (UK)’s MusicProduction specialist. “The power of

this rack mountable unit was unbeliev-able at the time. Now those specifica-tions seem like a given: motorisedfaders, scene memories, MIDI automa-tion, built-in FX processors anddynamics control, selected channeltechnology, compact and affordable…”

The arrival of the 01V in 1995more than doubled the capabilitiesits predecessor.

“This trend has continued andevery time seen the basic principle ofthe desk pushed beyond expectation,”adds Irvine. “The use of Mini-YGDAI (MY for short; or YamahaGeneral Digital Audio Interface infull) cards has allowed 01V96 (andbeyond) to be incorporated into pret-ty much any system of any format ...they are versatile to say the least!”

He goes on to highlight theemployment of VCM in the desk,allowing a series of additional effectswhich recreate the actual circuits ofthe original analogue inspirations. WEB >> uk.yamaha.com

Yamaha soups-up a classic

“The NAMM Show has always beena focal point of the tradeshow cal-endar and product launch schedulefor Roland,” says Peter Heath, busi-ness development director, Roland(UK). “As a global company, the USmarket is key for both Roland andRoland Systems Group in terms ofsales figures but also for input intonew product development, marketfeedback, trends and competitoractivity.  The sheer size of NAMMas well as the diversity and the largenumbers of visitors we get to ourbooth give us a perfect showcase for

the capability of our products inmusic, audio and video.”

In 2012, the company will befocusing on an additional element –web streaming – with the new VR-3AV Mixer and VC-30HD video con-verter, both of which have built-instreaming capability. 

“We always have a great live set-up on the booth to demonstrate thefull range – from personal moni-tors, to video mixers, to audiorecorders – as well as the musicalinstruments because it’s importantto us that the visitors are able to

‘play’ with the products but we alsowant to emphasise the integrationof our products.”

Heath goes on to say: “NAMMprovides the ideal platform forRoland as an international compa-ny to meet and to share ideas butalso, essentially, to do the same withour global distributors, dealers andend users. The progression ofNAMM towards including moreprofessional audio and video con-tent means it has become more rele-vant to the company as a whole.”WEB >> www.rolandsg.co.uk

Roland Systems Group:“NAMM is ideal platform”

Roland will focus on web streaming with the UR-3

Cadac will be exhibit-ing at NAMM 2012with a view to estab-lishing new distribu-tion channels for itsnew product line,across the full rangeof pro-audio markets.

The Cadac team isbeing led by salesdevelopment manag-er Vincenzo Borrelli:“With the new prod-uct line-up of ana-logue and digitalconsoles, we areaddressing all formsof live and fixedinstallation applica-tions, well beyondCadac’s traditional theatre soundsector. The development of new anddiverse distribution channels, bothin the US and throughout the world,is a major priority, and our primaryobjective at NAMM.

“People might be surprised to seeCadac at NAMM but the new con-sole range of the LIVE1, CDC Four,

CDC Eight and S-Type, is a uniqueoffering in terms of unsurpassablequality and value, and live soundproduction – both sound touring and fixed installation – are the majortarget markets.”WEB >> www.cadac-sound.com

Cadac developsdiverse channels

Vincenzo Borelli with the CDC Four

The new Riedel AVB networking product line

Riedel arrives for networkingYamaha continues to develop its long line of compact digital mixers

DD6 horizontal coverageat ear height

DD6™

All information is Copyright © 2012 Martin Audio Ltd. Martin Audio is a registered trademark of Martin Audio Limited in the UK, US and other countries.

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Differential Dispersion™ Tool-free configuration Maximum versatility

Whilst many small speakers are fixed-use and relegated to the background, our new ultra-compact DD6™ is different. Its Differential Dispersion™ technology delivers a more consistent SPL and frequency response over the audience than speakers with a conventional X° × Y° coverage pattern. And its multi-angle enclosure, rotatable horn and multiple mounting options maximise on-the-fly flexibility. Re-configuration from vertical to horizontal format is tool-free, quick and easy. Add input switching that enables drive from one of two sources, and the DD6 is the only ultra-compact speaker you need.

For more information, visit www.martin-audio.com

No stranger to the larger ‘sheds’,Coldplay initiated a lengthy schedule ofarena and stadium shows in earlyDecember. Once again, the ChrisMartin-fronted band is touring in thecompany of Wigwam Hire.

Containing the singles Paradise andEvery Teardrop Is A Waterfall,Coldplay’s fifth studio album, MyloXyloto, was co-produced by MarkusDravs – recipient of the 2011 MPGProducer of the Year and Brit Awards’Best Producer trophies.

In readiness for the Coldplay dates,Wigwam recently enhanced itsOptocore-based ‘OptoRack’ data returnssystem with an additional five OptocoreDD32R-FX digital interfaces – one foreach of the five amp racks beingdeployed, which are all connected byfibre. The Optocore technology is beingused in conjunction with more than100 d&b D12 amplifiers.

“On the Coldplay tour the DD32R-FX units will provide the ability to run96KHz AES audio via the FOH systemEQ in the form of an XTA 548 – rightthrough to the d&b D12 amps, which

process AES audio at 96KHz,” saidWigwam’s digital specialist, AlexHadjigeorgiou. “[...] This truly is a dig-ital system – from the preamp on theDiGiCo SD stage box right through tothe amplifier, with only a single A-Dand D-A conversion across the entiresystem, which will keep latency to theabsolute minimum.”

Microphone specialist Earthworksis among the other brands to be foundon Coldplay’s latest road-trek. UK dis-tributor Unity Audio recently facilitat-ed an extensive audition for ColdplayFOH engineer Dan Green, as a resultof which drummer Will Champion isusing SR40MPs (matched pair) foroverheads, SR30HC for kick and

hi-hat, and five DP30 periscope micsfor snares and toms. Green also specified several SR40V handheld condenser mics for backing vocals and an M30 measurement mic for PA sys-tem analysis.

Red TX has also been in Coldplay’sorbit lately, capturing the broadcastaudio for Coldplay’s recent albumlaunch at the Plaza de Toros Stadiumin Madrid. The concert was mixed on-board new Red TX truck Red II by TimSummerhayes, who provided a livestereo audio feed to the Visions mobile,which captured the video in HD andprovided onward broadcast to YouTube.

Summerhayes – who also recordedthe show in 5.1 surround for subsequentDVD release – commented: “It was achallenge because we had very limitedrehearsal time, but we worked closelywith Coldplay’s production team of DanGreen and Rick Simpson, and betweenus we kept everyone smiling.” Qwww.earthworksaudio.comwww.optocore.comwww.red-tx.comwww.unityaudio.co.uk

January 2012 � www.prosoundnewseurope.com live 31

Drummer Will Champion is using five DP30 periscope mics for snares and toms

Wigwam Hire enhances Optocore stock before taking to the road on Coldplay’s latest Mylo Xyloto tour, writes David Davies

Optocore system heralds audio‘paradise’ for Coldplay

EUROPE

David DaviesEntec provided sound and lighting fora special performance by The Good TheBad and The Queen (GBQ), whichhelped to mark the launch ofGreenpeace’s new flagship vessel,Rainbow Warrior III.

Featuring bassist Paul Simonon,guitarist Simon Tong and drummerTony Allen, GBQ is just one of manyprojects to be fronted by Damon ‘doeshe ever sleep?’ Albarn.

The band used the Rainbow WarriorIII’s helipad deck – at the stern of thevessel – as a stage, with an array of five

d&b J-8 line array speakers flown offthe crane positioned in front of thestage area. Two J-Subs were stacked onthe deck, while two E12s were used asfills for the guests aboard the ship.Band monitoring included M4s and apair of Q-Subs.

The performance was mixedonboard with a Yamaha M7CL consoleby Dave Guerin, while engineering col-league Matt Butcher tweaked the mixby radio from the public viewing areaon the South Bank. Qwww.dbaudio.comwww.entec-soundandlight.com

Entec and d&b areWarriors for Good sound

UNITED KINGDOM

Newly bequiffed, singer/guitarist Alex Turner and the rest of the Arctic Monkeys are

enjoying their greatest period of popularity since first rising to prominence in 2006.

Currently touring fourth studio album Suck It and See, the Monkeys are making

extensive use of Sennheiser technology. The monitoring set-up features eight stereo

mixes via G3 in-ears, while Turner, bassist Nick O’Malley and drummer Matt Helders

have e 935, e 945 and e 904 microphones, respectively, for vocal duties. FOH engineer

Matthew Kettle, who has extensive experience of Sennheiser mics, remarked: “The

mics are getting well used and abused – and are all still going strong.” Q

www.sennheiser.co.uk

UNITED KINGDOM

The performance took place on Rainbow Warrior III

Pict

ure

by R

icha

rd M

inte

r

APPOINTMENTSfDelta Sound has announcedthe appointments of EmmaGallagher and Lee Dennison asdirectors. Gallagher, whopreviously held the position ofSBD general manager and hasbeen with the company for thepast 11 years, will take on therole of business developmentand client relations. Dennison,who has worked with sistercompany Delta for over sixyears, will bring his experience intechnical delivery to his newrole, helping to raise the level oftechnical expertise within theproject management team.www.soundbydesign.net

fFollowing six years at XTA,Richard Fleming (pictured,above) has been promoted tothe role of application andsupport manager at thecompany. He has 20 years ofR&D experience, including timeat Klark Teknik and Laney/HHAmplification. In his new role hewill continue to demonstrateproducts to customers and dealwith technical queries.www.xta.co.uk

fPro Audio Systems hasannounced the addition ofVangelis Satrazanidis to itstechnical staff. A 24-year veteranof manufacturer AMS Neve,Satrazanidis’ skills includehardware and software testing,audio installation and serviceengineering. He has worked ondigital audio mixing consoles forfilm, music and television allover the world, includingprojects for the BBC, WarnerBrothers & Widget Post USA. www.pasystems.co.uk

f Studiomaster andCarlsbro have announced theappointment of Ben Millson asregional sales manager acrossboth brands. Millson comesfrom AVSL Group where he wasUK south-east regional fieldsales manager, withresponsibility for MI, DJ andpro-audio brands. Prior to thishe was with Adam Hall for fiveyears, where he oversawdevelopment of the LD Systemsbrand in the UK.www.carlsbro.comwww.studiomaster.com

www.prosoundnewseurope.com � January 2012live32

Nigel LordFOH engineer Eddie Mapp has optedfor a Midas PRO9 live audio systemfor the Evanescence world tour, cur-rently heading across Europe. Mapphad previously relied on a Midas XL4before switching to digital desks a fewyears ago. “Why did I make thechange? Tone, feel and most impor-tantly, audio quality. I’ve had somegreat shows on other digital desks butnothing sounds and feels like thePRO9 does.”

Citing EQ as one of the features thatwon him over, Mapp continues:“Another thing I’ve noticed after bounc-ing from festivals to theatres on a vari-ety of PA systems is how sonically hugethe entire mix sounds. It reacts in a way

that I haven’t felt since the XL4. Somedesks seem to get a little choked upwhen they’re pushed too hard, but thiskeeps on going and going.”

The Kooks’ FOH engineer RussTite is another Midas PRO converthaving chosen a PRO6 live audio system for the band’s 2011 Europeantour: “I’d been using another brandof digital desk, but this summer I was rocking up to festivals and usingan H3000 or XL4, and found I lovedit again – it sounded like a consoleshould,” he says. “We were almostgoing to take an XL4, but you can’treally fit one on a tour like this, so I decided to try the PRO6 and itsounds incredible.” Qwww.midasconsoles.com

Midas PRO9 systemon Evanescence tour

WORLD

Evanescence FOH Eddie Map with the Midas PRO9

Erica BasnickiArtist and tour management specialistExtreme Music Production (EMP) hasstaged one of the biggest goth events inrecent history, in celebration of 10 yearsin business.

The Mission 25th Anniversary showstook place last October/November andculminated in a sold-out show atLondon’s O2 Brixton Academy. The goalwas to recreate both the look and thesound of the band from the 1980s.

“We found the original ‘Mish’ stageset from 1989, which was in a ware-house gathering dust at Entec Lighting,who supplied lights for the tour,”explains EMP founder George Allen.

“The ‘pagan lady’ backdrop design wasalso stored in a draw at Hangmandrapes. Again, it was reconstructedfrom old drawings to mimic the origi-nal set from 1989.”

The sound team included FOHengineer Mikey Osman behind a MidasHeritage 2000 desk, as well as aYamaha M7CL support console.Monitor engineer Matt Coton workedwith DiGiCo’s SD8 desk and an L-Acoustics V-DOSC/ARCS PA, sup-plied by BCS Audio. The key to theband’s classic ’80s sound was plenty ofreverb and delays on the main vocals,with FX units by TC Electronic, Lexicon,Yamaha and Eventide contributing tothe mix.

The Brixton show comprised a teamof over 40 crew members, and wasreleased as a live CD recorded by EMI.Metal Hammer Magazine named it thebusiest show at Brixton ever – nearly5,000 fans were in attendance. Qwww.themissionuk.comwww.xtrememusic.co.uk

EMP’s 25th anniversary bashfor goth legends ‘The Mish’

UNITED KINGDOM

ADLIB’s audio division supplied an

L-Acoustics K1 sound system for the

Specials’ recent string of live shows,

which follows the legendary ska band’s

30th anniversary tour during 2009. The

K1s were used for the main hangs (eight

a side), plus three KARA downfills per side

for the theatre venues. At the Ricoh Arena

in Coventry and Alexandra Palace in

London, ADLIB added six V-DOSC delays a

side (just behind the FOH position) four

SB28s a side on the floor plus a selection

of ARCs and dV-DOSC cabinets used for

frontfills. For sidefills two ARCS boxes per

side were flown to provide the best

coverage in both vertical and horizontal

planes, complemented by two SB28 subs

per side. All the L-Acoustics elements

were driven by LA8 amplifiers. Q

www.adlibsolutions.co.uk

UNITED KINGDOM

EMP staged a show which was one of the “busiest that O2 Brixton has ever seen”

Still warranting the description

‘effortlessly cool’ at the age of 66,

Bryan Ferry has been using Audio-

Technica microphones for shows in

support of his 13th solo studio

album, Olympia. A long-time Audio-

Technica user, Ferry favours the

AT4055 cardioid condenser mic –

the latest version of which is the

AE5400. According to product

manager Des Jabir, the AT4055 is the

ideal complement to Ferry’s deep,

low-register vocal delivery as well as

his harmonica playing. The singer,

said Jabir, loves “the feel of [the

AT4055s], the look of them and the

way they sound. I think [he] owns

about seven.” Q

www.eu.audio-technica.com

Nigel LordGerman live event companyNeumann & Mueller has augmentedits rental inventory with a TiMax2SoundHub audio show control matrixand TiMax Tracker performer track-ing system. The purchase followed a12-month period of extensive evalua-tion that culminated in an acclaimedoutdoor staging of Die Zauberfloete(The Magic Flute) at Erfurt’sDomstufen Festspiele event. The

TiMax2 fed an assortment of d&b line-array and trapezoidal enclosures, withmain left/right hangs and outfillsmade up of Q1s, Q7s and Q10s.

Across the front of the stage threeconcealed Q7s took on the dual roleof frontfills and first-wavefront refer-ence anchor speakers with furtherQ7s hidden in graphics panels about15m upstage. One further anchor was located about 40m deep upstageand comprised a d&b T10 compact

line-array system concealed inside a weather station prop. A row of d&b E0 nearfill delays were mountedon the handrail half-way up the audi-ence seating and six TiMax TrackerTT Sensors were located around the periphery of the stage mappingthe huge performance area in three-dimensions to an accuracy of 15cm. Qwww.dbaudio.comwww.neumannmueller.com

TiMax reveals theMagic of the Flute

The TiMax2 SoundHub and Tracker system was used on an outdoor staging of Die Zauberfloete

January 2012 � www.prosoundnewseurope.com live 33

GERMANY

David DaviesTwo Royer Labs R-121 ribbon micro-phones form an integral part of the cur-rent touring set-up of Seattle-basedalt-folk band Fleet Foxes.

Currently touring in support of sec-ond studio album Helplessness Blues,Fleet Foxes uses one R-121 on a 1966Fender Super Reverb for the acousticplaying of band leader RobinPecknold. The other mic is positionedin front of a 1965 Fender Vibrolux thatis used for acoustic and electric gui-tars, as well as mandolin.

FOH engineer Jared Hankins discovered Royer ribbons during histime as a music production and engi-neering student at Boston’s BerkleeCollege of Music.

“In working with the Royers, Iquickly came to discover their warm, natural sound quality,” said

Hankins. “I particularly like usingthem to mic guitar amps because theyexhibit a very clean, flat sound with a

depth of field that sits beautifully inthe mix.”Qwww.royerlabs.com

Fleet Foxes not so ‘helpless’with Royer R-121 ribbons

WORLD

UNITED KINGDOM

Royer Labs mics are part of Fleet Foxes touring set-up

David DaviesLeading event production specialistML Executives has expanded its audiohire department with the purchase ofa d&b audiotechnik J Series loud-speaker system.

Acquired with the assistance ofAzule Finance, the new investmentcomprises 36 J Series loudspeakers with D12 amps.

Neil White, project manager at ML Executives, commented: “Addingthe d&b J Series to our existing stockof L-Acoustics and EAW systems gives us access in-house to three ofthe leading loudspeaker brands. Untilnow we’ve been hiring in this systembut recently took the decision to pur-chase the d&b J Series. We’ve workedwith Azule Finance on a number of occasions before and its uniqueunderstanding of the live productionindustry meant they immediatelyunderstood the business value of thisinvestment. Thanks to its quick com-petitive finance solution, we got thisspeaker system on our books ready forthe busy 2012 touring season.” Qwww.azule.co.ukwww.mlexecutives.com

ML Execs swellsinventory withd&b J Series

UNITED KINGDOM

www.prosoundnewseurope.com � January 2012live34

fOn Sunday, 30 Novembersome 13,000 people gatheredat Antwerp’s Spoor Noord

site to celebrate the end of Antwerpbeing European Youth Capital; over 20bands, stand-up comedians and DJsperformed on five stages between 14.00and 20.00hrs.

And, as for the opening event, soundand light company Stage Unit wasassigned by the event production team

to supply outdoor and indoor soundreinforcement and lights.

“Before everything, I’d like to saywe’ve had great luck with the weatherconditions, both during building and throughout the event itself,” saysKarl Van Noyen, project manager withStage Unit.

Stage Unit opted for a combinationof Meyer Sound, Outline and MartinAudio FOH systems. For the main

open-air stage, which hosted theAntwerp Gispy Ska Orchestra, TheHickey Underworld and headliners ZapMama, Van Noyen put in place a MeyerGalileo loudspeaker management sys-tem, Soundcraft MH3 analogue desk asFOH and a DiGiCo D1 on monitors.

“We had rehearsals on Saturday andwe managed to save time with the D1where we could fix the settings for laterrecall use,” he says. “The main system

consisted of eight Martin Compact linearray sets and six stacked Martin Audio(WS218X) subs per side, which wasmore than enough to cover the site –allowing the public in the back to enjoya drink and have a chat.”

Alongside the main stage, a smallpodium for the closing ceremony’s bag-pipe players was equipped with fourMeyer Sound 650-P subs and fourMSL-4 cabinets.

Meyer Sound cabinets were also usedfor the outdoor DJ sets on the UrbanTalent stage under the old railway bridge.“Two PSW enclosures in combinationwith two MSL-4 did the job, in combina-tion with Outline active monitors,” con-tinues Van Noyen. “For the Urban Stageand the Top Notch hip-hop stage we alsoprovided the DJ equipment consisting ofDJM 800, CDJ 1000 and CDJ 2000 play-ers – no turntables this time, due to theshort change-over times between artists.”

The Theater De Luxe tent hosted the Musical Talent Stage, offeringoppor tunities for local artists. A YamahaPM1000 16-channel console was usedfor FOH mixing in combination withan Outline Kangaroo powered set con-sisting of two KV152A subs and twoKV1201-2P active tops.

“A second tent featured the stand-up comedy stage, where we opted for aYamaha LS9 digital desk and Kangaroosubs and top sets, used for speech andintermission music,” says Van Noyen.

Finally, a former train shed wastransformed into a huge event hallwhere some 500 kids attended showsby Vroink and Jan De Smet, followedby the hip hop act Top Notch. Soundwas provided via six Meyer MSL-4, threeDSC-4 and three 700 subs per side,controlled by a Meyer Galileo loud-speaker management system, with aSoundcraft MH3 as FOH and anotherDiGiCo D1 on monitors. “The hall hasa capacity of 20,000, but due to secu-rity regulations only 3,000 people wereallowed – we had to adapt the acousticswith curtains,” Van Noyen explains.

Stage Unit’s crew during the eventnumbered 14 people – building andloading was effected by a crew of 24.“Like the opening job in AntwerpCentral station (see PSNE August),serving so many stages is not a pieceof cake, but it worked out well,” laughsVan Noyen. “The only minor prob-lems we had was the use of wirelessfrequencies – the Belgian Telecomofficials returned home from a job atthe Sportpaleis and paid a visit to thefestival – we had to adjust some of thewireless frequencies. Also the envi-ronmental services of the AntwerpProvince attended the event, whichindeed was staged close to the city centre – with an average of 93dB wereceived no complaints.” Qwww.aeyc2011.bewww.stage-unit.com

A free event combining five stages and bright sunny weatherwas the setting for the closure of the European Youth Capitalproject in Antwerp, writes Marc Maes

A sunny combinationof sound systems

BELGIUM

Meyer Sound, Outline and Martin Audio FOH systems were used for the main

open-air stage, which hosted the Antwerp Gispy Ska Orchestra

Eight Martin Compact line array sets and six stacked WS218X subs per side covered the site

live 35January 2012 � www.prosoundnewseurope.com

f“How can this be green?”smiles Clair Bros’ Jim Meyer,pointing to a slide of U2’s con-

troversial 2009 360º tour, which, ofcourse, reportedly boasted the largestever touring sound system.

And it’s a good question. Cast yourminds back two years and you mightremember the U2 ‘claw’ – the centre-piece of the band’s set – which held astaggering 368 Clair cabinets aroundits perimeter, as well as accommodat-ing 170 amplifiers and a further 96 subwoofer cabinets. Clearly, that pro-duction was never going to appear economically-friendly in any way! Forthe record, 11 trucks were used on thattour just for audio, and the total count[for some of the biggest shows] was aneye-popping 190.

But Meyer makes some valid pointsabout Clair’s dedication to the environ-ment, which starts at its headquartersin Pennsylvania, US.

“We’re doing all we can to make ourfacility as green as possible. For exam-ple, we have fluorescent lighting withmotion sensors installed everywhere solights aren’t ever left on, and we usebiodegradable materials wherever pos-sible – even our knives and forks in thecanteen are biodegradable,” Meyerexplains. “Also, our waste provider gen-erates one single stream of recycling soeverything goes into one bin and getssorted out at the facility by them, andwe’re now looking into the possibilitiesof a solar-powered roof.”

OK Jim, that’s all well and good – butwhat about these astronomical speakersystems and the multitude of trucks thatare guzzling petrol on a daily basis, pol-luting our green and pleasant land?

“The two main factors in transportare size and weight,” he states.“Decreasing weight is huge, and themore we decrease, the less fuel isrequired for transport.”

Clair, Meyer reveals, has an employ-ee dedicated to figuring out optimumtruck efficiency using CAD drawings.From the amps to the speakers, and the consoles to the cables, everythingis meticulously planned pre-show, sono room is wasted.

“In the mid-90s, point source boxesand analogue consoles were the normfor a typical arena sound system, andthat took up two trucks,” he explains.“Now, with the transition to digital,there’s far less need for extra rack units,and as a result, we’ve seen a huge reduc-tion in size and power consumption.So, for a typical hockey arena, we’re nowtalking just one truck and a little bit; ourtarget, of course, is to get everythinginto one.”

And it’s not just about the speakers,but the transducers themselves, accord-ing to Meyer. Neodymium, he says, hasallowed Clair to dramatically reduce theweight of its cabinets.

º“It means the design can be moreefficient in terms of getting the mag-net into selectively modern CADdesigns, allowing you to position thematerials in just the right way for effi-cient thermal dissipation,” he says. “Andthat comes with the increased powerhandling in the individual speaker,which means you can use less of themto reach the same SPL.”

This makes sense, although theuncertainty of neodymium’s price andindeed availability come 2012 has raisedeyebrows across the industry in recentmonths. But that’s a whole other sub-ject matter, of course.

PSNE has tackled sustainabilityissues a few times in the past, and exten-sively in its inaugural Sustain abilityAVconference (held in conjunction withIE), which took place in December 2010.

One of the topics covered atSustainabilityAV was bio-diesel, an environmentally-friendly fuel type; andinterestingly, Meyer reveals that bio-dieselhas fast become the touring ‘buzz word’,as a string of major artists have put morepressure on manufacturers to use it.

“Sheryl Crow is a good example,” hesays. “She always wants everything asgreen as possible. She has bio-dieseltransported to the site to keep to sched-ule, as logistics don’t allow the trucksto traipse across town in search of the sole bio-diesel station in the area; but this is becoming far morecommon nowadays, and I believe it willincrease a lot.”

And the green element goes beyondaudio, it seems. Meyer says some toursnow have a green committee which literally monitors the greenness of a tour.Power companies are also now required,in some cases, to provide bio generators,and it’s more common now for venuestaff to have their own recycle buckets onsite in a bid to stay as green as they can.

Amplification is another area in which Clair believes it has becomemuch more efficient.

“We use Lab.gruppen PLM 20000Qamplifiers for our newer stack racks; ourolder ones contained Crown two-channelamps,” he says. “The new racks are 30%lighter and 50% taller; that’s about twicethe volume, but the depth is still the same.

Add to this four-and-a-half times the num-ber of channels and the fact that each onehas more power and an integratedcrossover – so there’s no need for a sepa-rate drive rack – and this generates a hugereduction in volume and weight.”

In the UK, Julie’s Bicycle (JB) is con-tinuing to make ground in this area,recently recruiting AEG Live and its sister company, Kilimanjiro Live; theNEC Group; and Artichoke, a special-ist outdoor event production company,which worked with JB on the Lumierelight festival in Durham to help quan-tify the event’s carbon impacts.

So, although the nature of major liveevents and concerts suggests they willnever be particularly kind to our blueplanet, it’s good to know that at leastsome manufacturers are picking up onit. Lab.gruppen and Powersoft both havegreen objectives in place; and Clair,arguably the biggest supplier of touringsound kit in the world, looks to be lead-ing the way. Qwww.aes.orgwww.clairsystems.comwww.labgruppen.com

EUROPE

On tour with green power

U2’s 360º production boasted the largest ever touring sound system

Lab.gruppen’s plot of “audio bursts” from a Marilyn Manson tour

At this year’s AES Convention, several leading-edge manufacturers revealed that,while sizeable live events can never be green in the absolute sense, saving energy ismore pertinent then ever. Paul Watson was in attendance

Jim Meyer, Clair Bros

PUXLEY LTD +44 1392 364900Show of Hands UK Midas PRO2C, DiGiCo SD9 C Puxley d&b D12 d&b Q

PRODUCTION HOUSE +44 28 9079 8999The Darkness Ireland Profile, Profile – Lab.gruppen dV-DOSCMrs Brown’s Boys Ireland Profile, Profile – Lab.gruppen dV-DOSCIRFU Ireland Profile, – Gillespie Lab.gruppen ARCSVan Morrison Ireland H3000, PRO9 J Willis Lab.gruppen V-DOSCFlash Harry & Ulster Orch Ireland PRO9/D-Show, Profile W Lewis Meyer Sound MILO

Q AUDIO AB +46 70 7271 007Anna Ternheim Europe AH T-80, – L Nyberg – –Petter Sweden AH T-80, – M Chandra – –Lisa Ekdahl Europe AH R72, – L Nyberg – –

RENTAL PRO SRA +42 06 0522 8905Marie Rottrova Tour Czech InnovaSon Eclipse, M7CL P Vojta Camco Vortex 6 Nexo GEO T/CD18Nazareth Czech A&H ML4000, A&H GL4800 L Foniok Camco Vortex 6 Nexo AlphaCechamor Christmas Tour Czech –, – M Chlapec Camco Vortex 6 Nexo GEO S8/CD18Aneta Langerova Tour Czech Yamaha LS9, – P Vojta Camco Vortex 6 Nexo GEO S8/RS15Musical Hair Czech Innovason SY48, – M Janicek Camco Vortex 6 Nexo Alpha

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SKAN PA HIRE LTD +44 16 3552 1010Celtic Thunder US PM5D/DSP5D, Vi6 S MacInnes LA8 dV-DOSCDef Leppard UK Sound Image, – R McHugh D12 d&b JJames Morrison UK PM5D, Profile N Ingram D12 d&b JSun Millies Awards UK SD8, – M Dineley Axys Axys 808Snow Patrol Europe XL4, D-Show M Carolan D12 d&b J

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YORKSHIRE AUDIO +44 11 3277 0952Roy Wood UK Vi6, M7CL K Birtwhistle d&b D12 d&b C4/B2

www.prosoundnewseurope.com � January 2012live events36

Live eventsThe Live Events listing is a free service. All information is provided by the companies listed and PSNEcannot be help responsible for any factual errors. To be included in the listings, please email Linda Frost at livesound@frostshome.co.uk

If you want your web address to be included in the magazineAND in the digital edition of Pro Sound News Europe

for just £50 a year, please email Lianne on lianne.davey@intentmedia.co.uk for an order form

AUDIO PLUS +44 1206 369966Varsity Ski Festival France DiGiCo SD8, Yamaha M7CL M O’Neill MC2 Audio Funktion One

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BAND COUNTRY MIXERS ENGINEER AMP SPEAKERS

BAND COUNTRY MIXERS ENGINEER AMP SPEAKERS

Fatboy Slim has Come a Long Way with Britannia Row

Pict

ure

by H

amish

Bro

wn

Installation company MSL has select-ed Martin Audio as its preferred loud-speaker brand for the new Hed KandiBar flagship venue in Brighton, whileThe Haunt, situated opposite BrightonPier, has carried out a major audioupgrade to extend its scope from playback-only to become a flexible, 350-capacity circuit venue.

Hed Kandi – which is part of theMinistry of Sound Group, a long-timeuser of Martin Audio products – hasopted for a solution that features 15 wall-mounted AQ8 (8in LF + 1in HF) full-range enclosures throughout theground-floor space. A low-frequencyextension is delivered by four floor-standing AQ212s (2 x 12in) and a sin-gle AQ210 (2 x 10in) sub-bassenclosure. Elsewhere, the receptionspaces, outside facade and the ShooterBar feature four C4.8T ceiling enclo-sures, while an AQ112 sub. System

management is provided by a BSSSoundweb London BLU-100, used inconjunction with a pair of BLU-BOBexpansion extenders and remote BLU-3/BLU-8 control panels.

Explaining the choice of loudspeak-er brand, MSL project manager BradleyWatson remarked: “Martin Audio wasrecommended because it’s a provenproduct, with longevity and reliability,

and [the operators] were happy to godown that route. Although it’s not anightclub it needs nightclub-type lev-els – and they were very comfortablewith the brand.”

High-quality audio was also the mainconsideration at The Haunt where thetechnical team opted to specify aSoundcraft Vi1 digital console, purchasedfrom dealer Crystal Pro Audio andinstalled by experienced local productionand installation company C3 Productions.

Regarding the specification of theVi1, George Ridal, operations managerat C3 Productions, commented: “Wewanted to offer the venue somethingsuperior to other mid-range, small-format digital desks. It also needed tobe a product aimed at visiting engineersand be something they would recognise.”

In addition to the Soundcraft con-sole and a new house PA, the venue hasrecently invested in expertise, with tech-nical manager Andy Goodwin arrivingat the club to work alongside live man-ager Ade Dovey. Qwww.martin-audio.comwww.soundtech.co.uk

Brighton bars invest in audioHed Kandi continues its association with Martin Audio, whileThe Haunt installs Soundcraft console, writes David Davies

January 2012 � www.prosoundnewseurope.com installation 37

SOUNDBITESf Norwegian distributorScandec Systemer hassupplied and installed an L-Acoustics KARA WST line source system in theNorwegian National Theatre, Oslo.The new system consists of seven KARA cabinets flown with two SB18 subs per side, with a centre array of 10 KIVA speakers. Powercomes from LA4 and LA8amplified controllers.www.l-acoustics.comwww.scandecsystemer.no

f The recently opened ErdgasSportpark stadium, home ofGerman football club HallescherFC, boasts an Electro-Voice/Dynacord soundreinforcement system. The set-up includes 28 EVF-1152S/99-PIBloudspeakers systems from EV,six EVID 4.2 and two EVID 6.2.The system is driven by fiveDynacord DSA 8805 poweramplifiers. A P64 digital audiomatrix manager from Dynacordprovides the overall control.www.dynacord.comwww.electro-voice.com

f Systems integrator Techno Qhas installed a grand total of135 customised DanishInterpretation Systems(DIS) microphone units in anauditorium at Qatar University.The silver CM/DM 6580F unitsfeature three buttons forvoting, chip card reader,channel selector, 3.5mmheadphone socket and more. Inaddition, a nearby press roomfeatures a CDS 4000 systemwith one chairman and fivedelegate units.www.dis.cc

f Powersoft has suppliednew K3 and M50Q amplifiersfor the Music Hall at Worspede,near Bremen in northernGermany. The 550-capacityballroom, built in 1870, hasbeen host to first-rate concertsnormally reserved for majorcities, including such as JohnMayall, Al di Meola, ManfredMann, Robert Cray and SteveLukather. Sound systemmanager Joerg Mohr explainsthat not only were they lookingfor amplifiers with exceptionalsound quality, “but also forsomething that was going tobe technically future-proof. For that reason we neededsomething with internal DSPfunctionality, as well as remotecontrol and monitoringcapabilities. Powersoft ampsfitted the bill perfectly.”www.powersoft-audio.com

finstallation newsUNITED KINGDOM

Hed Kandi has followed the Ministry of Sound Group in its choice of Martin Audio

CZECH REPUBLIC

David DaviesThe latest addition to the Gan Bei restau-rant chain, located in the Galleria Rigashopping centre in the Latvian capital,features Tannoy CVS and DVS speakers.

The provision of a sleek, ultra-modern audio system for the newvenue, Gan Bei City, was the challengeissued to sound specialists Unique Ltd.

“The new restaurant has a total areaof 300sqm and has a high-class interior,so the owners were keen not to spoilthat with the intrusions of an installedaudio system,” explained Unique CEORihards Rubenis. “In essence, theywanted the loudspeakers to be virtuallyinvisible, but at the same time deliverhigh quality, high SPL sound coverage.”

For total coverage in the restauranthall, Rubenis decided on eight CVS 8loudspeakers, supplemented by fourCMS 801sub devices to provide the addi-tional lower-end presence required of aflexible system. These are used in con-junction with an APart PM7400MKIIpreamplifier, Champ4 amplifiers and aPC1000R CD/SD card player.

“Tannoy CVS 8 speakers together withCMS SUB was the perfect combination,”said Rubenis. “The sound is clear, power -ful and with a reserve on power.”

Gan Bei City also has an outdoor ter-race, and for this area Rubenis chose fourDVS 6 speakers from Tannoy’s range. Qwww.tannoy.comwww.unique.lv

David DaviesThe J.K. Tyl Theatre in the CzechRepublic city of Plzen (Pilsen) has beenequipped with a new Innovason EclipseGT console and an EtherSound network.

Innovason distributor MUSICDATAselected cable from German manu -facturer Sommer Cable as the backboneof the system, with an AVM500-ESEtherSound network matrix fromAuvitran enabling star as well as daisy-chain connections. The AVM500 is con-nected to the control room via opticalfibre, resulting in a flexible networkwhich enables high-quality audio signaltransfer from seven different locations.Technicians can move any of the Inno -vason SR-16 16-in/16-out stage boxes to

any of the connection points to satisfy thedemands of any given production.

In addition to the Eclipse GT, the con-trol room has been equipped with twocom puters loaded with recording andplayback software. These are using theAuvitran AV3rd EtherSound/ASIObridge. The recording studio workstationhas a direct connection to the network andis able to capture sound from on stage orfrom ambient mics in the auditorium.

“We put our long experience of work-ing with EtherSound and Innovason tovery good use in this installation, and Iam pleased to report that everythingworks absolutely perfectly,” said MUSIC-DATA MD Tomas Ourednicek. Qwww.innovason.com

Tannoy CVS for RigaGan Bei restaurant

LATVIA

Complex Innovason/ESinstall for Czech theatre

Tannoy CVS speakers are installed throughout the venue

An Eclipse console and Sommer Cable backbone prove a good partnership in Pilsen

David DaviesMultipurpose live entertainment facility La Esfera (The Sphere) inAlcobendas, north of Madrid, hasbeen equipped with a new audio system featuring Yamaha and Nexo technology.

Versatility and the need for theFOH multicore to be routed aroundthe edge of the auditorium wereamong the chief priorities confrontingequipment supplier and installerMilan Acústica. The configuration

ultimately chosen by Milan Acústicawas an EtherSound-based system comprising a Yamaha M7CL-48ESmixing console with six AD8HRremote mic preamps, an NAI48-ESnetwork interface, and two DA824 digital-analogue converters. The loudspeaker system features six NexoGEO-Ss per side, augmented by PS8and PS10 frontfills installed on thelighting truss and four PS15 sidefills.

Jacinto López of Yamaha MusicEurope Ibérica remarked: “A Nexo

NX242 speaker processor controls thesystem, meaning that the M7CL-48ESEtherSound output is fed straight to thesystem, without going through anyunnecessary A-D/D-A conversion. Thisensures that the audio quality is as highas it possibly can be.

“The system has achieved the bestpossible audio quality for the availablebudget and all users of it have been veryimpressed at how the sound at LaEsfera has improved.” Qwww.yamahacommercialaudio.com

fThe Malmö Opera House insouthern Sweden is a mostimposing building. Designed

by renowned Swedish architect SigurdLewerentz with colleagues ErikLallerstedt and David Hellden, the structure, which was completed in1944, is considered a masterpiece offunctionalist architecture. Forbiddingand severe from the outside, onceinside, the foyer offers a complete con-trast with clean lines, bright, openspaces and elegant marble staircases.The auditorium was built along equal-ly grandiose lines with a maximumseating capacity of 1,511 and one of thebiggest stages in Europe: 25m wide,25m high and a total area of 600sqm.In a word, huge.

Malmö Opera House has been inthe process of upgrading its audio sys-tem for some time now, with a largepart of the work being done this sum-mer. While some may have been sun-ning themselves on faraway beaches,technicians from Swedish systems con-tractor and distribution company, ARVATrading, were working up a sweatinstalling a Stagetracker FX real-timeperformer tracking system from TTA;the first of its kind to be installed inSweden. In fact, the Opera House hasbeen clocking up a number of “firsts” toits name; as well as the Stagetracker FXsystem, it also boasts the world’s firstinstallation of Sony’s DWX digital wire-less system (used in conjunction withDPA radio mics), installed by ARVA 18months ago.

“Our system is now digital through-out – as well as the Stagetracker system,we also had a DiGiCo SD7 console anda full Optocore optical fibre networkinstalled this summer,” confirms headof sound, Bengt Frienholt. “The differ-ence it has made has been remarkable,not just in terms of sound quality butalso to our workflow. The system is farmore flexible, easier to use and we have

more control than ever before. Thebiggest challenge was getting used toall the new equipment in just fourweeks of rehearsals before the premiereof Les Misérables!”

So what prompted the investmentin the Stagetracker system, then? “I’vebeen looking at audio tracking tech-nology for a long time,” says Frienholt.“Ever since we have been using amp -lification on live productions, the chal-lenge for sound designers has been to

bring the sound back down onto thestage so that the audience perceivesthat the voices are indeed emanatingfrom the actors themselves and notfrom the sound system somewhereover their heads! In our case, this iseven more of an issue given that wehave such a huge stage and thereforethe distance between the actors and theloudspeakers is quite considerable.Unfortunately, the systems that wereavailable at the time were simply notworkable – too expensive, far too difficult to implement, and unreliable.Until, that is, TTA developed itsStagetracker FX system. It’s very easy touse and furthermore, it is deliveredwith a fully integrated version of QLab’sshow control software.”

The Stagetracker FX system uses acombination of hardware and softwareto track the positions of performers onstage and apply these positions to theirmicrophone signals automatically

and in real time. Previously this was along and difficult procedure thatdemanded complex calculations for an often unnatural-sounding result.TTA’s Flemming Sørensen explains:“The V4 Tracking Engine software haschanged all that – it does all the difficultstuff for you. Once the Radio Eye hasbeen installed above the stage, all youneed to do is enter the height of the Eyefrom the stage floor. All the otherparameters such as tilt angle and off-set from centre stage position are cal-culated automatically.”

The Radio Eye detects the positionsof the Turbo Tags, small, lightweightRF devices worn by the performers.Each tag must be entered into thematrix-managing V4 Tracking Engine(a one-time only process) which pro-duces audio localisation and tracking.The Malmö Opera House currently has16 tags and is looking to upgrade to 32in the New Year.

According to ARVA Trading’s tech-nical manager, Ronny Sjöstrand, theTTA Stagetracker FX is the “missinglink” in the sound system. “You canmake any improvements you like to asound system – improve the network,upgrade the PA system etc – but at theend of the day, it’s still only a loud-speaker system stuck up in the roof !The bit that is missing is the relation-ship between the PA and the performeron stage, and that is what TTA provides.It’s about giving the performer back hisvoice so that it sounds as if it is comingfrom him (or her), even if it is ampli-fied. However, this element has beensacrificed up to now because it wastechnically very difficult and expensiveto achieve. However, I’m glad to say thatthe TTA system has changed all thatand finally made performer trackingand localisation accessible to everyone.”

Opera House sound engineer JonasJohansson, who uses the system everyday on Les Misérables, is in full agree-ment. “It’s straightforward to imple-ment and very effective. The integrationwith QLab is a real bonus and addsvalue to both systems. We also useStagetracker for effects, and we’ve evenused it on conferences to bring the voicedown to the speaker. Now we’ve got it,I don’t see why we wouldn’t use it oneverything! Audiences have had a greatresponse to the new system and havereported a direct, audible difference andan improvement to their opera experi-ence, which is great news for us.” Qwww.tta-sound.com

www.prosoundnewseurope.com � January 2012installation38

Malmö motion detection

The TTA system is the “missing link”

between the PA and the performers

Head of sound Bengt Frienholt (left)

and sound engineer Jonas Johansson

SWEDEN

The Malmö Opera House was designed by Swedish architect Sigurd Lewerentz with colleagues Erik Lallerstedt and David Hellden

New Nexo and Yamaha kit has improved the sound quality at the venue

High-quality sound inthe round at La Esfera

SPAIN

TTA system takes to the stage at Swedish Opera House refurbishment amid a number of technology firsts, writes Dave Robinson

fLocated in the heart of one ofsouth-east England’s most elegant towns is a venue whose

long history is matched by the enthu-siasm of its management for contem-porary technology.

Built in the mid-19th century as therailway revolution brought prosperity,a burgeoning population and a build-ing boom across the Home Counties,the Holy Trinity was Tunbridge Wells’first parish church. After its final reli-gious service in 1972 its Grade 1 listedstatus ensured safety from demolition,and by 1975 a public petition hadsecured permission from the ChurchCommissioners to produce a plan forcommunity or public use. An appealcommittee raised £50,000 (€58,000)and five years later it reopened as TheTrinity Theatre arts centre completewith a raked-seating auditorium: growing popularity soon saw an artgallery, licensed bar and computerisedbox office added.

Its latest upgrade sees the venerablespace take on the very modern mantleof digital cinema, although a cursory gazeat the vaulted balconies, plush stage tabsand comfy seats reveals little. Only oncloser inspection does it turn out to bethe UK’s first digital cinema to employthe unique K-array system, its mid/highhangs barely visible against the tabs,complemented by minuscule surround-sound satellite loudspeakers discretelylocated around the auditorium. Suppliedand installed by Stage Electrics, the sys-tem, powered by bespoke K-array ClassD high power density amplifiers with

integral DSP, is controlled direct from aDiGiCo SD9 console.

“This was my first project after Ijoined Stage Electrics,” observes businessdevelopment manager for audio JamesGosney. “Stage Electrics is doing biggerand bigger sound installations includingthe installation and supply of equipmentto the Royal Shakespeare Theatre lastyear. As a consequence of being asked todesign and supply high-end audio sys-tems, they have been expanding theiraudio team with people experienced insound system design and installation,which is precisely my background.”

Coming from a family also deeplyimmersed in theatre, he says: “I imme-diately fell in love with the building. Forthe past 20 years I’ve been mostly involvedin designing systems for big churches, sofor me it was a perfect combination of thetwo: a theatre in a church… with a bar; itdoesn’t get much better.”

K-array’s inclusion, as Gosney tellsit, was pure serendipity. “The brief wasfor a multipurpose theatre system, onethat would work for all the types ofevents that go on here, like jazzevenings, musical theatre, straight plays,opera, local amateur dramatic groups,pretty much everything – and on top ofthat, 7.1 digital cinema, with its specificDolby processing requirements.”

He adds: “I’d started with a con -ventional theatre system design using12-inch-and-horn type boxes with subs,and smaller surround boxes. A few daysbefore this was due to be signed off Iheard K-array for the first time and wasutterly blown away by their sound and

by how compact and discreet they were,and fascinated by the technology itself– it struck me how good a fit they wouldbe for the Trinity.

“The original system design stillinvolved black boxes in a beautifulbuilding and I’d been trying to thinkwhether we could do this with much

smaller loudspeakers – and I’d justheard the answer. Sennheiser agreed todemo a system at the theatre immedi-ately and it performed beautifully. DaveWooster, who has been FOH operatorfor such names as Gary Moore andLeona Lewis, but who now works forSennheiser, and I then redesigned theTrinity system around K-array.”

The system comprises KK200 mainarrays coupled with single 18” sub-woofer either side, along with fourKT20 ‘Tornadoes’ – small 2” single drivers in little bullet-shaped loud-speakers – along each side wall coupledwith KU36 compact surround subbassspeakers. A pair of KK100 1m-longline source arrays provide the rear sur-round component. The final touch is aseparate, portable K-array system, halfof which can be configured in a 2m-high column plus subwoofer as thecentre speech speaker for digital cinema.It can also be used as a portable systemfor comedy evenings or jazz events inthe foyer. The main system’s K-arrayClass D amp modules are located in thecontrol room drive rack, the network-able units incorporating full DSP forremote monitoring.

The Stage Electrics commission-ing team set up the DiGiCo’s systemalignment and output processing withpresets for cinema, musical theatre,straight plays, jazz and other types ofevents. Gosney adds: “We had shownour demo SD9 to [Trinity Theatrehead technician] Simon Diaper wholoved it, partly because it’s so easy touse and so logically set out, but par-ticularly because of the sound quality,which is noiseless really, it’s beauti-ful. And that’s the system: a DiGiCogoing into the K-array amps into theK-array speakers, and it’s that simple.I’m all for keeping sound systems assimple as possible. Keep the signalpath as clean as you can and don’tcomplicate it with too much nonsensein between.” Qwww.stage-electrics.co.ukwww.trinitytheatre.net

January 2012 � www.prosoundnewseurope.com installation 39

Perfect fit for digital TrinityUNITED KINGDOM

A DiGiCo SD9 sits at the mix position, and nothing else by way of outboard

The former church now boasts a K-array PA system fitted by Stage Electrics

Tunbridge Wells venue given state-of-the-art makeover for digital cinema andmore, writes Dave Robinson

Introducing the X Factor

TM

TM

Learn more at tannoy.com.

IDEEATM

Visit our stand at Hall 5 Stand 5R92, Amsterdam RAI, 31 Jan - 2 Feb 2012

www.prosoundnewseurope.com � January 2012show preview40

fIn 2012, ISE will occupy 11 ofthe 12 halls in Amsterdam’sRAI Centre. A few months ago

ISE signed a new five-year deal with theRAI, ensuring that the show will stayin Amsterdam until at least 2016. Hall8 – one of the biggest halls in the com-plex – will be available to ISE from 2013,and there is further potential for expan-sion in temporary pavilion structures.

Coming back to the 2012 event,Mike Blackman, managing director ofIntegrated Systems Events, is in buoy-ant mood. “We still believe we are ontrack to host the biggest-ever ISE,” hesays. “Our footprint at the RAI will be10-15% larger than in 2011, which is thekind of growth you associate with abooming economy.”

New for 2012 is the Dynamic Eventsconference. This is aimed at the use oflighting, sound, video technology andstaging in large-scale entertainment andsporting environments. The inauguralconference will focus on internationalceremonies – particularly the openingand closing ceremonies of major sport-ing events – that attract a global TVaudience. Keynote speaker is Ric Birch,who has an impressive track record inthe industry that spans nearly 30 years.

On Monday 30 January, GerhardSchulz, senior VP Central Europe forIngram Micro, will give ISE’s first-everKeynote Address unveiling his visionfor how the electronic systems integra-tion community can respond to thechallenges posed by the transition fromanalogue to digital.

Meanwhile, on the showfloor, theRay-On 100 column loudspeaker is oneof the highlights of Active Audio’s pres-ence at ISE 2012.

The 1m-high column speaker canbe mounted vertically and, therefore,

very close to the wall. Yielding a con-sistent sound with strong directivity,the Ray-On 100’s design is basedaround the Active Audio-patentedDGRC (Digital and GeometricRadiation Control) principle, whichspecifies a combination of electronicand geometric line arrays whereby theloudspeakers are mounted by group ona stepped structure. The wavefront isshaped and controlled by both the geo-metric positioning of the loudspeakers,and a specific filter for each step.

Designed for sound reinforcementof speech and music, the Ray-On 100offers easy set-up and is available in twoversions: low impedance and 100V.

Cloud Electronics will exhibit twoadditions to its PM range of ZonePaging Microphones. The PM4-SA andPM8-SA feature identical functions tothe existing PM4 and PM8, but intro-duce Spot Announcement capabilitiesto the range, giving users access to pre-recorded announcements, adverts,stings, alarm sound or even warningsfrom the push of a button or fired byremote contact closure switches froma timer, PIR or similar device.

The microphones can hold up tofour (PM4-SA) or eight (PM8-SA) pre-recorded messages, of any length.These are stored internally on a stan-dard SD memory card in the base of the unit. Up to four (PM4-SA) or eight(PM8-SA) pre-announcement chimescan also be stored on the card.

Community Professional Loud -speakers is showing its new surface-mount loudspeaker models, theDS-Series, which is an expansion on itsexisting ceiling-mount DistributedDesign Series. This new range com-prises several high-output, low-profilemodels that deliver high-quality audioand intelligibility.

The 5” DS5 is a two-way compact system, designed for installations where space is apremium, and the 8” DS8 provides higher SPL and sen -sitivity, plus greater bass extension. The 8” DS8SUBsubwoofer has been created tocomplement both full-rangemodels, pro viding extendedlow-frequency performance.

Each model is also equippedwith built-in autoformers that

enable full output with 70V or100V distribution lines, and

Community’s Infin-A-Ball multi-angle wall mounting bracket, which is

prewired with a Euroblock connectorto conceal wiring.

The KF200NT loudspeaker mod-ule will be on EAW’s stand. Orientedtowards applications including corp -orate AV, performing arts venues and houses of worship, the module

consists of a single 10” woofer with 2.5” voice coil and a coaxial mid-highdriver consisting of 8” cone MF with2” voice coil. Also included are a 1.75”voice coil compression driver (HF) anda ‘perfectly matched’ 1,500W CloseCoupled amplifier.

Also on show is the MicroWedge8(MW8) and Micro Wedge10 (MW10),which constitute a small-format continuation of the popular EAWMicroWedge Series of stage monitors.

Three space-sensitive models fromthe EAW VF Series of passive speakers– the VFR69 6” two-way full-rangeloudspeaker, the VFR89 8” two-wayfull-range loudspeaker, and theVFM109 10” two-way stage monitor –will also be at ISE 2012.

Systems integrators visiting theshow are to be given the opportunity tohone their audio skills with Genelec.The audio technology developer willrun sessions on its stand throughoutISE, allowing integrators to get hands-on with products and see demos ofacoustic simulation software for thefixed installation market.

Delegates will have a chance to getup close with the 4000 Series activeloudspeakers, as well as receiving anoverview of different applications andbasic guidelines for room acoustics andloudspeaker placement.

Course attendance is free; all attendeeswill be entered into a prize draw to receivea 6000A – TUBE, Genelec’s limited edi-tion take on the desktop loudspeaker.

To pre-register for a free ISE Audio Installation Session, emailmarkus.kahelin@genelec.com.

Greensound Technology is pre-senting three products from its newline of glass speakers. It claims thatthey deliver a superior harmonic andhigh-fidelity sound through a combi-nation of specially engineered glass anda base structure.

The Serac speaker with Bravura sub-woofer is Greensound’s top-end glassspeaker product. The Serac stands at1.66m high and weighs 112kg; it is avail-able in a stereo or 4.1 surround set.

The Orbis speaker with Circa sub-woofer is the next model down, and is amore compact design, but still with top-quality performance in mind, while theLuno speaker with Cube subwoofer isthe smallest of the three systems, yet stillstands over 1m high and weighs 36kg.

Lab.gruppen’s new install-centricamplifier range, the E Series, will alsobe in Amsterdam. Said to boast “amaz-ingly low power consumption” thatshould reduce the total cost of owner-ship below that of conventionaldesigns, this 1U platform also offersample power reserves, and is EnergyStar 2.1 compliant.

The company is also joining Lake toexhibit the PLM Series (which incor-porates Lake Processing technology)alongside LM 44, Lake’s brand new dig-ital audio processor. Parent companyTC Group, meanwhile, is launching anew Applications Engineering andTraining group, headed by GrahamHendry (formerly director of businessdevelopment for Tannoy).

Exhibitor Listen Technologies is featuring its line of wireless listeningproducts and technologies that thecompany says offer diversity of use forauditory assistance, language inter-pretation, tour groups, audio description,and multichannel audio distribution.

The FM Wireless Listening line of products includes a StationaryTransmitter (LT-800-863) a PortableTransmitter (LT-700-863) and twoDisplay Receivers (LR-400-863 and LR-500-863). Key features include anLCD display for easy to reference chan-nels, battery status, and programminginformation; a frequency range of 863-865MHz; and a transmission range ofup to up to 122m (400ft) for the sta-tionary transmitter and 60.9m line ofsite for the portable transmitter.

The LT-800-863 Stationary Trans -mitter benefits from a 70dB signal-to-noise ratio, and its support of bothbalanced and unbalanced inputs allowsvirtually any source to be connected.The LR-500 Programmable DisplayReceiver, which is powered by AA bat-teries, has channel selector buttonslocated on the front of the unit. It haschannel seek capability and is compat-ible with mono or stereo headsets.

The LR-400 Portable Display FM Receiver is a lower cost digitaldisplay receiver. Said to be simple to

set-up, install, manage and use, theproducts are certified for use in all

Bright future for ISE NETHERLANDS

Right here, right now: see the VFM109

stage monitor on the EAW stand

With the use of an additional exhibition hall at the RAI a keynote from Gerhard

Schulz and a full conference programme, ISE 2012 is on course to be the biggest yet

The DS-Series will be in show on Community Professional’s stand

The ISE Daily team looks ahead toIntegrated Systems Europe 2012, set to be bigger and better than ever

European countries and come with a limited life-time warranty.

Panphonics Sound Shower directional speakersare designed to deliver high-quality, focused audio to a desired area, without disturbing the surroundings. They are widely used in a range ofapplications including museums, banks, retailstores, airports and so on. Panphonics says thatthe speakers reproduce clear voice sounds even ata low volume, making it easy for the listener tohear and understand the audio message even in anoisy environment. Several speakers can be placedclose to each other and, even then, different audiomessages do not disturb each other due to thespeakers’ high directivity.

Sound Shower directional speakers are avail-able in 60 x 60cm and 120 x 20cm in black or white, but custom sizes and colours are available.All units include a plug-and-play speaker withbuilt-in amplifier, power supply, and installa-tion/hanging kit.

The Polar Audio team will be attending the ISE2012 show in force and will have representatives oneach of its distributed brands stands. Polar Audiobrands exhibiting at the event include Biamp, bey-erdynamic, Aviom, Cue Systems, AustralianMonitor and Novosonar.

Highlights of the show will include new touch-screen technology from Cue Systems, presenta-tions from Biamp on its Tesira range andinnovative AVB technology. Biamp Tesira is thefirst truly scalable network using AVB. It supports420 x 420 channels of digitally matrixed audiowith flexible I/O configurations. Unlike otherDSP-based media systems, Tesira is an enterprise-wide solution made up of network modules thatshare and boost performance.

SKB is showing its new 3RR series RemovableRack: slide out shock racks, available in seven sizes,ranging from 3U up to 14U, and specificallydesigned for the military and industrial markets.

The new series features a ‘positive lock’ innerframe latch (patent pending), which the manu-facture claims will provide improved shock andvibration isolation versus its competition.

All MIL-STD 810G testing has now been com-pleted, and the standard 3RR case features a 2”deep front lid, 5” deep rear lid with wheels, lidhangars, a slide out inner rack, PRV, couplingstraps, stainless steel hardware, and eight comfortgrip spring-loaded handles.

Tannoy’s new VLS (Vertical Line Source) passive column range has a sleek curvilinear archi-tectural profile designed for install applications.It comes in three models using proven trans ducertechnology adapted from Tannoy’s award-winningQFlex steerable column range.

Also new are Tannoy’s VX Series and VXPSeries, the latter featuring Lab.gruppen’s newIDEEA (Intelli-Drive Energy Efficient Amplifier)power module. These new passive and self-powered loudspeakers build on the success of theV Series, with an expanded line up that includes twindriver configurations and new Q-Centric Waveguidetransducer technology for optimal tonal clarity.

It has added to its range of QFlex digital beam-steering array loudspeakers with a new set ofenhancements that offer improved functionalityand superior capabilities for integration withinlarge-scale PA/VA applications.

ISE visitors looking for microphones will wantto check out the booth of Universal ChampionElectroacoustic Technology Company. The com-pany’s extensive line up of products includes earset,headset, low noise RF, USB, dynamic, condenser,lavalier, boundary, drum, mini shotgun condenser,gooseneck and wireless microphones, togetherwith a range of microphone accessories. Qwww.iseurope.org

The LT-800-863 Stationary Transmitter from Listen has a range of 122m

show preview 41

www.waves.com

Jack Joseph Puig(John Mayer, U2, Lady Gaga)

A Legend, Reborn

Vintage Fairchild sound in a road-ready hardware unit

Dual mono, linked, and lateral vertical stereo modes

State-of-the-art 24-bit convertersLab.gruppen’s new E Series amplifier range offers “amazingly low power consumption”

Genelec’s 4000 Series offers a host

of integrator-friendly features

www.prosoundnewseurope.com � January 2012technology feature42

fDigital technology has changedthe world – but not as much aswas thought in its early days.

Back then there was the misconceptionin professional audio and broadcastingthat because everything was in the formof digits the quality would be consistentand there would be less to go wrong,making the test and measurement(T&M) process unnecessary. In thesame way that compact discs wererealised not to be indestructible, thisproposition was quickly shown to be fallacious.

Even if people did not fully believeT&M would become a thing of the past,as Richard Brooking, video marketingmanager for Europe, Middle East andAfrica (EMEA) at Tektronix, says, theyprobably hoped it would be the case.But, he explains, the reality is that

equipment and the material passedthrough it needs to be absolutely rightbefore it comes into the digital domain,otherwise there will be problems thatwill take a lot of time, effort and moneyto put right.

Tektronix produces the two maincategories of T&M gear; four-fifths of its business is in the oscilloscopesand spectrum analysers used by manufacturers to make products –including loudspeakers, microphonesand recorders – while the remainingone-fifth comprises the vectorscopes,rasterizers, waveform monitors and,now, software devices that are used forquality control of broadcast material.

Talking about the importance ofT&M during the programme makingand delivery process, Brooking says: “All digital does is carry the content.

If the video is illegal and doesn’t meettechnical standards or the audio is tooloud or too soft or down on one leg, thatis going to cause problems either duringpost or on transmission, so it has to becorrect from the start.” He adds thatT&M also plays a part in TV play-out,with devices that detect any faults, suchas audio drop out, during transmission.

Audio Precision (AP) specialises inboth T&M equipment that is used inthe development and manufacturingprocess and sound. Tom Kite, AP’s vicepresident of engineering, commentsthat T&M still has an important role toplay in today’s digital and, increasingly,file-based world because, as digital inter-faces become more complicated, withmore emphasis on protocol, the testequipment needs to provide access not just to the audio but also to the

WORLD

At first glance test and measurement might not be the most exciting of technology areas but people wouldsoon know if it were not there. Kevin Hilton tests the waters of a behind-the-scenes, but ever-important, market

Brüel & Kjær equipment is being used to test consumer products such as headphones

If you work in audio, sound us out at www.ips.org.uk

Broadcast goes professional

Institute of Professional Sound

is now the

Book now for our Training Weekend (4/5th Feb 2012 at NFTS) where we are covering OB's and comms for the Olympics, live music & PA sound with several live bands, stages and mixers.

Details on the website. Join up and get a discount.

The

Measuring the importanceof test and measurement

metadata and protocol elements of theinterface. “There is also still a need toverify that the audio is correctly han-dled,” he adds. “Digital systems can clip,have poor response, truncate words andhave poor sample rate conversion andso on. And all digital systems ultimatelyinterface to analogue somewhere.There are plenty of opportunities forthe audio to be degraded.”

Manufacturing techniques are nowmore automated than before, relyingon computers to control the differentparameters. But, says Kite, this has notmade test machines in the R&D lab oron the production line obsolete: “Thereis still a need to verify correct operation,because errors can always occur; partscan be bad, solder joints can be dry andso on. Particularly for manufacturersof pro equipment and automotive elec-tronics, it is vital that 100% of devicesbe tested for correct operation, becausethe consequences of DOA or an early

field failure are severe. In the case ofmoving parts like loudspeakers andmicrophones, the test burden has not changed appreciably in the past few decades.”

Ask most people to picture a T&Mdevice and the image would most like-ly be of a box with a meter or graphicaldisplay that sits on a workbench or ina rack room. Conversely, because of the

reach of digital and computer tech-nologies, there is the thought that mosttesting and measuring can be donethese days using software. Terry Allford,business development and channelmanager for EMEA at Wohler, says bothscenarios are true but have their spe-cific place and applications.

“T&M has a clear purpose and placeof importance in guaranteeing qualityof service (QoS) and quality of experi-ence (QoE) for consumers,” he com-ments. “In the same way that multipledelivery platforms are proliferating, we

expect continued demand for multiplemethodologies – both hardware andsoftware – to ensure that content andthe equipment utilised to prepare thatcontent, whether real-time using hard-ware or file-based using software, meetsestablished standards and practices.”

New processesRob France, senior manager of prod-uct marketing with Dolby Laboratories’Broadcast Audio Solutions division,observes that test equipment haschanged as new processes have devel-oped. But while more reliable manu-facturing procedures have allowedmore complex products to be produced,he says, ensuring that they do not developdefects is vital.

On the other side of T&M, it is alsocrucial to ensure reliability in broadcastor event production, France continues.“T&M continues to have a key part toplay in ensuring a reliable broadcast orcontent creation platform,” he says.“With the changes to today’s digital and file-based operations the requiredT&M capability has changed but it still has an important role to play. T&Mcapability is now more about file con-formance, IP and Ethernet testing andensuring appropriate profiles and stan-dards are being adhered to. Systemsacceptance testing and debuggingissues will still require a more tradi-tional approach to T&M.”

January 2012 � www.prosoundnewseurope.com technology feature 43

“We expect continued demand for multiple methodologies – bothhardware and software – to ensure that content and the equipmentutilised to prepare that content, whether real time using hardware orfile-based using software, meets established standards and practices”

f

Despite the prevalence of digital technology, T&M processes are still in demand

Wohler’s AMP2-16V-3G audio monitor

technology feature 45

Hamlet is a T&M company that alsoworks primarily on the programme pro-duction side, allowing technicians totest material from the camera throughpost and, in some circumstances, up totransmission. Although its productsconcentrate on video, company direc-tor Steve Nunney says audio is part ofthe measuring operation as much asthe picture.

“The requirement is to assess theessence of a piece of material,” he says,“the audio and video and, now, the datawrapper. It doesn’t matter what themeans of transmission is – cable orthe internet or anything else – the needis to ensure that the content is A-OK.Loudness is becoming a prerequisiteand that’s nothing to do with how thesound was originated, it’s about theeffect of the audio.”

Nunney agrees that digital techno -logy brought the hope of T&M nolonger being required but says insteadit made for a different set of problems.“We’ve now got file-based working,” heexplains, “and while software can bewritten to test and measure parametersas part of that, you still need a T&Mexpert looking after it who understands

the nuances of thesubject and what tolook for.”

Digital has giventhe world a range ofnew products andtechnologies. Thosewith the highest profile right now are handheld devices like smartphonesand tablets. On theface of itthese areconsumerproducts –and insome casesare almost fashion accessories – butthey have made inroads into broad-casting and pro audio. A practical exam-ple of this is reporters on BBC Radio 5Live are now using the Technica DelArte LUCI LIVE system, a sophisticatedapp that turns computers, smartphonesor tablets into a mini broadcast centre.

To be considered for this kind ofuse, equipment has to satisfy profes-sional specifications. Even on a con-sumer level there is more expectation

of good quality sound, especially asmore people are listening on head-phones or earphones. Because of thisone of the big names in T&M, Danishcompany Brüel & Kjær, is seeingdemand for its equipment from manu -facturers of handheld units.

“It’s opened up a whole new T&Mmarket,” comments Julian Simpson,marketing group manager for Brüel & Kjær Sound and VibrationMeasurement. “We’re using our core

technologies, such as high-qualitymeasuring microphones and thedummy head and torso simulation

set-up, to testthese systems.As well as prod -ucts like tab -lets and smart- phones we’realso involvedwith companies

like Hewlett-P a c k a r d ,which is p roduc inglaptops withvery goodquality loud-

speakers. Sound is more personalthese days and it has to be good qual-ity. But how the test and measurement,the fundamental physics, is done isthe same as for the other areas wework in.”

Varied marketT&M is a niche market but accom-modates a surprisingly large numberof manufacturers, from big corp -orations like Tektronix, Rohde &Schwarz and Harris to smaller specialists like Hamlet, Loudsoft,which recently introduced the Fine R+D acoustic measuring system,Neutrik with its range of test equipment and BPR, developer of the Smartlips range for lipsyncing.The BPR products are distributed

by Canford, which also manufacturesits own T&M gear, the EMO loud-speaker cable tester line. Americanmicrophone designer Audix Corp -oration has moved into the field withthe TM1 Plus kit, which includes theTM1 measurement microphone, forfine-tuning PA systems.

Part of staying ahead of the compe-tition is staying ahead of the techno-logical curve and having a sense ofwhere T&M might be going next. Thefundamentals of doing this, as most ofthe companies see it, are talking to theindustry to see what is needed and theninvesting in the R&D to make theserequests a reality.

“Manufacturers can stay ahead ofthe curve by listening to the end user,understanding what they are trying toachieve and helping them to realisetheir goals,” responds Terry Allford at Wohler. “We also feel that it’simportant to work closely with earlyadopters of new technology – thosethat are happy to engage with a manufacturer. Through this two-waycommunication, both the manu -facturer and end user can learn andbenefit from the collaboration.Sometimes T&M methods must adaptto specific environments and we’vefound that the refinements we makefor one customer often prove valuableto others, so we use those featureswithin new solutions, making themavailable to the wider market whilebenefiting both parties.”

Tektronix’s Richard Brooking sayshe spends a lot of time talking to usersin Western Europe, which is at the fore-front of developing new techniques andprocedures. “I have a production back-ground and so can take what the customers are saying they need andreport back to my colleagues in the USworking on new versions of the equip-ment,” he comments. “Software is mak-ing the upgrade process easier, so ifpeople are saying they want to down-load something that works with theEBU loudness spec, that can be done.If the customer has a specific require-ment they want to be able to tell usabout it and then a few months laterhave that feature in a firmware drop.”

Steve Nunney at Hamlet agrees thatproviding the latest measurementparameters, such as loudness, is essen-tial but says users in his target market,the broadcast production sector, haveto be able to use the technology in a creative way, rather than being con-strained by the technicalities.

In terms of general R&D Nunneysays each company watches what theothers are doing and also sees howthe market is changing. “Years ago thebroadcast industry was led by thevideo tape machine manufacturers,”he says. “Now the majority of camerasare file-based. Products are changingall the time and we have to be aware of that.”

As for the future, Nunney seesstereoscopic 3D as the next big thing.

Although broadcasters are still workingout what this means for audio, Hamlethas added a new display to its VidScopesoftware-based T&M system, whichcould be used for ‘3D sound’. This rep-resents the different frequencies in asignal as colours, showing high and lowlevels. “It’s almost 3D in that sense andis designed for analysis,” Nunney says.

Simpson at Brüel & Kjær observesthat providing tools for different waysof working, as well as technical inno-vation, is a major consideration today.“We’re seeing a lot of integration usingsoftware-based production chains inbroadcasting, as well as R&D work bymanufacturers,” he explains. “Sowe’ve ensured that an output on ourstand-alone systems can be used tointerface with software operations.”

With technology adapting and devel-oping in both the professional and consumer markets, checking that theequipment works as it should and thematerial it carries is as it should be isever more important. Because of thistest and measurement kit will not be disappearing any time soon. AsSimpson says: “T&M is used every-where now. The market is increasing,not decreasing.” Qwww.ap.comwww.bksv.co.ukwww.canford.co.ukwww.dolby.comwww.hamlet.co.ukwww.tek.comwww.wohler.com

f

The 9K Series MonitorScope and DigiScope from Hamlet

“It doesn’t matter what the means of transmission is – cable or the internet oranything else – the need is to ensure thatthe content is A-OK”

January 2012 � www.prosoundnewseurope.com

www.prosoundnewseurope.com � January 2012business feature46

fAny business is ultimately basedon the equivalent of bums onseats (although in the case of

nightclubs, it’s more likely to be bums onbar stools, feet on floors and chilled outbodies on sofas). Of course funding playsa part too – you need cash to pay your waywhile the business grows and you needto splash out a bit on making your offer-ing attractive – but in the end, return oninvestment will only come from turnover,and profitable turnover at that.

That nice balance between invest-ment, cash flow and profitability is hardenough to achieve in an economicboom, let alone when times (and linesof credit) are tight and competition isfierce. And the risks – for an investor –become higher.

In most industries, that woulddampen investment. People would cutcosts, cut margins and cut cornerswhere possible, and play a low-riskgame until things started looking up.

Fortunately for pro audio, club own-ers tend to be inherent risk-takers.Perhaps they’re so rich that a multi-million pound investment in a venue isa mere bagatelle. Maybe they’re moreflamboyant than your average propertydealer or business angel, and their night-clubs are an extension of their person-alities. More likely, though, is that they’reaware that nightclubbing is a form ofescapism, and – especially when timesare tight – cutting back on the experi-ence would represent the greatest pos-sible risk to their bottom line.

And so scarcely a week of economicgloom goes by without counter-intuitivenews of some new venue opening,extravagantly themed in homage toimagined good times gone by. But glitzand opulence alone are not enough.

“Clubbers now expect better dancePA systems,” says Mark Flanagan, communications manager at Tannoy/Lab.gruppen. “Today’s electronic music isincreasingly demanding on systems –more detailed, complex rhythms andsonic textures and more physical basspresence all demand club systems thatcan deliver greater fidelity and clarity at

very high SPL. Even ‘mainstream’ tech-no and conventional dance music tendsto be more complex and sonicallydemanding than it was a decade ago.”

Room serviceBetter speakers are obviously part of therequirement, but so is acoustic design.“We have always had an understandingand concern about the acoustic prop-

erties of a given venue,” says FunktionOne’s Tony Andrews. “It is shockingthat architects and interior designerscan design a club venue and give nothought to the fact that there will betens of thousands of watts of sound inthe space.”

Shocking, but it happens. Andrews,whose firm, as well as manufacturingand supplying systems, offers advice

on acoustics and necessary treatment,has long bemoaned what onceappeared to be an endemic lack of fore-thought at the early planning stage.But the message finally appears to begetting through.

“What we are experiencing recentlyis that venue owners are much morewilling to accept our advice in this area,”he says. “It has not been unusual to findourselves liaising with interior design-ers and architects to mitigate a badsound experience before the sound system is actually turned on.”

One club where Funktion One’sexpertise has long been in demand isSpace, Ibiza, whose F1/MC2/XTA audiorefit PSNE covered in November.

“There are several areas or clubs with-in the Space, Ibiza club,” explains Andrews.“All of these have different requirements.The opening and closing parties in theoutside car park require full concert tour-ing systems; the main Discoteca has apowerful iconic custom designed system;the Premier Etage has a distributed sys-tem giving more of a cocktail bar feel; andthe Terrace and Red Box required a tra-ditional dance club system.“

Underpinning each of those designswas the desire to deliver better sound.“This upgrade was all about the audioquality,” commented the installer, DavidCole of Pro Audio London.

It was the same story for DC10, (alsoin Ibiza and also featured in PSNE

November). “All the clubs having beenupping their game,” says Andy Kayall,the club’s in-house sound engineer, andDC10 is no exception. A couple of yearsago it chopped in its unbranded mainroom system for a Void Acoustics rig –while also undertaking comprehensiveacoustic treatment to the roof.

Power to the people?Although that might look like a textbookexample of market forces at work –increased competition driving improve-ments in the offering to the consumer –there are other factors at work. Whileit’s true that the clubbers, havinginstalled better systems at home and intheir cars, and being used to better audioat live gigs, might have higher expecta-tions these days, business has rarelykowtowed to them. And to some extent,the public’s uncomplaining acceptanceof compressed audio from MP3s shootsthe argument in the foot anyway.

Scott Gledhill, Meyer Sound’s salesmanager for much of Europe, advancesan alternative theory. “Systems need tobe more rider friendly, just as live sys-tems have had to be for years, because of DJs being headline names. They areclearly putting pressure on club ownersand asking for better systems. Theorganisers don’t really take much noticeof the public, but the club owners needto get something that all DJs will accept.”

The end result, however, is the same– standards have risen. That applies asmuch, if not more, to the front end asto the speakers. “‘Trends’ [as distinctfrom a general improvement in outputquality] are happening at the controlend with Native instruments Traktor,Serato Scratch etc,” says Jerry Gilbert,a respected industry commentator.

That, as previously noted byFlanagan, has led to increased musicalcomplexity and a need for increased clar-ity. It has also encouraged makers of mix-ers to up their offerings, both in termsof quality and functionality.

“Our new Xone:DB4 and Xone:DB2digital mixers,” says Allen & Heath’s Xoneproduct specialist, Greg Ibbotson, “offeronboard studio quality effects, trimodalEQ on a per channel basis, MIDI function -ality, and a soundcard interface to PC, allof which reduce dependency on the laptop screen and promote creativity.”

Alongside those, the company hasrecently launched the Xone:K2, a slim-line professional DJ MIDI Controller,which Ibbotson describes as “perfectfor use with leading DJ software suchas Traktor Pro and Ableton, but whichalso integrates with other requirements,so for example it can also be used tocontrol lights or VJ software.”

It’s not just the DJ and the mixer thathave to be flexible. The same applies tothe club as a whole. Take Pulse (alsoknown as Bankside Vaults), for exam-ple. Built into interlinked arches besideBlackfriars Bridge in central London, itnaturally forms four spaces, the mainone equipped with a performance stageand able to accommodate more than2,000 people.

A healthy dose of unrealityClubbing is all about putting the real world on hold for a few hours. And that, findsGez Kahan, means clubs are still investing in providing a better experience

WORLD

The opening and closing parties in the outside car park at Space Ibiza require full concert touring systems

“It is shocking that architects and interiordesigners can design a club venue and giveno thought to the fact that there will be tensof thousands of watts of sound in the space”

Peavey’s Digitool MX was chosen for the Embassy Beach Club in the Algarve

The club decided it needed to resitethe performance stage along the longwall for its recent Soul Heaven event,featuring a host of DJs with Masters AtWork’s Kenny ‘Dope’ Gonzalez toppingthe bill. VibaSound – whose HughSadlier had installed the original NexoGeo S12 double-hang arrangement supplemented by eight RS15 subs –reconfigured and augmented the sys-tems into clusters of three S12s flown inthe corners plus two pairs either sideof the DJ console, while a dozen RS15subs were ground-stacked along theedge of the dancefloor area.

A nightspot in TunisiaClubbing may be a synonym for all-night dancing, but ‘nightclub’ hastraditionally had a more general mean-ing, with food, drink and general enter-tainment being equally importantelements. That calls for even more flex-ibility in the design of the audio system.

That’s particularly true of nightclubswithin hotels, which will change through-out the day from meeting area to loungebar and then gradually morph into a late-night watering-hole and disco. An exam-ple is Le Madison at the Maison Blanchehotel in Tunis. It combines French-influ-enced opulence with the service ethic ofa top hotel, but still needs to compete withdedicated clubbing clubs.

The room recently invested in a brandnew reinforcement system, choosingDynacord D8W speakers for their com-pactness as well as sonic performance,along with Dynacord subs, amps, pro-cessing and mixing. Regular guests,reports Manel Khammouma of theinstaller, ADB, immediately commentedon the improvement in sound quality.

Similarly the Peavey installation atthe Embassy Beach Club in the Algarve,Portugal, needed to cater for more thanjust dancing. Owned by Iron Maiden’sbassist, Steve Harris, it draws inspirationfrom Embassy London in Mayfair (co-owned by Iron Maiden’s management),and had the same installer, Ian Dunn.

Like the London club, where the systemhas to be adaptable between dance(where speakers surround the floor) and live performance (a typical stereoFOH configuration), the Algarve clubcalled for several zones covering bar,stage and DJ areas.

All of which should have been simple – except that there was noopportunity for a site visit before theinstall. Peavey’s PA specialist, VirgilLund had to design the system remote-ly with just a photograph of a roughsketch as his guide.

“As we couldn’t communicate directlywith the end users, we needed the system design to have a large degree ofversatility to allow for any conceivablealteration to the room layout or zoneconfiguration,” says Lund. His solutionwas to use Peavey’s Digitool MX – afully programmable processing and

control system – to provide a menu ofin/out options, with the ability to updatewith a new project file should revisionsbe required at a later date.

Let’s get this clear“Modern electronic music demandsmore than ever when it comes to clar-ity and definition,” says Flanagan. “It’sno longer a case of straightforward 4/4 and mashed up sound. Distortionmust be kept at minimum.” This isespecially important since listeners inclubs are typically much closer to thesound source than in live music appli-cations. And that proximity equallyputs a premium on aesthetics as wellas compactness.

“Achieving the desired SPL levelsand full-range performance in verycompact form is the key,” he says. “Thatminimises impact in what is often a

limited space. Tannoy’s VQ is one ofthe smallest format boxes able toachieve that level of sustained acousticperformance. A single VQ 60 can easily match or rival a four-box line array hang – which is often impracticalin a club situation. Plus, owners arelooking for something iconic that doesn’t detract from the style of the clubinterior. In the same way that othermanu fac turers have a recognisablestyling, Tannoy’s VQ, with a deep conedhorn and twin angled 12” LF array, hasa similar unique appearance.”

“JBL has long been involved withthe dance club market, supplying com-ponents for custom systems in topclubs worldwide since the early 1970s,”comments Jon Sager, senior manager,installed sound, for JBL Professional.“Later we designed custom systemslike Dance3 and Dance5, while morerecently club designers have usedVerTec, VRX Series and many otherJBL systems.”

But Harman sees it as an importantand growing sector, Sager says, hencethe release last year of eight new loud-speaker models specifically for thedance club market. “The MarquisDance Club line of speakers isdesigned with high fashion and highperformance in mind and they deliver

both at the highest possible level offidelity. We believe this already strongmarket segment is growing and thereare a number of opportunities for thisnew product line in clubs of all sizeseverywhere in the world.”

Meyer, by contrast, doesn’t have adedicated ‘club speaker’ range.

“We make neutral systems, therebycatering for all kinds of music, says ScottGledhill, noting that, “there are defi-nitely more multiple-room venues. Theclub needs a variety of options to drawthe public – big-name DJs, other nightsfor live music and so on. Multipurposesystems fit in with the trends for liveperformance plus functions etc as wellas pure dance nights.

“We don’t specifically tune our sys-tems for club use – instead we makesure there’s plenty of headroom. Ourbig seller is the JM1P (along with theUPQ series) together with the 700HP2x 18 sub. These are trapezoidal, three-way speakers, designed to be flown,and they are sonically linear… inputequals ouput.”

There are two selling points he picksout. One is “ear fatigue – or rather thelack of it. With Meyer’s systems, theaudience doesn’t experience com -pression and attenuation” meaning the clubber will come back because he

didn’t end up with a 12-hour headacheafter his night out.

The other gets to the heart of why peo-ple go clubbing in the first place. Oh, surethey go to dance, and for that you needto “feel the sound in your chest. But theguy must still be able to flirt with the girl.So you have to demo it, you have to talk toyour customer with the system up high.For that you don’t need to design a ‘clubspeaker’ – just give them headroom.”

The world outside is struggling tokeep afloat, but the club market stillappears to be buoyant. There are, how-ever, warning signs. There may be bumson seats, and escapism may still rule, butrealism isn’t so far behind. Attendancelooks stable but there’s anecdotal evidencethat spend per punter is down. So there’swork there for the pro-audio installer –but expect margins to be just as tight asin the real world. Qwww.allen-heath.comwww.dynacord.com www.funktion-one.comwww.jblpro.comwww.labgruppen.comwww.mc2-audio.co.ukwww.meyersound.comwww.nexo.frwww.peavey-eu.comwww.tannoy.comwww.voidaudio.com

January 2012 � www.prosoundnewseurope.com business feature 47

Pict

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The Circus Night Club, located on the top floor of the Royal Tulip Hotel in Almaty, Kazakhstan

“Today’s electronic music is increasinglydemanding on systems – more detailed,complex rhythms and sonic textures andmore physical bass presence all demandclub systems that can deliver greater fidelityand clarity at very high SPL”

Le Madison in Tunis recently invested in a Dynacord systemLondon’s Pulse has installed a Nexo GEO system

www.prosoundnewseurope.com � January 2012hither & dither48

EXPOS & EVENTS 2012

2012 International CES10-13 JanuaryLas Vegas, USwww.cesweb.org

BETT11-14 JanuaryLondon, UKwww.bettshow.com

CUE201216-18 JanuaryRotterdam, Netherlandswww.cue2012.nl

NAMM Show19-22 JanuaryAnaheim, USwww.namm.org

MIDEM28 Jan-1 FebCannes, Francewww.midem.org

Integrated Systems Europe31 Jan-2 FebAmsterdam, Netherlandswww.iseurope.org

BVE14-16 FebruaryLondon, UKwww.broadcastvideoexpo.co.uk

CABSAT MENA28 Feb-1MarDubai, UAEwww.cabsat.com

The ARC Show29 Feb-1 MarchLondon, UKwww.thearcshow.com

45th AES Conference1-4 MarchHelsinki, Finlandwww.aes.org

Digital Signage Expo6-9 MarchLos Angeles, USwww.digitalsignageexpo.net

CeBIT6-10 MarchHannover, Germanywww.cebit.de

2012 Media Summit7-8 MarchNew York, USwww.media-summit.com

Hither & winnersThe world through the tinselly, sparkly, glittery eyes of PSNEPlease send all contributions for possible publication to david.robinson@intentmedia.co.uk

Pro Sound News Europe www.prosoundnewseurope.com vol 27 no 1 January 2012

Editor: Dave Robinson, david.robinson@intentmedia.co.uk Managing Editor: Joanne Ruddock, jo.ruddock@intentmedia.co.ukHead of Design and Production: Adam Butler Editorial Production Manager: Dawn Boultwood European Correspondents: Mike Clark(Italy), Marc Maes (Belgium/Holland), Phil Ward (UK), Mel Lambert (USA) UK Contributors: David Davies, Simon Duff, Jim Evans, Lin Frost, Kevin Hilton, Gez Kahan, Nigel Lord, Rob Speight, Francis Rumsey, Paul Watson, Russ Hepworth-Sawyer, Phil Harding, Ken Blair, Marnix Bosman,Charlotte Wilson, Franck Ermould Digital Content Manager: Tim Frost, tim.frost@intentmedia.co.ukSales Manager: General Nick, nick.beck@intentmedia.co.uk Accounts Manager: Stephen O’Sullivan, stephen.osullivan@intentmedia.co.ukClassified Sales Executive: Call the team! Senior Production Executive: Alistair Taylor Studio Bookings Editor: Lianne Davey Publisher: Steve Connolly, steve.connolly@intentmedia.co.uk Managing Director: Stuart DinseyEditorial and Advertising offices: Pro Sound News Europe, Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road London, N1 8LN. Editorial and sales: +44 20 7226 7246Press releases to: psnenews@intentmedia.co.uk NO CIRCULATION AND SUBSCRIPTIONS ENQUIRIES TO THIS OFFICE. Circulation and Subscription enquiries: Intent Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK. Subscriptions: Tel: +44 (0)1858 438786

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© Intent Media, 2012. All rights reserved. No part of this publication may be reproduced or transmitted in any form or

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2012 subscription rates for non-industry/non-European readers are: UK, £39/€62; Europe, £54/€86; other countries,

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Queens Road, Ashford, Kent, TN24 8HH ISSN: 0269-4735.

Victors at the 5th Pop! The Question Christmas quiz was clinched by the ‘Tits

McGee’ team, representing Snapper Records. The Academy Music Group event

raised over £2,000 for the Teenage Cancer Trust, was hosted by presenter Iain Lee

(centre back with the winners) and attended by the likes of Live Nation, NME, Sony

Music and EMI. The PSNE/Music Week team managed a respectable joint third

What, more drinking? This time it’s the Azule Finance team (L-R) Peter Savage,

Rebecca Price and Gavin Scott getting in the party swing at the Phoenix Arts Club

Fineline Media finance hit the Soho Bar just before Christmas to toast clients

and friends. (L-R) Jon Fry, of broadcast technology and services supplier CVP;

Duncan Payne, Fineline; Darren Simpson, CVP; Gareth Wilding, Fineline; David

Everitt, Arri GB; and Michael Groom, CVP

This year’s JCA Media/Distributor Pub Quiz was won by Fremantle Media,

pictured here with the JCA management. The TVBEurope team? Second!

Expert PR for the entertainment technology industry

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January 2012 � www.prosoundnewseurope.com products and services directory 49

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www.prosoundnewseurope.com � January 2012interview50

Interview by Phil Ward

fAmong the Sound Fellowships awarded atthe annual APRS luncheon in London inNovember, one stood out as an

acknowledgement of the technical achievement of aclassic British brand: Cadac, co-founded by retiredeminence grise Clive Green, contributed to therecording studio revolution of the late ’60s and wenton both to transform and dominate live soundmixing in the theatre. A key figure in the APRSfrom 1970 to 1991, Green’s legacy now enrichesindustry heritage just like the famous marque onhis latterday passion: the continuing maintenanceof a vintage Rolls-Royce from 1937.

So how does it feel to be a Sound Fellow?“Wonderful, what a marvellous occasion. Doyou know, there was once an APRS exhibitionwhere they hold the luncheon [The RoofGardens in Kensington, west London]; I remem-ber carrying stuff up there from Derry Street. Iwas hoping everyone would have name badges,like the exhibitions, but I needn’t have worried.It was great to see so many familiar faces.”

Not many people ‘retire’ from pro audio; it’sa lifetime thing for them…“I reached 65, and I have a great many interestsbesides designing and building mixing consoles

– especially the Rolls, which I’ve had since 1973.It’s taken us as far as Lake Como and back…”

How did the creation of Cadac reflect the studio industry of the time?“I started at Olympic in 1963, when it was stillin the West End. I used to wear a white coat!The maximum was four tracks, on Ampex taperecorders. But when we moved to Barnes, inJanuary 1967, our chief technical engineerRichard Swettenham designed a mixing console for the huge new studio, big enough fora full symphony orchestra. I moved on toLansdowne Studios, run by Adrian Kerridge, butI could see the need for a new generation ofdesks. When we turned Lansdowne’s receptionarea into a larger control room I got the opportunity to build a desk for it, and word got out. It was a small community of technicalinnovators and bright businessmen.

“Morgan Studios opened, with Terry Brownfrom Olympic days and Barry Morgan, andthey asked me for the plans so that they couldbuild their own version of my console. Adrianand I asked: if it goes wrong, who’sresponsible? So we formed a separate companyto build the console for Morgan, very much toprotect our interests really, and that’s howCadac came into being.”

You left Cadac in 2001; do you keep up with developments?“Well, I’ve just heard that Bob Thomas has left,and of course I know that it’s now underChinese ownership. But to be honest it’schanged so far beyond recognition that it wouldn’t be appropriate for me to even try tointerpret what has happened in that time.”

You created the company, and led it for overthree decades. What do you see when youlook back on that period now?“My abiding memories are to do with our success inthe theatre industry. That’s how the company real-ly made its name. In fact it was the first one to takemixing consoles for that market seriously. It was[sound designer] Martin Levan who approachedus; he was the sound engineer at Morgan Studios,where Andrew Lloyd Webber recorded. Andrewasked Martin to improve the sound quality of oneof his London musicals, and since we had arecording console at Morgan he turned to us.”

What were the different requirements of theconsole that emerged?“The existing theatre consoles were pretty puny,and the sound quality wasn’t up to studio standards. The first desk we built, for Little ShopOf Horrors, was much larger, although the specdictated that the front-to-back dimension could-n’t be deeper than a row of seats! One row wastaken out by the console, and another by the

operator. Autograph Sound bought the consoleand leased it to the production company, andAndrew Bruce did tell me how surprised he wasnot to have any teething troubles. It worked perfectly straight away. Then Martin Levan didStarlight Express, which also required a speciallybuilt desk from us: this one had to be L-shapedto fit the theatre. They had to build a skatingrink around the back, of course. So we built theframe first, tested that on site, and the moduleswere put in later.

“There was no interference, and it soundedjust as I would expect a desk of ours to sound at Lansdowne, for example. After that I could accept that a theatre desk could be asgood as a studio desk. Andrew was especiallypleased with the sound in that theatre. The desk remained for a long, long time –until they closed the show – and in themeantime we built a standard range of desksfor this application. Andrew specified that all connectors must be military standard –

they were ruddy expensive – and it had to have a patchbay, with as much wiring as astudio desk. These were the A-Type desks, and despite the very British provenance the first two orders came from New York. Itwas Martin again, working on Broadway andbasically selling the concept. At one point laterwe had consoles on 70% of Broadway shows.”

Is that how the exports picked up?“Of course; shows like Phantom went on tour.They would open in London, then New York,LA, San Francisco… then a bus and truck touraround the country. Another production wouldopen in Toronto, then various venues aroundEurope, Australia and Japan – all specifying thesame mixing console. We didn’t need distributors;we sold consoles direct to the sound hire companies, and they were responsible for theafter-sales service.”

When did you first begin to investigategoing digital?“About seven years before I left, althoughdevelopment didn’t start in earnest until abouttwo years before I left, because the analoguemodels were doing so well. The big advantageof digital is that the operator can set thecontrols and later recall them, but I don’tperceive any audible benefits. It equals thesound, but it doesn’t improve it. At the timewhen I left the industry, for peace of mind I’d

still ask for analogue. If digital went wrong,your chances of fixing it in a hurry were verysmall indeed, although that’s changing now.Our J-Type, the most successful model, wascomputer-controlled but it was analoguecircuitry. The computer took care ofremembering the cues, especially mutingactors’ mics as they went off stage, but it wasall stored on a PC. The desk remainedsupremely analogue!”

Does it surprise you that musical theatre is still so popular in this age of digital entertainment?“Well, it’s the perfect form of escapism. Iremember the last recession, in the early ’90s,when we were very worried that the West Endmight go into the doldrums. But it seemedpeople were still happy to fork out to go to thetheatre, even though they were cutting backelsewhere. That seems to be the case still, andI’m very glad that it is.” Q

Clive Green Silver shadows and golden years

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“[Cadac] has changed so far beyond recognition that itwouldn’t be appropriate for me to even try to interpretwhat has happened in that time”

midasconsoles.com© 2011 MUSIC Group IP Ltd. Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed. MIDAS and KLARK TEKNIK are part of the MUSIC Group (music-group.com).

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