revered respected

MEDIA PACK | 2020

“It’s a really great magazine for professionals up-to-the-moment discussion around technical, things we really need to know about”TVDE, Netherlands

The

Interview

Xxxxx Xxxxxxxx Xxx

REVEALED/ Chris Sheldon: mixing Rocketman

/ Paul Butler: Bees guitarist in L.A.

/ MIDI 2.0

REVIEWS/ AMS RMX16 500: digital classic re-born

/ RØDE NTG5: it’s the little perforations

/ Genelec Aural ID

REPORT/ NEW at NAMM 2020: all the gear

/ Hearables: AI audio

/ International Year of Sound 2020

V19.1 | January/February 2020  | £5.50

The

Interview

Joe Chiccarelli

Resolution V19.1 Jan-Feb 2020.indd 1

31/01/2020 13:20

MEDIA PACK | 2020HELLO

Key strengths of Resolution

WELCOME

Resolution Awards 2020... and introducing our Audio@IBC Awards! The prestigious Resolution Awards recognise quality and innovation in professional audio equipment. Products are nominated in categories by a panel of experts across disciplines and are voted for exclusively by the readership of Resolution magazine via social media.

This year we aim to launch the Resolution Audio@IBC awards, specifically for broadcast technology which are perhaps overlooked in the main awards arena.

Nominees and winners always receive strong editorial support. Nominations for both platforms will be announced in forthcoming issues and the winners announced in digital supplements in August (Audio@IBC) and October (Resolution Awards). Watch this space!

In 2020, Resolution will build on its mission to bring you the best opportunities in marketing for audio professionals

After acquiring the magazine in mid-2017, Dave Robinson has continued to build on the title’s 18-year status. Resolution still

stands out from the crowd, updated and improved, both in print and online, while retaining the superlative reputation and loyal following built up over years of essential reading.

This, in no uncertain terms, is due to the wisdom, wit and dedication of editor Nigel Jopson, working alongside a crack team of writers and reviewers, most of whom are practising audio professionals in their own right.

A new decade… what to do? A few changes here and there, but we will continue with our high level of technical expertise; features and reports on cutting-edge technology; and supercharged editorial. And of course, there’s the clearer and sharper design, and more opinions from people you’ve not heard from before.

We shall press on with the overhaul and refinement of the mailing list so that the magazine, in print or electronic form, gets to those that need to see it most, and adding more readers where and when we

can. One of the aims of 2020 is to ensure — in the nicest way possible, of course! — that every Resolution recipient is encouraged to subscribe to our twice-monthly newsletter. (A newsletter that usually delivers an Open Rate of 40%, that’s +6% more on 2018, incidentally.) We’ll be promoting the publication into the education sector, as before.

Our social media presence is flourishing, once again due to the sterling efforts of Nigel.

Last April, we published an online issue, free to read for everyone, covering events and launches from the Prolight+Sound event in Frankfurt. As with 2018’s offering, the uptake was impressive: V18.D stats are currently sitting at around 3,300 ‘reads’ on hosting platform issuu.com. That represents hundreds of hours of read-time. With the free-to-read back issues, the 40 Resolution titles have clocked up 12,000 reads since April 2018.

In 2020, we’ll be doing things a little differently, with two online Awards supplements, one around the time of IBC, the other in Q4. The first Resolution podcast is not far away, either...

“The editions of 2019 had some fine covers, smart pages and even smarter writing, plus significant support from an increased social media presence, on Facebook and Instagram too.

In this new decade, we’re hitting the ground running and bring you even more audio goodness!” Dave Robinson, publisher/ownerdave@resolutionmag.com

Truly internationalDistributed to 75 countries, reaches the markets of Europe, parts of Asia, the Antipodes, South America and the USA.

Look at them applesPrinted every two months, Resolution is trusted and read from front-to-back, Covering the broadcast, music, post, recording and media production sectors, providing technology profiles, interviews, reviews, news and opinion.

Digital delightsA healthy social media presence, and a twice-monthly newsletter that consistently enjoys high open rates.

SoundPro’20The must-attend UK expo for all audio pros, held with the Institute of Professional Sound (IPS), run and promoted by Resolution ahead of the October 17th event in Chiswick Town Hall.

Pro audio in full effect!

AWARDS 2020REWARDING QUALITY AND INNOVATION

MEDIA PACK | 2020THE TEAM

The best editorial in townResolution editor Nigel Jopson heads up a team of

highly-regarded writers and commentators, consistently creating an outstanding editorial mix every issue, in print and online.

Resolution writers have amassed a unique perspective and depth of product experience over the years — in the recording studio, in broadcast, in post-production — so we can always pair the right reviewer with the most appropriate piece of kit.

Resolution is targeted at people who buy and use your equipment for a living. It satisfies the information requirement of modern practitioners with a uniquely focused package of content. News and analysis cover industry sales, contracts and

appointments. The products section serves up a slice of current equipment releases and updates.

Sections you can expect to see in the redesign:Craft — Craft articles concern themselves with the ‘how to’ aspect of what readers do for a living.Reviews — The Resolution reviewers have amassed a wealth of experience that is unmatched anywhere in the industry. Our people know our stuff! Technology — Resolution is ahead of the pack in its approach to new and existing technologies.Broadcast — We remain a definitive route to broadcast sound practitioners!

Erica BasnickiErica stumbled into the world of writing for the pro audio industry after completing her audio engineering education, and hasn’t looked back.

She writes extensively about live and studio sound, and has a keen interest in emerging audio applications such as AR/VR and spatial audio.

Mike AitonMike Aiton was weaned at the BBC over 30 years ago. He is mainly found in his Twickenham dubbing suite, Mikerophonics, thrashing gear to within

an inch of its life. In his spare time he takes therapy for his poor jazz guitar playing and his addiction to skiing and Nikon lenses.

Russell CottierRussell is a record producer and mixer as well as a pro-audio journalist. He’s worked with chart-topping and

award-winning acts including the Royal Philharmonic Orchestra and Sly & Robbie. Russell is primarily based at Parr Street Studios, Liverpool.

Jon ThorntonJon is an engineer, educator and writer. He has been Head of Sound Technology at The Liverpool Institute for Performing Arts since its inception in

1996, helping to deliver the next generations of audio professionals. He has written for Resolution since v1.1.

Dennis BaxterA multi Emmy Award-winner, Dennis has worked in the broadcast industry for over 30 years as a

sound designer and sound mixer. He has engineered the sound for the Commonwealth Games, World Cup, NASCAR, and hundreds of other sporting events around the world including the Atlanta, Sydney, Salt Lake, Athens, Beijing, Vancouver and London Games.

George ShillingGeorge is a producer, engineer and musician with a CV including Yazz (The Only Way Is Up), The Soup Dragons (I’m Free), Steve Winwood,

Mike Oldfield, James Brown, Frank Turner and Tony Iommi (Black Sabbath).

Danny TurnerDanny emerged from the late ’70s synthesiser revolution to channel his love of electronic music into writing about the icons that made it.

David DaviesDavid is a journalist, editor and conference producer specialising in audio and broadcast technologies. He is a regular contributor to IBC 365 and numerous print titles.

Rob SpeightRob has been working in the audio industry for longer than he can remember: in radio, live sound, theatre and post. He’s also a pretty good pilot.

David Kennedy Ten years ago, David became a freelance dubbing mixer and has mainly worked on broadcast docos ever since. His greatest

achievement has to be making many hundreds of hours of factual entertainment intelligible for the viewing public.

Tim OliverTim’s been a freelance engineer/producer for over 35 years, starting his career in the heady days of Manchester in the 1980s working with the Stone Roses, Happy

Mondays and New Order. He’s had a base at Real World for ten years and for the last three has been involved in the management of the commercial studios.

Kevin HiltonKevin trained as a radio journalist and worked in reporting, technical operations, production and presentation before becoming a magazine writer.

John BroomhallJohn has worked in a variety of roles (composer, sound designer, producer, music supervisor and head of audio) on

dozens of videogames including F1 GP, Guitar Hero, American Idol, and Forza Motorsport.

Simon ClarkSimon Clark is a freelance location drama recordist and head of location sound recording at the National Film & TV

School in the UK.

Ed ListerEd is a highly-seasoned freelance broadcast camera operator working with the likes of ITV/BBC, while also producing high-end content for the web.

Nigel Jopson, editorAs a record producer and recording engineer, Nigel worked with artists including Bryan Adams, Bauhaus, Jack Bruce, Paul Carrack, Joe Cocker, Julian Cope, The Cult, Marianne Faithfull, The Go-Betweens, Cyndi Lauper, John Mayall, Joni Mitchell, Van Morrison, The Scorpions and Roger Waters…he took up the pen for Resolution magazine in 2002.

24 / November/December 2019

low ceiling or hide from the all-seeing

camera lens behind some small object

on a desk.Enter CMC1, one third the length of

the older unit at a compact 36mm. Now

our entire microphone, complete with

Cut 60, comes in at 75mm. Combine this

with a low profile XLR connectors like

CT-LPXLR-3F by Cable Techniques and

you have a neat little noise catcher that

is unlikely to intrude on top of the frame.

Leave out the HPF unit and the resulting

57mm microphone could be concealed

behind a coffee mug satisfyingly close

to the onscreen talent no matter how

wide the shot.

Size isn’t everythingSchoeps haven’t just produced a

physically smaller unit, CMC1 draws a

miserly 2mA from the Phantom supply,

half as much as CMC6. If you are

providing current from battery powered

mobile equipment (and especially radio

mic transmitters), this is very useful. The

new circuitry even provides for an extra

4dB maximum SPL handling over

CMC6. Importantly with today’s usage

of digital radio transmission from the

end of the boom pole (and in common

with CMC6), CMC1 features Schoeps’

excellent RFI (Radio Frequency

Interference) shielding. Of course, radio

frequencies in themselves are vastly

higher than the audible spectrum, but if

RF does get into a microphone it can

produce audible artefacts as it travels

through the circuitry. Some older

condenser microphones produce high

frequency noise when in close proximity

to digital transmitters, but I can confirm

that no such problem occurs when using

the Schoeps Collette.

So, what does it sound like? That is

the shortest part of this review because

I can find no audible difference between

a Collette capsule, in this case an MK 41

hypercardioid, partnered with either

CMC1 or its predecessor. So why are

Shoeps still producing the longer unit?

Well a tiny lightweight microphone can

be a bit of a fiddle to mount and to

isolate from mechanical vibrations so, if

you are not concerned about the visual

impact of your setup you may find the

CMC6 more convenient.

Surrounded by the little devils

So far I have only considered the

benefits of this new unit in my world of

location sound for film and TV drama,

but there is another situation where

having such a small microphone would

be advantageous. As immersive audio

becomes more prevalent, the need for

surround recordings has increased

dramatically. One of the popular ways to

achieve these is using double coincident

MS (middle and side) microphone

setups. If you want to derive height

information as well as ‘conventional’

horizontal surround, you need to

squeeze another figure-of-eight capsule

into an already crowded array. Managing

that with 155mm long versions of

Collette would require a bulky, heavy rig

with a very large windshield if it was to

be used for exterior recordings. Less

dead cat on a stick, more deceased

badger.Constructed to Schoeps’ usual high

standard and compatible with all the

existing modules in the Collette range,

CMC1 isn’t a revolution — but a very

welcome evolution.

Schoeps CMC1 mic ampSIMON CLARK finds room in his bag for a little’un

 Now why, you may ask, am I

excited to be given, not a whole

new Schoeps microphone to

review, but just a redesigned

head amplifier? Well I love a modular

microphone, and that’s because I have

to work with camera departments.

Nobody ever walked out of a cinema

whistling a wide shot but, bless our

image-gathering chums, they often

think it crucial for your enjoyment of a

drama that they frame a picture which

makes it all but impossible for us to get

a mic where it needs to be. For this

reason, us film and TV recordists favour

smaller microphones, and making them

modular is one way of shrinking them.

The only component which needs to be

on the set is the capsule itself. Head

amplifiers and High Pass filters can be at

the operator end of the boom pole

connected by a so-called ‘active cable’.

Admittedly this does introduce

potential weak spots in the mic. Firstly

the joint between removable capsule

and head amplifier. Secondly if one is

extending the distance between the

capsule and the head amplifier, the

active cable itself can be susceptible to

electromagnetic interference. I cut my

teeth on AKG’s long-defunct C451 range

which, in any environment less arid than

the Sahara, would produce a deafening

sound reminiscent of frying bacon.

Luckily for us Schoeps have been

producing their excellent Collete range

since the early ‘70s, and they have

perfected the mechanical joint to the

point where electronic interference is

not an issue.

How big did you say?The predecessor to CMC1 is confusingly,

CMC6, this is still in production and is a

conventional looking unit 116mm in

length. Both CMC1 and CMC6

incorporate as standard high-pass

circuitry, which rolls off 12dB per octave

from 20Hz. In order further to reduce

unwanted LF as a result of mounting

these mics on a handheld boom pole, it

is common practice to insert a steeper

(24dB per octave) high-pass unit named

‘Cut 60’, effective from 60Hz, between

the capsule and the head amplifier. If

you do this using CMC6 you will have a

microphone measuring 155mm in length

— not a problem in a recording studio

but difficult to keep out of shot under a

PROS Lower current drain, higher

maximum SPL, smaller and

easier to conceal, superb build

quality.

CONS Let me get back to you when I

think of one.

www.schoeps.de

VERDICT

/ CMC1 is one third

the length of the

CMC6

/ CMC1/MK41 concealed behind a cup on-set

Resolution V18.7 Nov-Dec 2019 X.indd 24

05/12/2019 15:36

Easy to read, smart and clear design

MEDIA PACK | 2020

All artwork should be created using CMYK images at 300ppi and export a high Resolution print compliant PDF file with fonts and images embedded and supply with 3mm bleed with trim marks. Photoshop/llustrator users: please supply a flattened CMYK file at 300ppi and uncheck ‘Preserve Illustrator Editing Capabilities’ in the ‘Save Adobe PDF’ dialogue box (under ‘options’) then save as a high Resolution CMYK PDF file (see: http://www.bit.ly/optimise-PDF for more information). Please note: hyperlinks for the digital publication will not work with pixelated text or outlined fonts.

Contact: Dean Cook for further information on +44 1273 467579, email: dean@resolutionmag.com

AUDIENCE/PRINT

PRINT: Reaching 7,500 readers in Europe and beyond

• Readers who specify and buy equipment

• A circulation that responds to new markets

• Quality readership on a worldwide level

• Distributed in 75 countries

• A truly international take on professional audio!

Classified Showcase adverts (Minimum of 3 consecutive issues, prepayment on a minimum of 3).

Standard: £300 per entry Premium Horizontal/Vertical: £420 per entry See below chart for 'Showcase' dimensions

Article PDFs and reprintsWe offer a PDF package at £165 per page that includes print and screen resolution PDFs and the copyright clearance to use the article for your own marketing purposes.

Inserts Use Resolution to deliver your marketing material. Insert weight (per 1,000) 0-10g 10-20g 20-30g Loose £310 £390 £480 Heavier weights on application. Fixed position, belly band and special options upon application.

Rate cardSee US rate card for $US prices

Advert sizes / Artwork specifications

490mm wide x 140mm high 245mm wide x297mm high

Advert sizes x1 x4 x8

Half Double Page Spread £2962 £2739 £2511

Full Page £2681 £2488 £2420

Junior Page £2151 £1913 £1827

1/2 Page Horizontal/Vertical £1547 £1424 £1303

1/3 Page Horizontal/Vertical £1040 £955 £929

1/4 Page Vertical £811 £777 £713

Outside Back Cover. Series only - - £3209 £2928

Inside Front Cover. Series only - - £2986 £2731

All pricing correct as of December 2019 and subject to VAT.

HALF DOUBLE PAGE SPREAD

FULL PAGE

68mm wide x128mm high

142mm wide x62mm high

68mm wide x62mm high

SHOWCASESTANDARD

SHOWCASEPREMIUM HORIZONTAL

SHOWCASEPREMIUM VERTICAL

105mm wide x250mm high

216mm wide x125mm high

142mm wide x194mm high

JUNIOR VERTICAL

HALF HORIZONTAL

HALF VERTICAL

105mm wide x125mm high

68mm wide x250mm high

216mm wide x82mm high

THIRD HORIZONTAL

THIRD VERTICAL

QUARTER VERTICAL

PRINTBYCOUNTRY

UK & Ireland : 45.5

UK&Ireland:45.5%

Europe : 40

Europe:40%

NorthAmerica : 7

NorthAmerica:7%Rest of the World : 7.5

RestoftheWorld:7.5%

UK & Ireland Europe North America Rest of the World

meta-chart.com

PRINTBYCOUNTRY

UK & Ireland : 45.5

UK&Ireland:45.5%

Europe : 40

Europe:40%

NorthAmerica : 7

NorthAmerica:7%Rest of the World : 7.5

RestoftheWorld:7.5%

UK & Ireland Europe North America Rest of the World

meta-chart.com

December 2019

“Predicts the future of audio. For pros, not tyre kickers. Excellent real-world equipment reviews. Resolution is the best”HF, USA

MEDIA PACK | 2020THE STATISTICS

NEWSLETTERS

SOCIAL MEDIA

WEBSITE

ONLINE MAGAZINES

39.7%

3,950

10%

69,000

OPEN RATE 39.7% (+6% YOY), CLICKTHRU RATE 6.4% (+1.5% YOY), based on c.9,000 names.

3,950 Facebook followers, DOUBLE the number since new Resolution ownership (July 2017). We also have 800 Instagram followers and climbing.

www.resolutionmag.com users and sessions up around 10% YOY. USA remains biggest user of website, 24.5% of audience.

Resolution V18.D, last year’s online-only issue, received 3,300 reads, each an average of 6m32s, since April 2019 (cf: V17.D, published online one year earlier, stands at 4,100). Total ISSUU content clocked up 12,000 reads/69,000 impressions since April 2018.

MEDIA PACK | 2020AUDIENCE/DIGITAL

DIGITAL: A database of 9,000 names!

OnlineResolution offers a variety of online opportunities alongside the core printed magazine to provide a complete marketing package.

Resolution newsletter — double the info! The Resolution twice-monthly newsletter distills pro-audio developments and products releases into an easy-to-read and accessible package. The newsletters have enjoyed an OPEN RATE (OR) of 39.7%, and CLICKTHRU RATE (CTR) of 6.4% to the end of 2019, that’s +6% or, +1.5% CR compared with year end 2018. Back catalogue/website Resolution has a rich archive of reviews and interviews, and in 2018 we began sharing this with the readers, via www.resolutionmag.com and the issuu.com hosting site. This move has increased awareness of the brand: www.resolutionmag.com website users and sessions are up around 10% YOY. ISSUU content — that’s 40 publications, including three exclusively online only editions — have received a total of 12,000 reads/69,000 impressions since April 2018.

Social mediaWe have an ever-growing Facebook presence (nearly 4,000 followers) thanks to the vigilance of editor Nigel Jopson, who regularly posts news and video footage. In July, Resolution got onboard with Instagram, for quirky, off-radar stuff: 800 followers and rising! Digital newsletter (two per month)Number of months PriceMain Banner / Sponsorship (970x164 pixels) A £POA Mid Banner (468x90 pixels) B £POA Box (120x120 pixels) C £POA

Website (per month)Number of months Price Leader Banner (936x180 pixels) D £POA Skyscraper (600x2400 pixels) E £POA

Standard digital ad formats

All pricing correct as of December 2019 and subject to VAT.

A D B C E

USA UK Germany France Netherlands FinlandItaly China Other

Canada

USA UK Netherlands Germany Belgium Others

PRODUCTION POST BROADCAST OTHER

USA 24.5%UK 22.0%GERMANY 5.7%FRANCE 3.6%NETHERLANDS 3.4%

FINLAND 3.0%CANADA 2.7% ITALY 2.6%CHINA 2.0%OTHERS 30.5%

USA 19%UK 30%NETHERLANDS 10%

GERMANY 9%BELGIUM 5%OTHERS 26%

PRODUCTION 26%POST-PRODUCTION 31%BROADCAST 33%OTHER 11%

* Email list breakdown of more than c9,000 names. December 2019.

Website users by country

Newsletter opens by country

Online by category

MEDIA PACK | 2020SCHEDULES

ContactsEditorialNigel JopsonTel: +44 7985 154548, email: nigel@resolutionmag.com

Dave Robinson (publisher)Tel: +44 1543 578742, email: dave@resolutionmag.com

AdvertisingChris Cope — European SalesTel: +44 20 3289 8015, mobile: +44 7962 336300, email: chris@resolutionmag.com

Sean Leslie — European SalesTel: +44 7925 096590, email: sean@resolutionmag.com

Jeff Turner — US SalesTel: +1 415 455 8301, email: jturner@resolutionmag.com

Dean Cook — Artwork submissionTel: +44 1273 467579, email: dean@resolutionmag.com

www.resolutionmag.comResolution Magazine, 192 Longford Road, Cannock, Staffs WS11 1QN

PRINT

JANUARY/FEBRUARY 2020Ad deadline 24 JanuaryPublication date 5 February

SHOWS: ISE (Preview)

PRINT

MARCH/APRIL 2020Ad deadline 18 MarchPublication date 25 March

INCLUDES: Microphone Special

PRINT

MAY/JUNE 2020Ad deadline 27 AprilPublication date 11 May

SHOWS: AES (Vienna)

INCLUDES: Broadcast nominations

PRINT

JULY/AUGUST 2020Ad deadline 3 JulyPublication date 17 July

INCLUDES: Headphone Special Resolution Awards nominations

ONLINE ONLY ISSUE

DIGITAL ISSUE 1Ad deadline 14 AugustPublication date 24 August

SHOWS: IBC

INCLUDES: Audio@IBC Awards Winners supplement

PRINT

SEPTEMBER/OCTOBER 2020Ad deadline 25 AugustPublication date 7 September

SHOWS: IBC and AES (NY)

INCLUDES: Audio@IBC Awards Special

ONLINE ONLY ISSUE

DIGITAL ISSUE 2Ad deadline 12 OctoberPublication date 20 October

SHOWS: AES (NYC) INCLUDES: Resolution Award Winners

SoundPro’20 report

PRINT

NOVEMBER/DECEMBER 2020Ad deadline 16 NovemberPublication date 30 November

SHOWS: NAMM 2021

INCLUDES: Year in review

Additional print copies will be freely distributed at all shows mentioned above. DISCLAIMER: All supplements and specials are subject to change without notice

32 / July/August 2019

Craft

Double Grammy and BRIT Award-

nominated songwriter Jake Gosling is

famed for his ability to work with

up-and-coming talent and deliver a

revolving door of hit records. Best known for

co-writing and producing Ed Sheeran’s

chart-topping commercial breakthrough

album ‘+’ in 2011, Gosling has also helped guide

the careers of a diverse range of artists, from

One Direction and Paloma Faith to The

Libertines and Wiley.

Gosling caught the production bug from an

early age and soon discovered he had his finger

firmly on the pulse. Working alongside Sarah

Liversedge, he opened The Movement

publishing company in 2009 to develop young,

talented songwriters. Gosling also runs the

record label Goldun Egg, where he nurtures a

roster of artists including NUUXS, The Shantics

and Fergus. 

You’re pretty much self-taught. Where do you

think you got your production nouse from?

I was a vocalist in some bands up in Manchester

and started playing keyboards and doing

sessions. I had a residency at the Hacienda and

before then was in a soul/funk band. The main

thing I learned was about feel and groove, and

that when you produce a record it’s not just

about knobs, buttons, EQ and filters.

Was there a point where other producers

would start to influence your ideas rather

than musicians?I would listen to the music rather than who

produced a track, but I also grew up listening to

Quincy Jones and his productions with Michael

Jackson. I loved the rhythms, sounds and

Jake GoslingFew producers possess Jake Gosling’s knack for honing

music industry talent and delivering hits. DANNY TURNER

visits ‘Sticky Studios’ to uncover his recipe for success

I picked Ed Sheeran up from the station with his travelling guitar and we wrote about him living above a pub and the cracks in the pavement

Resolution V18.4 July-August 2019.indd 32

12/07/2019 16:52

Dynamic, polished layout

“Probably the best pro audio magazine all over the world!”AP, Spain