Download - Audio Media

AUDIO MEDIATHE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINETHE

leadercontentsKnowledge, experience, and wisdom... they're all slightlydifferent, but definitely related. Experience (measured inKilowhats) and knowledge (milliwhys) combine to formtiny nuggets of wisdom (e x k = w). Those nuggets are excellent for all sortsof things, but unfortunately cannot be exchanged for anything at Waitrose,which never fails to surprise me.We've found, while trying to collect a staggering 0.25Kw of knowledge from aroundthe industry, that it's not easy taking tips from a head and putting them into words.Things you know or can do suddenly run and hide when you try and grab them. It'sa bit like the moment somebody stands behind you while you're at a computer... youimmediately lose the ability to type, use a mouse, or find menu items.That said, we have managed to eek 250 tips from those who were kind enough tooffer them – including a few special ones you may have missed while perusing pastissues of Audio Media. I'd like to relate tips 249 and 250 here...One we could not find a category for, but which fits in fine just here was from HenryBourne who is the Product Manager at Calrec Audio and a visiting lecturer at LIPA;though I suspect he sometimes sits atop mountains and just thinks for a bit:"Use advice, as the word suggests, as advice – not as rules to blindly follow.Use your intelligence, your own senses (including the all important common one)and your own judgement to get the result you want. Unfortunately the audio world,particularly recording and mixing sessions, are notoriously bad for people taking adviceword for word and not really thinking about what they are actually doing. Just becausea certain technique worked for [insert engineer here] in their studio at a specific timewith the right talent, does not guarantee it will work for you. A genuine understandingof what you are doing, why you are doing it, and the reason behind it is much moreimportant than blindly regurgitating other people’s views. Of course, this meansnot simply doing what you’ve just read because I’ve told you that it’s a good idea…You’ve got to make up your own mind!"Finally, tip 250 perfectly highlights the very moment when only wisdom will do:"How many times has everything been hooked up, turned on, lights blinking andmeters flailing, and you STILL can’t hear anything through the monitors? How manytimes, I ask you? ...I only wish I had a tip I could give you." (David Mathew, AudioPrecision).Paul Mac, EditorI S S U E 2 4 9 • A U G U S T • 2 0 1 1The Recording Room 6In The Mix 18The Control Room 30On Location 34On Stage & On Air 42The IT Department 50AUDIO MEDIA is a Sustaining Member of the Audio Engineering Society.AUDIO MEDIAwww.audiomedia.comAUDIO MEDIA (Europe), Suite L16, South Fens Business Centre,Fenton Way, Chatteris, Cambs, PE16 6TTTelephone: +44 (0) 1354 669960 – Facsimile: +44 (0) 1354 669965General E-mail: mail@audiomedia.com – Press Release E-mail: pr@audiomedia.comManaging Director/CirculationAngela Browna.brown@audiomedia.comGroup Publisher EuropeRaffaela Calabreser.calabrese@broadcast.itEditor In ChiefPaul Macp.mac@audiomedia.comTel: +44 (0) 1223 911380News/AMSR EditorJo Fletcher-Crossjfcross@audiomedia.comTel: +44 (0) 1223 911133www.nbmedia.comProduction EditorLanna Marshalll.marshall@audiomedia.comTel: +44 (0) 1223 911639Design & Production ManagerJohn-Paul Shirreffsjp.shirreffs@audiomedia.comTel: +44 (0) 1223 911415European Sales ManagerGraham Kirkg.kirk@audiomedia.comTel: +44 (0)1223 911224News Deskpr@audiomedia.comRegional Sales ManagerBob Kennedybkennedy@imaspub.com+44 (0)1279 861264US Sales ManagerDavid Carsondcarson@nbmedia.com+1 (212) 378 0400 ext.511Subscriptionssubs@audiomedia.comUK £43European (airmail) £60International (airmail) £72Payable in Sterling through UK bankThe contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, isexpressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication butneither IMAS Publishing (UK) Limited nor the Editor can be held responsible for its contents. The views expressed are those of the contributors and notnecessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.The Workbench 54ADVERTISERS INDEXAES 41 PreSonus 11Audio Precision 5 Prism Sound 9, 14Calrec 44 Radial 59Fostex 46Richmond 37Genelec 13Roland RSG 47Home Service 39Sennheiser 45IBC 53Smart AV 33KRK 15Midas 60Sonic Distribution 2-3MPG 25Sonnox 21Neumann 12 Soundlink 28Nugen Audio 29 Studiospares 23Plasa 49 Telefunken 17© 2011 IMAS Publishing (UK) Limited. All rights reserved.*Within Broadcast & Production4AUDIO MEDIA AUGUST 2011

HFP, HSP, A2DP, SBC, APT-X, CVSD:meet AP.The APx’s built-in Bluetooth radiofinally gives engineers direct control.Control of their Bluetooth profiles and codecs.Control of their audio chain. Control of theirsuccess. The Audio Precision APx with built-inBluetooth radio. The best in class audio analyzerfor Bluetooth wireless technology.Recommended models & options ( The APx Bluetooth option is compatible with APx520, 521, 525 and 585 )Handsfree & headsetsAPx’s quasi-anechoic acoustic measurements andbuilt-in SCO and AVRCP commands are ideal forhandsfree devices and wireless speakers.Automotive audio2 or 4 channels of high performance analogwith 300 Vrms max input (bal) plus Bluetoothis ideal for automotive head units.A/V Receivers & Bluetooth chipsUltimate connectivity. Test Bluetooth-to-HDMI, Bluetooth-tosurroundspeaker outputs, Bluetooth-to-S/PDIF, Bluetoothto-I2 S. Ideal for multichannel receivers or Bluetooth chips.SmartphonesAPx switches between A2DP and HFP seamlessly andsupports streaming over an SCO or .wav file playbackfor testing smartphones.Learn more about characterizing audio overBluetooth wireless technology at ap.com/bluetoothThe Bluetooth® word mark and logos are registered trademarks owned by BluetoothSIG, Inc. and any use of such marks by Audio Precision Inc. is under license.THE RECOGNIZED STANDARD IN AUDIO TEST

ecordingtheroomIt’s here you do your best microphone work –you’ve got to think on your feet and get the bestout of the talent. Mic technique and tips are thestaple in the Recording Room, with added frills.Mic MonstersMics go wrong – keep an ear out forcrackles or hiss, “frying eggs” is a commonphrase for a mic that’s been on for too longand has decided to give up on you.Alan Branch, Producer/Engineer andAudio Media ContributorBe The BestTo quote Frank Zappa, “we’ll fix it in the shrinkwrap”. In just seven words he exposed the attitudeshared by many in our industry who take littleresponsibility for the quality of their product,expecting someone further down the productionchain to correct any inadequacies and errors intheir work. Placed your microphones badly?Don’t worry… someone else will bring the voicesto the fore. Gain structure all wrong? Don’tworry… someone else will eliminate the clippingthat results. Shooting a period drama underneaththe flightpath of a major internationalRobust RecordingsOmni-directional microphones are less sensitive to wind andshock than other types.Eddy B. Brixen, Audio Specialist, DPA Microphonesairport? Don’t worry… someone else will remove the scream of four Pratt& Whitney power plants hauling 400 tonnes of Boeing into the skies. So here’s a thought…why don’t we re-learn the audio disciplines of yesteryear and attempt to get it right firsttime? Tight deadlines and even tighter budgets may make this difficult, but there’s a lotof satisfaction to be had in working to overcoming the difficulties that we face. Then, whenaccidents happen or problems simply can’t be avoided, the restoration engineers can shine.Gordon Reid, Cedar AudioMic Placementif you remember anything, remember MIC PLACEMENT. Experiment with moving themic around the instrument, try using one ear by turning it toward the instrument andmoving around till you find a sweet spot. Sounds obvious I know, but I never ceaseto be amazed at poor recordings because someone’s placed a mic in a less thanoptimum position, such as next to a rattling drum or air con unit!Alan Branch, Producer/Engineer and Audio Media ContributorMic AdventuresSometimes it is a good idea to reconsidergood old habits. Are they good or are theyjust old? Choosing the right microphonesfor the job sometimes needs some rethinking.Instead of picking the usual one,shake the bag and see what other possiblesolutions you have.Eddy B. Brixen, Audio Specialist,DPA MicrophonesInside-OutMake sure your mic is the right wayaround! I got asked by a producer oncewho was working in a studio next door whytheir vocal sounded so funny, was it theroom or the compression? I knew straightaway when I heard it, and helped the engineeravoid embarrassment by pretendingto adjust the mic, whereas in fact I justturned it round the right way.Alan Branch, Producer/Engineer and Audio MediaContributorTrueSorry, great microphones won’t makelousy players or poor instrumentssound good.David Mathew, Audio PrecisionPhantom Ribbon Killer?If everything is correctly wired and phantom power is uniformly applied to pins 2 and 3, thena ribbon has no reason to move at all. However, if you plug your ribbon mic into the desk via ajack or TT socket and phantom power is on, for a just a split second, 48 volts is applied fi rst toone pole of the ribbon and then, as the wipers in the socket pass from the tip to the sleeve, tothe other pole, making it jump first one way, then the other. The output transformer limits thiseffect, but these jumps can stretch and therefore damage the ribbon.The same thing happens ifthere is a momentary disconnect on either pins 2 or 3 caused, for example, by a loose or dirtyconnection. So if you do inadvertently switch on phantom power whilst using a ribbon, it isbest to just switch it off again. Do not plug or unplug the mic whilst phantom is on, as pins 2and 3 are unlikely to make and break contact at exactly the same time.Andrew Graeme, The Byre Recording Studios, Microphones 20106AUDIO MEDIA AUGUST 2011

ecording theroomTECHNOLOGY FOCUSDrums: Overheads And AmbienceNormally dynamic mics are used throughout the kit because of the high SPL – apart from overheads,which need condensers or ribbons to pick up the high frequencies of cymbals. Overheadmics can be positioned in a variety of ways and placements depending on if you want morecymbals than toms, but an X-Y set-up is a good start – that’s two cardioid mics placed facingeach other at right angles, so the heads are nearly toughing each other. This keeps phase problemsdown and is simple to adjust on one stereo mic stand for trying different heights. Don’tforget a room mic or two, these can be any type of mic, I’ve even used talk back mics(really nice as it can have some kind of hard compression built in) dynamics, condensers,ribbons, different distances from the kit and positioning in different directions. I often put lotsup and delete the ones I don’t like later. With some nice EQ and compression the room micscan add extreme power to your drum sound.Alan Branch, Producer/Engineer and Audio Media ContributorChannel Strip OptionsRecord the direct out of the mic pre before processing AND the output after processing. If you don’thave the sound dialled in the way you want it, but have the perfect take, you can still go back tothe unprocessed track.Joel Silverman, MD, Millennia Music & Media SystemsNeumann’s KH 120 studio monitor isdesigned for useas a near-fieldloudspeaker or rearloudspeaker in largermulti-channel systems.It has a MathematicallyModeled Dispersionwaveguide that provides asmoother off-axis responseand is more forgivingof diverse acousticalenvironments.A subwoofer, such asthe Neumann KH 810, withits 7.1 High Definition BassManager, can be added todeepen the low-frequency response to 18 Hz andincrease the system’s maximum output level. The 7.1High Definition Bass Manager is compatible with allstandard consumer formats from mono through tothe latest 7.1 HD systems. Eight channels of analogueensures flexible interconnectivity for modern studios.www.neumann.comHold On To AnalogueA new line of business has appeared in recording voice prompts, the annoying but perhapsnecessary instructions on helplines and the like, which have to be good quality to begin withbefore the go through all the processing in phone networks. Silk has stuck with old analoguetechnology to get good sounds on voices, with a range of SSL compressors and Focusrite micamps. “These are the things to hang on to if they really do add something to what’s going on,”Weston says.Robbie Weston, founder of Silk SoundAudio Media, December 2009AUDIO MEDIA AUGUST 20117

ecording theroomShouty TwistyTECHNOLOGY FOCUSThe Radial Workhorse is a modular rack and mixer thatcombines the popular 500 series platform with a flexiblepatching system that makes it possible to create your idealchannel strip. Equipped to handle up to eight modules, it lets youmix and match pre-amps, EQs and compressors and bring themall together in one rack. Individual modules can be accessed on therear panel or bussed to the built-in 8x2 summing mixer for left-rightsignal panning, level control and muting.The Workhorse is backwards compatible with older APILunchbox designs and introduces a built-in summing mixer,Omniport and headphone amp.Multiple Workhorses may be gangedtogether using the expansion bussto build 16, 24 or even 32 channelsystems.www.radialeng.comStandfirstWatch for mic stands moving or touching a drum kit,these will only ruin an otherwise great recording, andsometimes you won’t get a second chance.Alan Branch, Producer/Engineer andAudio Media ContributorWeirdly WiredCheck for crossed connections. It’s an easymistake to make, and the symptoms can bereally crazy.David Mathew, Audio PrecisionFar Out ManThe Great Fig.8To achieve the same sound that John Lennon stumbled upon when belting outvocals at full volume to Twist and Shout, start out six or more inches away fromthe mic and move in until the right sound is achieved. Lennon was so close tothe microphone that his mouth was touching the capsule grille. This larger thanlife vocal sound was captured through the proximity effect of being right on topof the mic. In achieving this larger than life sound you can sometimes run intosibilance problems (accentuation of the ‘s’ sound). As you get closer to most miccapsules, the proximity effect intensifies the high and low frequencies. Using aquality de-esser to minimise sibilance thus protecting the clarity of the recodedsignal is recommended.However, when using Blue’s dual backplate B6 capsule found in our Kiwi microphone– designed to handle loud SPL (sound pressure level) – as you get closer tothe capsule the sound actually compresses and gives you a more even presentationof the mid range; as you move farther away the sound maintains presence.This capsule handles up-close, loud performances without overloading the mic tocreate a transparent image.Skipper Wise, Founder of Blue MicrophonesThe figure-of-eight microphone pattern is great. Not only does it give you two hot sideswhen you need them, but the off-axis rejection is astonishing. Use figure-of-eights as drumoverheads, aiming the off-axis to reject snare. Or use one as a vocal mic for the singerwho wants foldback on speakers, not headphones. Point the speakers at the off-axis.David Mathew, Audio PrecisionWhen reading the frequency response of acardioid microphone, notice the distance atwhich the data has been obtained; somemicrophones have a flat response in the nearfield, others in the far field.Eddy B. Brixen, Audio Specialist, DPA MicrophonesAlways OnRecord everything, usually the takes when the player orsinger doesn’t know it’s recording can often be the best,and the first takes can often have the most vibe beforethey get bored of the song.Alan Branch, Producer/Engineer and Audio Media ContributorPercussive BeginningsA good start for miking a drum set:The first step is to align the overheadswith the kick and snare mics, and oncethis is established all other mics canbe referenced from these three points.Using the phase switch on your preamp,find the position where you loselow end the most. Move the mics untilyou have maximum loss of low end (outof phase), then switch the phase switchback the other way and now you willhave maximum gain of low end(in phase). It is usually quicker andeasier to hear the low end loss ratherthan the low end peak.Mike Terry, Grammy nominated Producer, Engineer,and Sound Designer c/o Lauten AudioRecording DirectInstrument Pre ImpedanceGuitarists often complain about the soundof the piezo pickup. And for good reason.Most of the time, these sound peaky andsquawk! The question is why? Well, it turnsout that one major reason for this is theinput impedance. Piezo transducers soundbest when they are connected to a highimpedance load of 4meg-ohms or more.The challenge is that as you increase theimpedance, the more noise leaks intothe circuit!Turns out, most manufacturers use a1MBΩ input following Leo Fender’s originaltube amp designs. But this too is a bit of afallacy. When a guitar pickup is connectedto a tube amp, it creates a circuit. And atube amp circuit reacts very differently thana solid state one. This is the primary reasonmost guitarists hate buffers. Most buffersare designed with 1 meg-ohm inputs.Lowering the impedance by increasing theload helps the guitar sound smoother andmore natural.Peter Janis, President, Radial Engineering Ltd.The cleanest route to your recorder is the best, that’s why a lot of engineers record flat andprocess with EQ and compression afterwards. A good mic, a good mic amp, and a decentaudio interface into your DAW and no worries as the recording is pristine! If your mic amphappens to have some high quality EQ filters and some light compression specially forvocals, and more to the point you know what you’re doing is right, then fine.Alan Branch, Producer/Engineer and Audio Media ContributorLimit Your LevelsDigital recording levels are completely different from analoguerecording levels. With analogue recording equipment, “saturation”caused from peaking levels (going in the red) can addcharacter and harmonics to the recorded sound. However, digitalpeaking is very unpleasant sounding and ruins a recording.When recording with digital recorders, make sure your levelsdo not peak. You can always bring up the levels later in post,especially if your recording was done in 24-bit.Sean Karpowicz, Product Specialist, GCI-Technologies (Gemini, Cortex, iKey)Knock Off WoodWoodwind musicians try to keep their instruments intop form, but that isn’t always possible. Sometimes withwoodwind you’ll get clicks and clacks from the keys.To minimise that I’ll mic them from some distance away– to get the full value of the sound yet attempting to losethe key noises. That doesn’t always work. Bassoons soundbest miked from the middle, not the top, which can makeit impossible to eliminate the key noise.Gary Thomas, Senior Engineer, Angel Studios – Microphones 20088AUDIO MEDIA AUGUST 2011

Joshua Blair and Mark Ronson(Sphere Studios)Deadmau5Pete TongFunkagendaNic FanciulliThe only interfacefor the jobWhen looking for a high quality I/O solution there isonly one choice.Orpheus provides Prism Sound's world renownedperformance, sound quality and state-of-the-art clocktechnology in a dedicated FireWire unit compatible withboth Windows and MAC OS X.Orpheus features line, microphone and instrumentinputs, selectable RIAA Equalization for turntables, abuilt-in premium-quality monitoring mixer andconcurrent ADAT and switchable S/PDIF or AES3 digitalI/O plus support for outboard MIDI devices. TheMicrophone inputs include MS matrix processing anddual headphone outputs are provided each with theirown volume control.ORPHEUSProfessional FireWireaudio interfaceContact us now to arrange your Orpheus demo.sales@prismsound.com www.prismsound.comUK +44 (0)1353 648888 USA +1 973 983 9577

ecording theroomThe Big One"Choose Two."Mark Yend and KristoforMellroth, MGS CentralStudios,Presentation At DevelopConference 2011Drums – No Gate!Don’t gate kits when recording, just don’t do it – you’ll end up choppingoff a lightly played press roll or similar and the producer will never employyou again, then again nor will the drummer.Alan Branch, Producer/Engineer and Audio Media ContributorPolar ExplorerVocal recording tip: One thing that works really well is touse a mic that is multi-patterned e.g., cardioid, omnidirectional,and figure-of-eight. Try recording the leadvocal on the cardioid setting, then switching it to omniand record a double. This is a cool way to make it a littledifferent, create some space, and maintain a great blend.Once you get to triples and harmonies, try putting somedistance between the singer and the mic. This can makefor an excellent sonic landscape.Mike Terry, Grammy nominated Producer, Engineer, and Sound Designerc/o Lauten AudioA Softer SpaceLocation, LocationTaking your time to genuinely perfect yourmic placement will at least halve (or almosteliminate) the amount of time required tomix. We’ve miked cabinets using combinationsof RØDE large diaphragm condensers(on the back) and Shure SM57 on the coneto very good results. Even 1cm of movementcan make all the difference! Take yourtime, and you mix engineer will thank you.Alex Theakston, Marketing Co-ordinator, SourceDistributionVital SpaceRecording InstrumentsThe Great EightSome instruments only record well with their natural sound, whichincludes the room. You need to capture a balance of the room and thedirect sound, adjusting the mic distance until you find the right place.Too much of either results in the instrument not sounding as good as itnaturally does. Listen to the instrument being played in your recordingroom, then listen to your recording – does it sound as rich and detailed, ora thin and poor impression? Obviously if the recording room is not so niceit’s more of a job of getting the instrument to sound right firstthen finding a mic position.Alan Branch, Producer/Engineer and Audio Media ContributorDon’t record at 16-bit. It’s true, many of the release formats are 16-bit,but 24-bit buys you lots of headroom for mixing and processing.Don’t convert until the very end of the process. And remember todither when you convert from 24-bit to 16-bit.David Mathew, Audio PrecisionMic SettingsFor the majority of recordings thepick-up pattern is normally set tocardioid, however omni is the purestpattern and has a more natural soundif you have a good enough room.Patterns like super cardioid andhypercardioid, are all basic extensionsof the cardioid ‘rejection’ shape, so asinger recording in front of the speakersbecause they don’t like headphonesor only have one room may use asupercardioid dynamic mic and placethe mic with the speakers to its rear.Alan Branch, Producer/Engineer andAudio Media ContributorRecording vocalsAdd space to your recordings: Ambient miking can aide in placingan instrument in the three dimensional space of a mix, front toback. Usually when something is far away it is muffled, moredynamic, and less distinguishable. The closer it gets to you,the more detail it has, the ear will naturally begin to compressand the dynamics become less by perception. Using this line ofthought, you can apply it to your ambient mics. If you want thepart to seem far off, then place the mic far away, even down along corridor with little to no compression. If you want the partto be just set back from the immediate front of the mix, try themic backed off a little, use a little more compression, and pan itjust opposite of the direct mic, this approach can give nice balanceand space.Mike Terry, Grammy nominated Producer, Engineer,and Sound Designer c/o Lauten AudioDead, dead, and even deader is how youwant your room. Any reflections recordedonto a vocal take are impossible to getrid of, and don’t normally sound verynice. The use of the modern day micsound filter that envelopes the mic byplacing a half round sound proof barrieris almost standard now as they stop reflectionsof the voice in the room bouncingback into the mic, the sE Reflexionfilter being the most popular...Alan Branch, Producer/Engineer and AudioMedia ContributorSafety TrackRecord two tracksfrom the mic. If yourpre-amp has two outs,attenuate one by about10-15dB. That way,if you get an over onthe normal one, theattenuated one willprobably be fine. Somemic pre-amps’ outputscan by Y’ed if theydon’t have two outs.Check with themanufacturer.Joel Silverman, MD,Millennia Music & MediaYou don’t have to spend a fortune on acoustic treatment to reduce the ‘liveness’ of a live room or practice space. Putting a couple of sofas in the room, throwingsome rugs on the floor and hanging some blankets or even duvets on the wall helps to break up hard reflective surfaces and provide absorption across awide frequency range (it also has the added benefit of making your room much more comfortable!). You can pick up freestanding fabric screens relativelycheaply from office suppliers, or even from schools that are having a refit, and these make a useful and effective way to improve isolation during recording.Rob Holsman, Consultant, Jigsaw SystemsYeah, Good One...“Oops, I wasn’t recording”jokes never seem to getlaughs. “Oops, I erased that”seems to be even less funny.David Mathew, Audio Precision10AUDIO MEDIA AUGUST 2011

©2011 PreSonus Audio Electronics, all rights reserved. Studio One is a trademark of PreSonus Software, Ltd. Other brand names are trademarks of their respective companies.Tired of having to read a 600-page manual when you really just want to recordyour song? Then it’s time to switch to PreSonus Studio One instead. Studio Oneworks the way musicians work — intuitively.Pick up what you want, drag & drop it to where you need it, and you’re done.Audio tracks, loops, VST & AU plugins, or virtual instruments, it all just works.They promised us digital audio workstations that would make recordingquicker and easier. PreSonus Studio One finally delivers that promise.Drag. Drop. Done.**The only handbook you needwww.presonus.com •Baton Rouge USAQUALITY & INNOVATIONAWARDS 2010WinnerDAW

ecording theroomKick StartMiking a kick-drum: This is often times a double mic situation, one for inside to get the attackand punch, one for the outside to get body and depth. Start from the outside, and move inward.Listen while sitting in front of the kick and have the drummer step on it a few times, find agood spot, 3-8-inches away from the head and set the mic there. Again, I really like the low endcapabilities of the Lauten Horizon because it can handle the SPL, but try any large diaphragmcondenser. Go listen to this mic mixed with the overheads, listening in mono. With the phaseswitch on the kick mic pre-amp, find the low end loss, now move this mic forwards and backwardsto find the point of maximum low end loss. Once found, flip the switch and now you are ready tomove on to the inside mic. I like a Shure Beta 52. Start by moving this mic in reference to theoutside kick mic, once these are locked in phase turn all the mics back on, pan your overheads andyou will have a nice full, well balanced drum sound.Mike Terry, Grammy nominated Producer, Engineer, and Sound Designer c/o Lauten AudioRecording Pre-AmpIt’s no good having a Ferrari with a Morris Minorengine. The pre-amp quality should really match the mic.Don’t overload the pre-amp or the recording – watchfor the singer’s highest level, and at the same time don’trecord so low you can’t actually see any level! The louderyou can record generally the lower the noise floor will be.Alan Branch, Producer/Engineer and Audio Media ContributorTarget PurchaseBernard Butler once told me that if youhave a decent mic and a decent preamp,you’re set. As they say: garbage in, garbageout. So invest in a decent preamp and adecent microphone.Alex Theakston, Marketing Co-ordinator, SourceDistributionKH 120Studio Monitor SystemsStudio Monitor KH 120The first member ofthe Neumann KH Linewww.neumann.comSupreme SnareIf you need a quick fix for mid-rangeysnare drums that lack punch and dynamics,try this: Multiply the original snare track,sending the original signal through your bestgate and then back on to the console, andsend the second signal to another channelof the gate. With the second channel, use thegate to create a very staccato signal by settingthe attack and release times very fast.Also, with this channel you can set the keyfilter on your gate less conservatively as wewill want none of the cymbals to pass throughand we are not going to actually use the gatedsignal itself in our mix.The next step is to find a suitable speakerin your tracking room to send the staccatosignal to. Take the speaker and place it upsidedown on top of a nicely tuned snare drum.If you use an NS-10 or similar speaker witha slippery finish, you may need to place theedges on some foam so that it doesn’t moveduring the procedure.Now place a microphone about two-inchesfrom the side of the drum, and return themicrophone signal to the console, mixing itwith your original gated snare signal, down amono buss, where you can EQ the result ofyour submix, and into your stereo mix. We usethe CharterOak S600 as it has a big soundwith an open bottom end and a gentle roll offstarting at about 13kHz.Michael Deming, President of CharterOak AcousticsGeorg Neumann GmbH • Ollenhauerstraße 98 • 13403 Berlin • Germany12AUDIO MEDIA AUGUST 2011

ecording theroomRibbon LevelsThere was a time when many ribbon mics did indeed sound dull, but today’s micsrange in tone from ‘warm and vintage’ (that’s dull by some standards) to beingalmost as bright as any condenser. Indeed, a very few users even complain about ahandful of models being too bright. As for low output, the ribbon mic has a transformerthat brings the output up to about the same level as most other dynamicmics. They have, of course, a much lower output than condensers, but screaminginto a ribbon gives you about 20mV, the same as for an SM58. The difference isthat ribbon mics are usually used as an alternative to a condenser and have alower output in comparison.Andrew Graeme, The Byre Recording Studios, Microphones 2010A Softer SpaceYou don’t have to spend a fortune on acoustic treatment to reducethe ‘liveness’ of a live room or practice space. Putting a couple ofsofas in the room, throwing some rugs on the floor and hangingsome blankets or even duvets on the wall helps to break up hardreflective surfaces and provide absorption across a wide frequencyrange (it also has the added benefit of making your room muchmore comfortable!). You can pick up freestanding fabric screensrelatively cheaply from office suppliers, or even from schools thatare having a refit, and these make a useful and effective way toimprove isolation during recording.Rob Holsman, Consultant, Jigsaw SystemsVocal ReachPosition a singer’s mic slightly above but facing their mouth – this angle helps themopen their throat more. Use a pop shield or get them to sing off axis so wind isn’tblowing directly into the mic diaphragm.#29236 - Genelec AM_Layout 20/06/2011 12:26 Page 1Alan Branch, Producer/Engineer and Audio Media ContributorTECHNOLOGY FOCUSTELEFUNKEN Elektroakustik producesthe world's finest microphones,from meticulously manufacturedhistoric reproductions of classic vintagemicrophones that are handcraftedin the USA, to the R-F-T series ofmicrophones that take advantage of theglobalisation of technology.TELEFUNKEN Elektroakustik hasdeveloped a unique revolutionary new diaphragmmaterial called Alloy 2213 for our CK-13 capsule and an exceptionaldynamic microphone called the M80 for live and studio vocalperformance. TELEFUNKEN Elektroakustik offers a wide rangeof accessories and restoration parts, including a vacuum tubereplacement for the original TELEFUNKEN VF14.The TELEFUNKEN Elektroakustik TEC Award winning lineincludes the ELA M251, U47, U48, C12, AK47 MkII, AR-51, CU-29"Copperhead", ELA M260, ELA M270, ELA M250, and M80 dynamicmic, as well as cables, large diaphragm and small diaphragm mics,and vintage microphones.Few manufacturers can match the level of dedication and attentionto detail given to the hand-built TELEFUNKEN Elektroakustikproducts before they are ready to leave the building to our dedicatedand growing allegiance of users.TELEFUNKEN Elektroakustik microphones are built to astandard, not to a price.www.telefunken.comTrustedThroughout the production chain, broadcasters relyon the purity and transparency of Genelec audiomonitoring. Find out why Genelec is the broadcaster’smonitor of choice at www.genelec.com“To us, Genelec means totalround-the-clock reliability”Scott Holmgren, Molinare“The default choice for studiosacross the world”Daniel Jones, Vaudeville Post“All of our rooms have Genelecs– it gives us 100% consistency”Daniel Sassen, Envy PostFind out moreScan with a QR reader on yoursmartphone for full details ofGenelec monitorswww.genelec.comUK distribution by Source • www.sourcedistribution.co.uk/genelec • T: 020 8962 5080AUDIO MEDIA AUGUST 201113

ecording theroomDrums: Kick And TomsPlacement is key. With the kick drum mic, the closer to thebeater, the less bass you get – often engineers use two, one bythe beater and one inside the sound hole or if the head is offjust above the floor of the drum. Be careful the snare micdoesn’t pick up too much high hat by positioning it with thehat to the rear, sometimes tricky with certain drummers’set-up. Ringing toms have to be dampened – tape, Moongel,O-rings, etc – these all help dampen the drums into a tightsound without losing power. There are lots of budget workarounds like old drum heads cut for O-rings, plumber’s puttyin place of Moongel, etc – just remember to use your ears.If it’s not right keeping trying things out.Alan Branch, Producer/Engineer andAudio Media ContributorUp Close And BassyCardioid and bi-directional (pressure gradient) microphones exhibit proximity effect:low frequencies are gained the closer the microphone gets to the sound source.Eddy B. Brixen, Audio Specialist, DPA MicrophonesMic BasicsChoose a microphone that will fit theinstrument best – a condenser, a dynamic,a ribbon… all of these pick up sound verydifferently. Condenser mics are very sensitiveand very responsive to high frequencies.Quite open and accurate, they will captureeverything. Ribbon mics are coming backinto fashion and are regarded very highlyfor their warm vintage sound but have to behandled carefully; whereas dynamic mics aretougher and handle loud volume very well,are easier to isolate unwanted frequencies,and are also much cheaper.Alan Branch, Producer/Engineer andAudio Media ContributorPrism_ronsonSOSjuniorpage_ad_july11:Layout 1 01/07/2011 13:51 Page 1Time WiseDistance is not always a good solutionfor isolation. It may be counter-intuitive,but often putting the piano next to thedrums, with a lot of baffling, is better thanseparating them by ten or fifteen feet.The bleed level may be a little less atfifteen feet (in a practical room, not asmuch as you might expect), but the bleedis also about a millisecond later for eachfoot of separation. It can be the 15 mstime delay that sounds so bad in the mix.David Mathew, Audio PrecisionTECHNOLOGY FOCUS‘Portable, versatile andunbeatable sound!’Joshua Blair andMark Ronson (Sphere studios)The only interfacefor the jobORPHEUSProfessional FireWireaudio interfaceWhen looking for a high quality I/Osolution there is only one choice.Orpheus provides Prism Sound's worldrenowned performance, sound quality andstate-of-the-art clock technology in adedicated FireWire unit compatible withboth Windows and MAC OS X.Orpheus features line, microphone andinstrument inputs, selectable RIAAEqualization for turntables, a built-inpremium-quality monitoring mixer andconcurrent ADAT and switchable S/PDIF orAES3 digital I/O plus support for outboardMIDI devices. The Microphone inputsinclude MS matrix processing and dualheadphone outputs are provided each withtheir own volume control.The Brauner Phanthera is the impressiveproof that a phantom powerednon-tube microphone can soundamazingly close to a real tube microphone.With the Phanthera microphones, Braunerexpanded its product portfolio to include areference quality microphone which couldstand beside the sound characteristics of thecoveted tube models VMA and VMX.According to the Company, thePanthera range is characterised by finelyelaborate and highly nuanced sonic details.Narration recordings also have clear gainsin proximity and plasticity – results withconvincing quality without time-consumingpostproduction.The Phanthera V is a multi-patternversion and features the same sonic qualitiesas its cardioid-only counterpart. Availablealternate patterns are omni or bidirectional foradaptation to different recording situations.The bidirectional pattern is particularlyuseful for simultaneous stereo recordingwith a second microphone in XY or MSconfiguration. An additional switchableattenuator reduces the output level of themicrophone by 10 dB, providing furthervaluable dynamic range where necessary.This makes the Phanthera V a versatileprofessional tool for almost every recordingsituation.www.brauner-microphones.deContact us now to arrange your Orpheus demo.sales@prismsound.com www.prismsound.comUK +44 (0)1353 648888 USA +1 973 983 957714AUDIO MEDIA AUGUST 2011

Record. Mix. Monitor. Enjoy.

NewBay Media is the entertainment technology media expert, with a full complement of publications,websites and events that cover creation through distribution. No other publisher has the reach that NewBayoffers in print, through such brands as TV Technology, Broadcasting & Cable, Multichannel News, Videographyand Radio World; online through our numerous websites, webinars and electronic newsletters; and in personthrough events such as Digital Video Expo, Government Video Expo and DigitalVision. And our reach isworldwide, with a full complement of targeted, locally produced publications in Europe, Asia and Latin America.We are here to help you succeed in any way we can – whether it is through our unique online and printmedia or our award-winning events and custom publications.Learn more at www.nbmedia.com or contactCarmel King, Executive Vice President,Video Broadcast Division703-852-4602 or cking@nbmedia.comBROADCAST/VIDEOTV TEChnoLogyBroaDCasTing & CaBLEMuLTiChannEL nEWsraDio WorLDViDEograPhyDVgoVErnMEnT ViDEoraDioCrEaTiVE PLanETAUDIOPro sounD nEWsPro auDio rEViEWauDio MEDiaCEnTEr ChannELMusiC ProDuCTionTooLBoxMixMUSIC PLAYERguiTar PLayErBass PLayErKEyBoarDEQMusiC PLayEr nETWorKELECTroniC MusiCianSYSTEMS INTEGRATIONsysTEMs ConTraCTor nEWsaV TEChnoLogyTWiCErEsiDEnTiaL sysTEMsrEnTaL & sTaging sysTEMsDigiTaL signagEsounD & ViDEo ConTraCTorK-12 EDUCATIONTEChnoLogy &LEarningsChooL Cio QuarTErLysChooLCio.CoMTECh ForuMFor more information on these brands and many others offered from newBay Media,as well as subscription information for all of newBay’s print and electronic products, visit www.nbmedia.com.

ecording theroomTECHNOLOGY FOCUSThe sE Electronics Reflexion Filter was developed (under patentpending) by sE in response to an overwhelming demand to providea solution for people without fully treated rooms, or who needa portable system with some degree of treatment (maybe for OB work,webcasting, or just a portable vocal rig they can rely on for a consistentsound). The thing is it’sextremely hard to do this isa small space... and there area number of keymisconceptions which leadeven hardened pro’s, to makebad decisions about treatment.An acoustic treatmentdevice should not have its own‘sound’ since if it does, then itis colouring the mic you justspent lots of money on… notgood. Foam products simplyremove HF above around2KHz, and little below this,despite some manufacturersclaiming otherwise... a pieceof 1” thick foam does virtuallynothing to the frequency bandof 50-500Hz..The sE Electronicsmultiplayer technology was 18months in development anduses several different layers of different materials and air spaces, to give aneffectively colourless, and highly effective (considering the small footprint)form of absorption and diffusion for source audio.www.seelectronics.comDistant RelationsThe directionality of amicrophone is independentof the transducer principle(dynamic/condenser), andthe frequency response ofthe omni (or pressuremicrophone) is independentof the distance.Eddy B. Brixen,Audio Specialist,DPA MicrophonesPiano GlueAdd some vibe to a pianothat is the featured instrument:Often times if thereare other mics up in thestudio that had been used forother things, I will quicklylisten to them to see howthey blend in. A mic pointingthe other way from thepiano that was originallyset up for a snare drum andgoing through an 1176 is thesurprising glue that can reallyadd some vibe.Mike Terry, Grammy nominatedProducer, Engineer, and SoundDesigner c/o Lauten Audio.comDistant KeysPiano as a backing instrument:If the piano is more of a backinginstrument and filling in somespace, but not so prominent, I willtry to determine the frequencyrange it can sit in without disruptingthe more featured parts, oftentimes this means panned off to oneside or another without a detailedstereo image. More distant mikingcan work for this application, forone, it helps add depth by pickingup some room sound that canstick the piano further back in themix, and two, the presence isn’t asfeatured which also helps push itback without hiding it too much.Mike Terry, Grammy nominated Producer,Engineer, and Sound Designer c/o Lauten AudioMyths BustedAs a principle the omni can have a frequencyresponse going all the way down to 0Hz (butis seldom allowed to), and small membranemicrophones pick up as much low-frequencycontent as large membrane microphones.Eddy B. Brixen, Audio Specialist, DPA MicrophonesRecording RoomsPoor room acoustics need help. Are there anyunwanted noises? Can you isolate them? Is theinstrument best placed in the room? Try a differentmic, try adding more dampening to thewalls – or some corrugated metal roof sheetsif you want it more ‘live’. Remember to removeanything that might rattle or make noise in theroom – the usual culprits are someone forgettingto take the snare off the drum. Use carpetfor the mic stand and the singer to try and stopany foot tapping being picked up – and makesure the mic stand is tightly secured. With aheavy mic and noise filter you don’t want itdrooping in the middle of a take.Alan Branch, Producer/Engineer and Audio MediaContributorDrum RollFind the sweet spot for drums in your room:Try setting up and striking the kick andsnare all around the room and just listen, thiswill help you find the spot that works the best.This way, when you do get the mics up, you willhave something nice to listen to pretty quickly.Mike Terry, Grammy nominated ProducerEngineer, and Sound Designer c/o Lauten AudioMakeHistoryM80M80-WHAUDIO MEDIA AUGUST 201117

umaneeompressionmixin thePre-RenderingPre-RenderingRussian MonitoringHelp Out the FX EditorIn The Mix covers what happens after recordingand production – it could be straightforward mixynthqueezeynthand effects ideas, loudness and metering tips, oreditorial issues.Left And RightPrepare for ADRHumane CompressionHuman hearing is more sensitive to mid rangefrequencies (let’s say between 600 and 3kHz).So why not setup the compressor to do the same?If your compressor has a pre-filter section,choose a parametric mode in the pre-filtersection, a Q value of 0.7, a boost of between4-6dB, and a frequency between 600 and3kHz. Using some program material or a drumkit, audition the effect of first changing onlythe amount of gain (vary it between 0-6dB).Then try out different frequencies (use a gainof 6dB for maximum effect).The compressor can get a little pump in it,which may (or may not) be desirable. But notehow much of the character of the compressorhas changed just from adjusting the frequencyor gain control of the parametric EQ in thepre-filter section.You can try tighter Q values (2.0 or greater),but that can make the compressor too frequencyselective. Wide Q settings (less than0.7) reduce the frequency selectivity.Colin McDowell, DSP Engineer, McDSPTidy Tracklay,Tidy MindPrepare for ADRlp Out the FX EditorGood Gain, Good GainMaintain good gain structure throughout the mix.Good gain structure is essentially about leavingenough headroom on each individual channel sothat tracks aren’t fighting to be heard. The results arethat each individual sound has the “space” that’s soimportant and that the essential headroom formastering remains.Rebecca Woolf, Purchasing Manager,HHB Communications LtdPedal PowerIf you really think about it, there are twofactors that you have to focus on whenproducing a new song for airplay: 1) Thesong itself – is it a well written and wellstructured?, and 2) will it cause people tostop and listen? Led Zeppelin’s Immigrantsong, Jethro Tull’s Aqualung, Dire Strait’sMoney for Nothing… all had great riffs andunique exciting tones.So here we are years later… what can we doto make a recording stand out?How about integrating all of those coolguitar pedals into the production to createsome interesting new effects? Wah on thekick drum… envelope on the snare…distortion on the voice… today, there areliterally thousands of pedals out there thatrun from simple to off the wall.Try connecting them to your recordingsystem using a re-amper and a DI andhave fun! Best of all, new sounds spur oncreativity! Who knows what exciting effects,riffs or primal screams you will comeup with?Peter Janis, President, Radial Engineering LtdDialogue: Smoothly Does ItIf the noise floor on one shot is louder thanthe others, and the cross-faded transitionsare audible, you may need to lay the noisierroom tone across the whole scene to even outthe noise floor. This may seem paradoxical tocontaminate clean dialogue with noise, but asmooth noisy soundtrack is much less distractingthan one that jumps from loud to quiet.Susan Pennington, Dialogue Editor Spool Post, Audio MediaFeb 2010Russian MonitoringAs a general rule I start offmonitoring big and end up small.When I’m working on the basicEQ-ing of sounds (see below) it’sgood to hear the full frequencyrange, especially the bottom end.That’s only really possible withfairly large monitors working at arelatively high volume (preferablywith a sub) but once I’ve got myoverall sound shaping sorted outand a ‘good vibe’ going I move tonearfields to balance. I find that finetweaking the mix works best for meon small monitors at a low volumeand I’ll check it on a variety ofsystems, including a mono auratone,my car stereo, laptop speakers, andheadphones. Once the mix soundsgood on all of those I know that I’mpretty much there.Simon Gogerly, Producer/Engineer andAM Contributor18AUDIO MEDIA AUGUST 2011

mixintheLeft And RightWhether you’re mixing on a console or in the box it’s good toget your tracks and channels arranged in a logical, familiar order.I use a system that I inherited from the usuallayout of tracks on multi-track tape and I’vegradually refined it with the use of colour fordifferent track types. Another basic thing isto have everything in your song and on yourconsole properly named – the recording engineermay know what “Audio 36” is but I don’t! All ofthis may seem painfully obvious but there is areason for emphasising its importance. I wasn’tfully aware of why it was so important until Iread Michael Paul Stavrou’s fantastic book MixingWith Your Mind, which explained it verysimply: Mixing is split into two distinct and separateprocesses, the technical (left brain) and thecreative (right brain). It’s tempting to leap intothe creative (fun) part of mixing too early, only tofind that you have to grind to a halt to fix a technical issue.Switching your brain from one side to the other is time consumingand counter productive so it’s best to get all of the leg workout of the way before you start with the fun stuff....Simon Gogerly, Producer/Engineer and AM ContributorSynth SqueeseI work with a lot of synthesisers, hardware, soft synths – youname it I work with it. I usually find a few different ways tocontrol the dynamic range of each individual line, I usuallyassign them all to a synth buss, hit it with 4:1 compression,which for synths isn’t that hard, then I work on a mediumattack and similar release, just to ‘gel’ all the synths together,for any sound sculpting compression, I put a singlecompressor on the synth line I want to compress.Charles Wilson III, Keyboards/Programmer, Smart AV Tango user, (JohnMayer, Justin Timberlake, Rihanna...), C/O Smart AVPre-RenderingWhen I started mixing, back in the multi-tracktape days, everything on the tape had to be finishedbefore a mix could start. The infinite possibilitiesof DAWs have changed all that and there’s oftena stack of editing/tuning/re-arranging to be donecome mix time. Wherever possible try and getthese tasks completed before piling into the mix.It can be a bit of a slog but it will save a lot of timeand brain-switching later....Simon Gogerly, Producer/Engineer and AM ContributorDialogue: Help Out the FXEditorAny non-dialogue sounds thatyou remove from your edit maybe useful to the effects editor.These include transients such asfootsteps and door closes, aswell as subtler movements aslong as they are good quality recordings.Lay these off, in sync,onto a separate track, and passthem on to the Effects Editor.These may be used instead of,or as well as, Foley.Susan Pennington, Dialogue EditorSpool Post, Audio Media Feb 2010Dialogue: Tidy Tracklay, Tidy MindTake A BreakTake regular breaks. This sounds inconsequential,but is all-important. Listening fatigue impairsjudgement, and the only antidote to listeningfatigue is to stop listening! Briefly, of course…Alex Theakston, Marketing Co-ordinator, Source DistributionChequerboard your tracklay so it’s neat and clear. Talk to the Dubbing Mixer to find out whattheir tracklay preferences are; most prefer you to keep each angle or mic type on separate tracks,so all the regions with similar noise or tone issues are on the same track, making it much easier toapply corrective processing. Label tracks and regions clearly and consistently with character nameand microphone information. I also like to colour code regions according to character. Remember thatsomeone else will be mixing the tracks you’ve prepared, so they’ve got to be able to understand at a >glance what’s going on.Susan Pennington, Dialogue Editor Spool Post, Audio Media Feb 2010Vocode!I had come across the vocoder a few timesin my career but it wasn’t until I worked withUnderworld that I learned of its full potential.One particularly useful application in mixing is tolayer a vocoder with the lead vocal (playing thesame melody) as an alternative to ADT or chorus.In fact it can be quite a useful way of reigningin a slightly pitchy vocal performance withoutresorting to tuning. I sometimes find that tuninga vocal can compromise its character, flatteningit out. The vocoder makes it sound more in tunewithout losing any of its personality.Simon Gogerly, Producer/Engineer and AM ContributorTerror ToolsGRM Tools was just phenomenal. We used that for creating just weird, strange effects that you don’t normally hear.AudioEase’s Altiverb is some of the best software that I’ve ever heard in my life...and Speakerphone – we used that a lot too.Don Veca, Audio Director, Dead SpaceAudio Media, July 2009AUDIO MEDIA AUGUST 2011 19

Mono MiddleI have found that the various ‘unwrap’ programs on reverb units and some plug-ins are a little restrictive in how they deliversurround, so I find that manually creating a Mono centre gives good control of LCR levels and image width.Chris Burdon, Sound Re-recording Mixer, Kick AssAudio Media, March 2010mixintheOff The Shelf FoleyA good application for Transient Modulation plug-ins(like the Oxford TransMod) – not in the usual way ofaccentuating attack phases of percussive soundsbut more the opposite – is removing those verytransients by applying the negative range of the scaleof the control.This proves to be especially useful when you haveto add steps to a film scene where there is no timefor a Foley artist to come around and do the job andyou need to refer back to a pre-recorded library.Often the steps in libraries sound like libraries –recorded in another acoustical environment and oftentoo crisp, too clear, or just too percussive. Rather thancutting the high end, which often doesn’t give thedesired result, the TransMod can really help to mouldthe steps to the required scene.Theo Schulte, Product Specialist, Calrec AudioDialogue: Noise KillerIf your role as DialogueEditor encompasses noisereduction, choose yourtools carefully, and don’toverdo it. If you’ve got ahum or buzz at particularfrequencies from ballastsor dimmers on set, asimple notch filter or‘hum/ buzz remover’ maysuffice. Save the broadbandnoise reductionfor across-the-spectrumnoise, as this can leaveunsavoury artefacts ifoverused. Where possibleI use automation on processing rather thanhard-rendering, as it’s easier to tweak in the mix,but if you have to hardrender, always keep a copyof the un- processed audio muted in the tracklay,just in case the mixer needs to go back to theoriginal.Susan Pennington, Dialogue Editor Spool Post, AudioMedia Feb 2010TECHNOLOGY FOCUSGenelec’s DSP series builds on technology from the 8000 serieswith the addition of digital networking and an on-boardDigital Signal Processor. A network of upto 30 loudspeakers can be created and controlledfrom within the Genelec loudspeaker managersoftware. Having done so, users can harnessAutoCal to improve problems in the loudspeakerroom response. AutoCal uses a microphone tomeasure every loudspeaker and subwoofer onthe network and calibrate them individuallyor as a system for any given listening point.This capability makes the system particularlyuseful in rooms with minimal acoustic treatment.It is also useful when moving between facilities, asthe same room response can be guaranteed in each location.www.genelec.comDescriptorIn sound design, start with a sound, thenadd adjectives.Mark Yend and Kristofor Mellroth, MGS CentralStudios, Speaking At Develop Conference 201120AUDIO MEDIA AUGUST 2011

Audio Encoding Changed for GoodOld way to encode audioNew way to encode audioReal Time Codec AuditioningThe Sonnox Fraunhofer Pro-Codec makes it possible, forthe fi rst time, to audition and encode to multiple formats inreal time within a DAW environment. Maximum fi delity isassured, as the Pro-Codec helps create compensated mixesoptimized towards specifi c target codecs for fi nal coding andonline distribution.• All major codecs supported: mp3, AAC, lossless codecs etc.• Comprehensive auditioning with glitchless switching• AB and ABX mode for blind statistical testing• High resolution display and extensive metering• Real time encoding, plus offl ine encoding and decodingFor more details and a free demo visit:www.sonnoxplugins.com/procodec

mixintheMore MxingBecause music and other audio elements are often delivered right up to the final mix, Mather keeps the editing ‘virtual’ so that theycan work offline to update these new elements and conform to the old ones without taking up valuable theatre time. “This meansthere are fewer hours spent conforming desk automation and more available for mixing. It also narrows the possibility of anycorruption occurring as a result of heavy conforms.James Mather, Sound Editor, Clash Of The TitansAudio Media, May 2010Prepare To MasterWhen sending mixes to a masteringengineer, always try and leave a handfulof dBs between your highest peaks and0dBFS (digital full scale or zero). There area number of good reasons for doing this,not least that unless your DAW meters areregistering every sample – SADiE can dothis, for example, but many do not –they may under-read and result in aclipped signal you’re not aware of. Somethinglike a clear 3-4dB should work fine,but don’t worry too much if your mixes arecoming in at a lower level than that: with24-bit audio you’d need to reduce thelevel by 48dB before achieving the samedynamic range as 16-bit, so it shouldn’tbe an issue.Nigel Palmer, Lowland Masters and Audio MediaContributor22Mix MinusReducing or taking out the frequencies that you don’t needis an effective way of creating space and avoiding mix mud!It’s fairly clear what needs taking out with some sounds;there’s no need for low frequencies in a tambourine track forinstance. Other sounds can be more tricky, especially big,wide synths or anything with a broad spectrum. It’s importantto decide what part of the sound is doing a job and whichparts aren’t and to EQ accordingly. I use high pass filters andselective dipping in the lower-mid area to allow plenty ofroom for the low frequency elements (kicks, basses, chunkyguitars etc.) to do their work. I also pay particular attentionto the vocal clarity range (around 1-5 kHz) to make sure thatthere’s not too much competition for your ears’ attention.Simon Gogerly, Producer/Engineer and AM ContributorManual CompressionCompression is one of my main mix tools. I’ve got more hardware and plug-in compressorsthan anything else in the studio. However, there are certain circumstances that they can’thandle well, the main one being lead vocal detail. Even a good multi-band compressor won’talways recognise the difference between an ‘N’ and an ‘M’, or a breath and an ‘ooh’.Press To ImpressVocal tracks often need tohave their dynamic rangereduced, but rather thanusing a compressor, try oneor both of these techniques:1) Have the vocalist workthe mic, moving in for thequiet moments and out forthe shout. 2) Ride the fader,as you record or mix. You willsmooth out the level, and itwill sound pristine, with nocompression artifacts.David Mathew, Audio PrecisionThey aren’t as intelligent as that. I’ve found that the best way to get all thedetail in a vocal at the right level is to go through it with a fine tooth combdrawing in volume and EQ automation. It’s a bit of a long winded process but,to me, the results are so much better than trying to do it automatically andit allows the voice to sit better in the mix. And if it makes the mix better it’salways worth the effort.Simon Gogerly, Producer/Engineer and AM ContributorSurprise SurpriseAUDIO MEDIA AUGUST 2011Dialogue: Prepare for ADRIf you really can’t save a piece of dialogue by niftyediting or cleaning, it’ll need to be re-recorded. If youflag up a line for ADR, edit it anyway as best you can,keep it muted on the tracklay, and lay off a copy ona separate track to give to the ADR Editor. Edit someroom tone to fill the gap underneath the ADR.The Dubbing Mixer then has the option to use theADR or revert to the original.Susan Pennington, Dialogue Editor Spool Post, Audio Media Feb 2010When working on an unfamiliar console (analogue, digital,clockwork), get to know how the mute system works including any groups ormaster assigns. Then clear it all and create your own setup.The same thing goes then for VCA/DCA groups and mix bussing. Thatway you wont be caught out by a bad dose of soundperson’s surprise!Leon Phillips, Product Manager, Allen + Heath

1000s of popular products from the the biggest manufacturers all from one supplier!Free catalogueavailable onrequest.www.studiospares.comTel: 0844 375 5000For more information contact: Studiospares Ltd, 964 North Circular Road, Staples Corner, Neasden, London, NW2 7JR; Tel: 0844 375 5000; Fax: 0800 731 3767; Email: sales@studiospares.com.

mixinthemixT ECHNOLOGY FOCUSNuGen’s Visualizer plug-in containsreference tools that enhanceworkflow and help users to meetbroadcast standards. The suite comprisesof level meters, spectrum analyzers,spectrograms, vectorscope, stereoscope anda correlation meter. It has a flexible, resizableinterface that adapts to your workingenvironment and the amount of informationdisplayed.Users can make a record of the full dataset at any point in time, using Visualizer’ssnapshot memories. Because these snapshotsrecord the full data set, it is possible to zoom,scroll and examine views that were not openat the time of capture.www.nugenaudio.comLoudness: LU, LUFS, and LKFSAll of these units are used for loudness measurements.LU stands for Loudness Units and is a relativemeasurement like dB. A loudness increase or decreaseof 1 LU would be equivalent to a gain increase ordecrease of 1dB. LUFS is the absolute reading ofloudness in relation to full scale, as it is defined inEBU R128. LKFS is a similar reading and is specified inITU-R BS.1770. The meaning is loudness with ‘K’-filterin respect to full scale. LUFS equals LKFS.Mike Kahsnitz, Technical Director, RTWDialogue: ReconstructionYou can often save dialogue by reconstructing it from alternative takes orwildtracks. If there’s a stomping footstep or door close over an intimate line,check through the other takes or wildtracks of the scene to see if other linesare clean. You may only need a single word or syllable to splice in to theoriginal. Whenever you reconstruct dialogues in this way, you should alwayskeep a copy of the original, either muted in your tracklay, or on a separate‘alt’ track in case the Director doesn’t like the takes you’ve chosen (althoughnine times out of ten they won’t even notice!).Susan Pennington, Dialogue Editor Spool Post, Audio Media Feb 2010Get A VisionOnce you’re familiar with the material (I alwayshave the faders up halfway while I’m gettingorganised) it’s vital to formulate a plan for themix. Sometimes it’s blindingly obvious whatit needs to sound like, particularly if you’reworking within a very specific genre and theproduction style is clear. However, I often getpresented with material that doesn’t havea specific direction even though it may beperformed and recorded well. In those circumstancesI’ll ask the band and/or producer for afew reference tracks and during the course ofthe conversation I’ll try to get an idea of theinfluences involved. Sometimes reference pointsaren’t necessarily pieces of music. When I waspreparing to mix an album by Bic Runga (NewZealand’s most successful female solo artist) shesent me a DVD of a marvellous old black andwhite Cuban film. The atmosphere and style ofthat film really inspired the whole sound of thealbum. It was immediately obvious to me whatthe mixes should sound like – a soundtrack tothat film!Simon Gogerly, Producer/Engineer and AM ContributorDialogue:Long CrossfadesOne of your main aims is to smooth outthe production sound so that audienceswon’t notice the change between differentnoise floors from shot to shot. In simplecases, this can be done by crossfading betweenaudio regions, providing the noisefloor is not significantly different betweenshots. Keep your fades as long as possibleto ease transitions. This may mean editingin some clean room tone to one or bothregions in order to create enough audioto create the fades. I usually have ProTools set to create ‘Equal Power’ fades asa default, but you should experiment anduse whichever shaped curve sounds best.Susan Pennington, Dialogue Editor Spool Post, AudioMedia Feb 2010I BelieveWhen you get it into the game,believability out-rules fidelity.Actually you can tell from allof our sound content that thisis a guiding principle – in eightout of 10 cases we’ll use thesounds that sound real – evenif they’re of lesser fidelity. Wecan always pimp them laterwith extra detail.Stefan Strandberg, Audio Director,Battlefield: Bad Company 2Audio Media, May 201124AUDIO MEDIA AUGUST 2011

nominate nowfor the music producers guild awards 2012Your chance to nominate for the Music Producers Guild Awards 2012continues until Friday 16th September 2011.The Music Producers Guild Awards celebrate the creative talent and technicalability of the UK's music producers, engineers, mixers and re-mixers.The 2011 event was a great success with top music talent in attendanceincluding Chris Martin, James Dean Bradfield, Gary Numan, Plan B, UnionSound Set, Andy Burrows and composer David Arnold. The February 2012event will take place again at London's Café de Paris and see two newcategories being awarded opening up the MPG's international remit.Nominations are now open and tickets will go on sale for thishighly-sought after event in November 2011.Visit www.mpgawards.co.ukto see all the categories and to nominate.If you would like to be involved in the 2012 event, please email:sadie@bubblesqueak.co.ukheadline sponsorsmedia partnersmedia supporterssponsorssponsored charity

mixintheMake Something ‘Too Loud’It’s a good idea to identify which musical partsin your track are the most important. It’ll oftenbe a catchy riff, bassline or a vocal hook. One ofthese parts can be given a bit of special treatmentsound-wise and then balanced quite loud toemphasise its catchiness. I’ll often get a balanceusing only the vital elements – rhythm track, vocaland hooks – then gradually mix in the supportingtracks. It’s often tempting to try for a ‘perfect balance’where all the sounds have equal clarity andimportance but in practice that approach can endup confused or bland.Simon Gogerly, Producer/Engineer and AM ContributorListen With Your Ears, Not With Your EyesMetering and waveform displays are all part of the modern DAWmethod, but they can distract you from listening to the audio.Try mixing without looking at the screen and act on what you can hear,not what your eyes tell you. It’s easy to miss a section of distorted audiobecause the waveform looks right, or to rely too heavily on meteringfor overall left-right balances. If something looks like it’s in time butdoesn’t sound in time, then it probably won’t be in time.Rob Holsman, Consultant, Jigsaw SystemsTECHNOLOGY FOCUSSmart AV’s Tango console uses a scrolling screen based channel overview display called MonARC.MonARC’s touch screen display provides the selection of up to 300 channels. The display can beconfigured over multiple displays with the addition of the extension bay. It can also overlay workstationand picture displays.The system provides a meter bridge with indicators for EQ, auxiliary sends, solo, mute, automation andfaders. It also provides channel or group metering for surround sound, with up to 12 channels in a group.www.smart-av.comCatalogue ShotIt’s not generally known that many CD manufacturers, particularly the larger onessuch as Sony DADC, use CD catalogue numbers as a kind of administrative hookto hang the whole manufacturing process off, and this helps ensure that jobs aretracked through the system and delivered on time. Even if you’ll only ever do onetitle for your own label it’s therefore a very good idea to invent a catalogue number:something in the format ABC001 would work and help move things on.Nigel Palmer, Lowland Masters and Audio Media ContributorFan BoySound design for a gigantic hovercraft that Bond uses to chase the Ekranoplan, a Russian cargo plane that flies some ten feet above theCaspian Sea was provided by – “a simple desk fan. The sounds we achieved by sticking various objects in the blades of the fan running atdifferent speeds – metal, plastic, and cardboard – were totally incredible. Naturally, we then processed the hell out of them but I have to sayit proved a really cool, improvised session at a time when we were really struggling with that sound – it’s a must have for every foley studio.Mathias Grundwaldt, Lead Audio Designer, James Bond 007 – Blood StoneAudio Media, November 201026AUDIO MEDIA AUGUST 2011

mixintheLoMoWe’ve come up with a techniquefor getting more of a ‘location’sound from ADR, using plug-insto take the pristine out and putsome grit back in. The mixer’sgonna kill me when I reveal this,but actually we use DigiDesign’sLo Fo – it’s a simple plug-in butit does a really nice job. As soonas you apply our parameters tothe plug-in you go ‘oh wow,that’s good.’John Laing, Supervising Sound Editor,Saw VIAudio Media, November 2009No LosersDon’t use lossy coded audio formats for anythingother than final distribution to the end listener.Stick with linear until the final copies are made.David Mathew, Audio PrecisionSequential SoloMy secret at the beginning of a mix is to solo onechannel after another to hear all 30 tracks inabout two minutes but without the distractionsof lots of keystrokes or mouse moves by just keepingmy finger on one of the faders on the console asI slide along this thing called an Arc which popseach channel into that fader, soloing just theone at a time. I love this part because it neatlyprograms my mind so I can hear exactly whateveryone is doing and how efficient they arevoltage wise because I am metering it on a VUmeter at the same time. That global prospectivegives me such a head start over what is neededwith this mix.Michael Stavrou, Engineer and Author, C/O Smart AVDialogue OnlyOnly dialogue should end up on yourtracklay. When the dialogue stem ismuted for the M&E mix, any footsteps,door closes, etc, left in your edit will bemuted too, and so will be missing fromany foreign language mixes. Replace theseunwanted sounds with matching ‘fill’.Be aware that breathing also constitutesdialogue, and this can often present moreproblems to edit than the dialogue itself,as you’re often left with double breaths orun-rhythmic breathing at shot boundaries.You might have to fake the sync slightly tomake the breathing sound natural.Susan Pennington, Dialogue Editor Spool Post,Audio Media Feb 2010Double DrumsI have been mixing in the box for years, both in thestudio and out on the road. I find it really use-full tooccasionally take a drum sub group and just duplicateit. Having one sub group with full dynamic rangewhile the other is getting pounded pretty hard usinga Waves 1176 plug-in or something similar, it lets mecreate two different sonic templates that I can blendtogether to get real depth. On the road it’s a hardrock show with Snoop; we have Drums, Bass and Guitars,so it’s easy to loose definition in the mix.Using this technique to create depth allows me toemphasise the drums but still have room for the otherinstruments to live.Dave “Dizzle” Aron, Audio Engineer (Prince, Tupac Shakur, SnoopThe Phantom TweakNo one’s ears are as golden as one mightlike to think. It’s easy to fool yourself.Here’s an example I have lived: mixing atune, the producer suggests a little moretop on the vocal. The engineer agrees,and reaches up to the EQ knob on thechannel strip. He moves it up a click, theproducer and the engineer listen a moment,and then nod: good change.Then the engineer notices his hand is onthe wrong channel strip...David Mathew, Audio PrecisionBiased CutThis is for analog tape editing only; I knowsome of you still own razor blades. If youare inserting tape – for spacing or to addmore time for longer overdubs, etc – don’tuse virgin tape. Bias the tape first byrecording silence on all the tracks. This willavoid the “pop” that would otherwise occurwhen the edit goes by, as the signal dropsfrom the high-level high-frequency biastone to zero.David Mathew, Audio PrecisionDogg, Dr. Dre...), SMart AV Tango User, C/O Smart AVAUDIO MEDIA AUGUST 2011 27

mixintheDialogue: Get Hold of the Audio RushesIf the audio was recorded on a multi-trackrecorder, it’s likely that the editor will only haveused the sound recordist’s two-track mix- downin the visual edit. You’ll need access to theaudio rushes to reconstruct the separate tracksusing re-conforming software such as Syncroarts’Titan. The recordist will have also, whereat all possible, helped you out by recording roomtones in each location, and possibly wildtrackeddialogue if they were able to foresee problems inpost. This can often save a scene from ADR, soI always check through the recordist’s log sheetsbefore starting to edit, so I know what I’ve got towork with.Susan Pennington, Dialogue Editor Spool Post,Audio Media Feb 2010Save Frequent VersionsDon’t Be A Gear SnobIt’s great to have fabulous, expensive gear.We scrimp and save to buy that special‘thing’ that’ll make all the difference toour sound. The truth is that it’ll makesome, possibly wonderful, difference butnot ‘all the difference’. In fact, you’re morelikely to make a big difference to yoursound with a few well-chosen, inexpensiveoddities. My personal favourites are an oldanalogue echo box (an Evans Echopet), anAdrenalinn (midi-synced filters, distortionand drums), a home-made Theramin, anda Realistic mini-speaker. A few hours nowand again scouring charity shops, eBay, andold music shops can really pay dividends.Simon Gogerly, Producer/Engineer and AMContributorBeing able to backtrack in your mix is a great thing.It’s worth saving a new version of your project file everytime you complete a section, in case you decide that a particularidea isn’t working out. Session files are tiny comparedto all the audio files and don’t require duplication ofmedia. Being able to step back through the various stagesof your project means, if something’s not working out, youcan go back to an earlier state and try a different idea.Rob Holsman, Consultant, Jigsaw SystemsThree superb products distributed by Sound-Link Marketingare nominated for the 2011 Resolution Magazine Awards!Microtech Gefell M1030“The M1030 has a very smoothresponse with a lot of detail at thehigh end, clarity through the midrange, and a well extended bassresponse...”Hugh Robjohns—Sound on SoundAugust 2011www.sound-link.co.uk+44 (0)1223 264Grace Design m103“Form, function and build qualityare all exemplary and these,coupled with its very high level ofsonic performance, make them103 a very capable and desirableunit indeed.”Bob Thomas—Sound on SoundMarch 2011Trinnov Optimizer ST2-Pro“The default modes are excellent, asis the flexibility for fine tweaking orfull manual custom settings for yourmonitor setup”Simon Tillbrook—AudiomediaAugust 2009Your source for the most highlyregarded professional products insound recording and referencestandard monitoringUmmmmmWhy Multi-band?The idea behind multi-band processing is that bybreaking down the audio into ranges of frequencies,referred to as ‘bands’, each band can be processed bya gate, expander, and/or compressor with more accuracy.Multi-band dynamics processing first startswith a set of filters, commonly referred to as a‘crossover’, to split the signal into selected frequencyranges. Once separated, each band can be fed intoa gate, expander, and/or compressor (the McDSPML4000 plug-in does all three) for processing.Then the signals are recombined into a full rangesignal. Consider the wide range of frequencies asingle-band compressor has to contend with – lowbass guitar sounds change slowly in comparison tothe transients produced by the hi-hat of the drumkit. If the compressor is made to operate on thecombination of these signals, the bass guitar andhi-hat will trigger different responses from the compressor,and the overall effect may not be suited toeither (or both instruments). Obviously (hopefully?)the two elements are mixed on different tracks, butwill eventually be combined into a rough mix for amastering engineer to tweak. If the original tracksare not available, a multi-band compressor will beable to separate the bass guitar and the hi-hat,operate on each with their own compressor threshold,ratio, attack, and release settings, and then recombinethe signals for a better overall result.Colin McDowell, DSP Engineer, McDSPDon’t believe the hype. There is no priesthood ofsecret knowledge in audio. Well, there is, butthey are false prophets.David Mathew, Audio PrecisionMeter MadeSet up a phase meter or a Lissajous display while youmix. It won’t tell you everything, but it’s a handy way tomonitor the phase and polarity correlation of your tracks.David Mathew, Audio PrecisionQuick HitUse a model when you mix. Pick an albumor two you know and love, and A-B betweenthat and your current mix. You will end upin the ballpark.David Mathew, Audio Precision28AUDIO MEDIA AUGUST 2011

mixintheDialogue: Clean NoiseWhenever you need room tone to fill gaps, you’ll need to find ‘clean’sections of noise from the same shot, without any breathing, lip smacks,footsteps, etc. Room tone on either side of the section in question will bemost likely to match, so start by pulling out the handles of the region.If there’s not enough here, look to the rushes for the rest of the sametake, or alternative takes of the same shot. Try not to loop room tone,as you’ll almost always hear the repeat. Match the room tone ‘fill’appropriately; if an actor has a noisy jacket, you might need to usesections of the jacket rustle to smooth out the edit, rather than thecleanest room tone you can find.Susan Pennington, Dialogue Editor Spool Post, Audio Media Feb 2010Loudness: 1770 vs 1771With ITU-R BS.1770, algorithms to measure audio programmeloudness and true-peak audio level are specified.In March of 2011, ITU approved a new release of this standardnamed ITU-R BS.1770-2. The new aspects are part ofthe Annex 1 of this standard. Annex 1 meets the input fromEBU regarding the use of a silence gate and a relative gatein combination with the already defined “K”-filter to assurean objective measure of the perceived loudness of audiosignals. One of the goals of EBU’s input was to create analgorithm that with its simplicity, allows it to beimplemented at a fairly low cost.Mike Kahsnitz, Technical Director, RTWToo Loud, Man.Everything always sounds better loud. So mix softly, and play it back for yourclient loud. Or mix softly and carry a big stick.David Mathew, Audio PrecisionConvoluteratorNearly any convolutionreverb can be turnedinto a powerful multieffectprocessor, if used inconjunction with particularimpulse responses collections,like Synaesthesis.In fact, these kind of IRlibraries can mangle inputsounds beyond all imagination:creating evanescentlayers, organic textures,innovative tempo-syncedeffects, turning foley fx intobrand new sounds, morphingvocals into complex textures,and producing alter-egos oftraditional acoustic musicalinstruments. A secret weaponfor every musician and sounddesigner looking for new waysof transforming and spicing uphis/her music and sounds.VirtuasonicRe-AmpingRe-amping can be a great tool for mixing.Finding something special and for a keysound can make a huge difference.I’ve built up a collection of little amps,speakers, megaphones and guitar pedalsthat offer me a wide palette of treatmentsfrom warm valves through to screamingdistortion. Synths, snares, and vocals canall gain a bit of character by paying avisit to an amp or a funky pedal. Oneof my most useful (and cost effective!)purchases was a £10 Realistic mini speakerfrom Tandy, which sounds great on vocalsand Hammond organs. Of course, thereare plenty of plug-ins that offer somethingsimilar but there’s nothing quite like thesound of air being moved by a speaker.Simon Gogerly, Producer/Engineer and AM ContributorAUDIO MEDIA AUGUST 2011 29

Mark Rose, Co-Chairman MPG/Owner Deep Studioscontrol theroomThe Control Room is where you listen, interactwith clients, contemplate acoustic stuff, andgenerally get to grips with the studio world…Nice PlaceWhen placing your monitoring loudspeakers in your studio, there are several keypoints to be taken care of:• Consider the loudspeaker radiation space• Remember that wall reflections change the frequency response• Follow the free-standing placement recommendations• Exact symmetry produces accurate sound stage imaging• Angle the loudspeakers towards the listener• Height and width matters in TV/film monitoring• Battle room modesThe most common problem at low frequencies is the interference between the loudspeaker’sdirect radiation and the reflection from the wall behind the speaker.At low frequencies this reflection will be delayed so much as to be in oppositephase relative to the direct sound. Depending on the relative amplitudes of thedirect and reflected sounds, a cancellation dip (typically 6-20dB deep) will occurin the frequency response which can reduce the sound quality dramatically.Terho Savolainen, Genelec OyFuture PluggeryToday, many of the modern consoles and workstations largely use CAT-5cable, yet we always allow adequate wire management so that any sort ofconsole can easily be integrated into the room at a later date. It’s not all plugins,and I don’t think it ever will be.Russ Berger, founder of Russ Berger Design Group.Audio Media, December 2009Very Nearly...>How’s That?For the vocalist who can’t hear himself properly in thecans, has uncharacteristic pitch problems, etc.: tryflipping the polarity (phase) of the mic or the channel,somewhere pre-headphone send. Sometimes that helpscentre and strengthen the perceived foldback in thesinger’s head. Cancels or reinforces the acoustic signal;affected by mic distance, polarity faults inwiring, current state of catarrh, etc. Use the optometrist’sbanter: Is this better, or this? This, or this…If you are concerned about the absolute polarity of thevocal track, you can always flip it back in the mix.David Mathew, Audio PrecisionNearfield monitors are ubiquitous these days but whatdoes the term actually mean? Like most acoustic terms itwas ‘borrowed’ from wave theory in Physics and refers to apoint at significantly less distance from the source than theradiated wavelength. This means a speaker sitting 1m awaywould be ‘near’ at 100Hz but ‘far’ at 1kHz. In the nearfieldenergy does not obey inverse square law and that is apparentwith monitors. Bass performance is influenced byany adjacent surface as well as the design of reflex portsand stands. To make matters worse, at 1m the low frequencywavefront area is 13m2. Ears, being small,only capture about 0.05% of that energy, the rest fillsthe room and becomes reverberation. So do ‘nearfields’always sound the same? No way!Andy Munro, Munro Acoustics & sE ElectronicsGood FreelancingGood accountancy, good invoicing, good recordkeeping and archiving, a good manager, and anexceptional ear for talent! Diplomacy is a must,and don’t ever be late for sessions. You must deliveron time either on your own or as a team. I, andothers, still generally believe the best producers haveevolved from being recording engineers after thetape op/assistant route. It’s the best way forwardif given the opportunity. It allows you to takeon board and develop many essential skills overmany varied recording sessions, and you learn therequired business practices as you go.30AUDIO MEDIA AUGUST 2011

control theroomTECHNOLOGY FOCUSLoudness Monitoring TipIt’s a good idea to use an SPL meter to check your monitoring levels. Most of us listen tooloud, both for accuracy reasons and for health reasons. Spend $30 on a Radio Shack SPLmeter (the analogue one, not the digital one) and set it for 80/C weighted/Slow (you’llunderstand when you get it). Place the device near you pointing at the speakers, maybeon the other side of your keyboard opposite your mouse (you are using a computer right?).Then play some music at the level you usually play it at. The needle should be dancingbetween 0 and +6. If you peg the needle you’re killing yourself and probably are deliveringbass light mixes. If the needle is not moving you’re either using a dead batteryor you are one exceptional human being with phenomenal self control on listening levels(and you are probably delivering bass heavy mixes too).A good way to normalise monitoring levels and to deliver consistent mixing results is touse a reliable volume control like the Dangerous Music Monitor ST. First you set a levelfor a mastered CD in the style you like to work in to hit the magic + 0 to +6 spot onthe SPL meter. Memorise that volume knob position. Then play one of your unmasteredmixes and set a position for that. It should be quite a bit higher because your mix isnot (yet) limited to within an inch of its life like the mastered CD is. Now you haveto reproducible mixing positions: one for mixing and one for listening to masteredCDs with the benefit that both will now play at the same SPL level. Only then can youreally start comparing your work with the work of others without fooling yourself.Isn’t that wonderful?FAB (puremix.net), c/o PDB MusicSonnox’s recently released Fraunhofer Pro-Codec plug-in enables mix and masteringengineers to audition up to five codecs inreal time within a DAW environment. It alsoeliminates the time-consuming cycle of encodinga mix to mp3/AAC, previewing, tweaking andre-rendering, letting the engineer concentrateon producing an optimised mix during thepreview process. It enables the production ofoptimized mixes, and provides the option tosimultaneously batch encode to multiple formats.mp3, mp3 Surround, AAC-LC and HE-AAC aresupported, as are such lossless codecs as mp3HD and HD-AAC. The Fraunhofer Pro-Codecis compatible with Pro Tools, Logic, Cubase,Nuendo, Sequoia and Wavelab. Both Mac andWindows are supported.www.sonnox.co.ukBase SpeakerThere’s an awful lot of rubbish talked about highend, really expensive, rubbed-against-the-thighs-ofvirginsmagnesium-alloy... What you want is a soddinggreat heavy thing to stand your speakers on – andit’s no good putting it on a wonderful speaker stand,wonderfully linked up to a diaphragmatic wooden floor,because that’s just the same. Although if your speakerstand is full of lead, it’s then going to be quite heavy,so the resonant frequency of the floor membrane it’sstanding on is going to be much lower.David Bell, Whitemark Acoustics, Monitors 2010Aww, SoffitIn bigger rooms, you start by designing the room to try and increase the effectiveness of theroom-speaker combination. One of the things you can do is to minimise the effect of bass reflectionin a room by soffit mounting the speakers – build them into the wall. This is done not justby sticking a piece of wall fabric under the speakers but by building them into a substantialwall in a big, heavy box. We then pack the front wall – we use mineral wool, though other peopledo other things.The bass end becomes more efficient because it’s all going forwards. If you correctlysoffit mount a speaker, you’ve got the early bass reflections under control. And then if youcarefully design the distance between you and the walls, you can further improve those earlybass reflections.David Bell, Whitemark Acoustics, Monitors 2010What Directors WantWe always want people we like being around, whose input is going to be apart of it. You want what you want from everyone on a movie: to be makingprogress. You want people who aren’t going to look for problems justbecause they need attention; you want people who are going to contribute.I feel that the people that we’ve worked with can deliver whatever it is thatwe want to do. It’s just a question of, ‘what do we want to do?’ For me,that’s what we’re always struggling to do: it’s not trying to find the peopleto deliver, it’s finding the idea.David Fincher, Director, The Curious Case Of Benjamin Button, Audio Media, December 2008AUDIO MEDIA AUGUST 2011 31

control theroomTECHNOLOGY FOCUSPreSonus’ newly introducedAudioBox 22VSL, AudioBox44VSL, and AudioBox 1818VSLprovide the dynamics processing and EQof a StudioLive mixer in a rack-mountableUSB interface. These new interfacesdeliver reverb and delay effects withdedicated effects buses and the same FatChannel compression, limiting, 3-bandsemi-parametric EQ, and high-pass filterfound in the new StudioLive 16.0.2 mixer.However, the processing is done on yourcomputer using bundled PreSonus VirtualStudioLive software. This low-latencysystem makes it possible to monitor whilerecording with real-time effects.www.presonus.comTake It Ear-zyLimit how long you spend on a mix.The longer you spend without a break, themore your ears will get fatigued and you’llactually start making your mix worse asyour ears get used to problem frequencies.Set yourself a goal for each session and thengive yourself an hour or so to achieve it.You’ll probably find you accomplish morethan spending a whole day ofaimless mixing.Rob Holsman, Consultant, Jigsaw SystemsBe ElementalNever try to choose studio monitors based on how good theysound, but rather based on how clearly the elements of a mix comethrough them. They are tools, and therefore need to be evaluatedfor how they represent sound. Many speakers are tuned to makemusic sound better and this can cause serious issues while mixing.KRK SystemsRoom RateAim to spend at least as much as half of the cost ofyour monitors again on room treatment. Our Genelecmonitors are for the most part flat in response, andthey can compensate for rooms well (and the DSPversions very well), however you don’t buy a Ferrarito run it on a dirt road – so why do the same withyour monitors?Alex Theakston, Marketing Co-ordinator, Source DistributionClose The DAWMy best quick tip is to avoid DAWs unless you reallyhave to go down that route. They just don’t cut it forme (and many others) without a million processingplugs to make it seem like its happening, and then theyfail to work properly all of the time. It can seem like anever-ending endless hassle for very compromised audioresults IMHO, no matter what rig or AD/DAs you’reusing. If you are student/tape op, please stop looking ataudio all the time... listen to it!Mark Rose, Co-Chairman MPG/Owner Deep StudiosEmploy The FamiliarWhen auditioning studio monitors, choose playback material you are veryfamiliar with, and compare a mix you know well to how it sounds on themonitors. Ask yourself how you might change that mix based on what youhear, assuming it was right to begin with. Try to understand the effectthe monitors will have on your mixing.KRK SystemsBeer EarDon’t drink alcohol and listen to loud music.The tiny muscles that act as acoustic compressors inyour ears get relaxed, and you are in jeopardy of seriousear damage.David Mathew, Audio PrecisionWorking With TalentShelflessOnce upon a time there were big consoles to put thingson, and that included the nearfield monitors. The channelsreflected bass and that fattened the bottom endand the same surface caused mid-range comb filtersthat reduced mid-range. It was under these constraintsthat the NS10 became a truism rather than a referenceof any great meaning. All speakers react to theirimmediate surroundings and a monitor system shouldbe measured and aligned for true sound balance.Try reversing the polarity of one speaker and listen toa mix. If you hear some bass and anything good youhave a problem!Try to give monitors some space to radiate andalways form a perfect (equilateral) triangle betweenthem and you.Andy Munro, Munro Acoustics & sE ElectronicsOne Is Not EnoughDifferent speakers andenvironments will revealdifferent aspects of yourmix, so check your mixeson as many systems asyou can – such as yourhi-fi or car stereo. I probablyspend more time listeningto music in my carthan anywhere else, andit’s one of the best placesto make mix comparisons.Rob Holsman, Consultant,Jigsaw SystemsThis is a never ending process that requires a pool ofexperience so refined that you must always be expectedand able to deliver, no matter what the artist demandsmight be. It is not easy, and there are times when it canbe very frustrating for all concerned.My view on working with artists these days is thatmany, many more new UK artists require much moreteam-work and support than ever before. This is mainlydue to the lack of investment funds, and well-publicisedpiracy losses have created a situation whereby more andmore producers and studios are providing the supportpreviously there via A&R funding streams.In my opinion this has created a positive and creativerelationship between the artist and producer/s thathas led to some stunning records recently – manyof which might not have seen the light of day previously.Long may it continue. All good producers enjoyworking with unsigned bands at the very early stages ofa band or artist development, it helps both sides to filtertheir strengths and weaknesses prior to recording anydebut album.Mark Rose, Co-Chairman MPG/Owner Deep Studios32AUDIO MEDIA AUGUST 2011

ecording theroomListen Up“In the final mix stage, I often monitor through my mixdown trackwith an L2 limiter to make sure that transients still cut through andthat the balance doesn’t change too much. I use main monitors tolisten to bass and kick balance and general dynamics/energy of thetrack. Listening very quietly to NS-10s helps to find a good vocallevel and to make sure that all instruments have their own space.Having something like a small iPod dock or a mono radio with anaux input also helps a lot to make sure that the bottom end translateswell to domestic systems.”Alexander Beitzke, Monitoring Practice Preferences, Monitors 2011Tri-ThisFor basic studio monitor placement, you should create anequilateral triangle between you and the speakers, turningthem slightly towards you, but aimed just behind you.Also, keep the high frequency drivers as close to ear levelas possible.KRK SystemsBit-Wise24-bit digital recording has a very widedynamic range. Don’t worry about the digitalnoise floor; it is far below. You can safelyrecord with peak levels 20dB down,preserving lots of headroom.David Mathew, Audio PrecisionDon’t Get PhasedSignal polarity is important. Relative polarity errors in related signals can causefrequency cancellation, complete signal cancellation, and that weird twisty feelingyou get in your head when your speakers are ‘out of phase.’ Absolute polarity isimportant, too. Most audio signals are not symmetrical (the human voice is agood example), and sometimes a careful listener can hear a polarity change, evenin a mono signal. A singer listening to her own voice in headphones is definitelysensitive to polarity, because there are two paths: electric and acoustic.Ideally, your entire recording/mixing/monitoring chain, including microphones,headphones and speakers, is configured for correct polarity. Check it.There are tools. None as elegant as the EMT 160, unfortunately.Best Studio Practice – Top Six• Punctuality – never be late!• Loyalty and hard work• Honesty and diplomacy• Good maintenance and tech support• Secure archival all materials and safety copies (takecharge of all transferring of materials)• Don’t just walk into and interrupt someone else’ssession… it’s really annoying and a surprise how manystudios allow it or don’t seem to care (it’s not a party!)Mark Rose, Co-Chairman MPG/Owner Deep StudiosBalancing ActDavid Mathew, Audio PrecisionEveryone knows that you need acoustical treatment in your studio. This of course helps tame powerfulfirst order reflections which makes it easier to mix. But what few realise is that you can actually do moreharm to your room than good if you do not balance the absorption.Think of your room as a 3-way loudspeaker. When you use thin, low density foam, you will only absorbthe high frequencies. In other words, you have now turned off the tweeter. You are left with a room thatwill be mid range and bass heavy. The trick is balanced absorption. When selecting absorptive materials,look at the sound absorption coefficients – not the numbers, but the graphs. This will tell you exactlywhat frequencies you will absorb. Make sure you also consider bass traps. With balanced absorption inyour studio, your mixes will translate better when you move them to another room.Peter Janis, President,Radial Engineering LtdTango. We’ve been listening.Tango. The intelligent controller. Touch it at smartav.netAUDIO MEDIA AUGUST 201133

on locationOn Location is exactly what it says – all thoseideas for best practice when you’re out and about.It might be a film set, remote Foley and effectssessions, audio journalism, and more...Limited AppealMany portable recorders now come with on-board compression. Compression is often helpful in thefield, however it can create some undesirable effects. Compression can make a voice louder andmore present, but it will also elevate the volume of background noise. It is often unnecessary touse compression while capturing audio in the field, but one useful way to employ compressionis to add hard compression, or limiting, to ensure that your digital recorder does not peak.However, this may introduce “pumping” artefacts on your recorded audio if it is constantlyemploying gain reduction.Nicely Does ItSean Karpowicz, Product Specialist, GCI-Technologies (Gemini, Cortex, iKey)Look ForwardGood Spectral Editing software cansave your bacon, but five minutesresearch may make you realise you’resetting up an interview next to abuilding site! Naturally this waslearned the hard way…Alex Theakston, Marketing Co-ordinator,Source DistributionBacking TrackWhen you get one chance and have no ideahow loud something might be, CYA by makingan alternative recording path, maybe 20dBlower than your main path. You may be settingthe mic pad, or the preamp level, or the recordlevel lower, depending upon the situation.When that crazy peak comes and completelysplatters your track, chances are your -20 dBtrack will save you in post.David Mathew, Audio PrecisionCheck Your Location andChange What You CanWhether you’re working on a blockbuster or for RadioNorwich, check the environment before you startrecording. It’s partly about the acoustics of the spotyou’re in: rooms with bare walls create a lot of reverband echo while rooms with large windows also letin sound from outside. But it’s also about what ismaking noise about you, even if it’s inaudible to thehuman ear. Fridges hum and can also create an EM-type noise that the mic will pick upand pass to the recorder. Strip lights do the same. Do a sound check first and if necessary(and ask politely) switch things off.Unless you’re in a cryo lab, most people won’t mind their fridge being off for a few minutes.In a perfect world, every recording would be done in a small room lined with bookshelvesto soak up the reverb. And no windows. Or fridges.Jerry Ibbotson, Media Mill and Audio Media ContributorBe human. By simply chatting to people you canfind things go a lot more smoothly. And if, like me,you often recording ‘things’ rather than people, youmight find someone who’s got a car/bike/budge thatmakes a great sound and which he or she has alwayswanted to have recorded for posterity.Jerry Ibbotson, Media Mill and Audio Media ContributorThe Only Rule Is…There are no hard and fast rules – be aware thatwhat works for this script, today, with this Director,on this location, may well be completely irrelevanttomorrow, somewhere else, with a different Director,with a different script.Simon BIshop, Production Mixer/Recordist, Audio Media Feb 2010Never ForgetThe mantra of any location soundrecorder should be to always, always,always…bring spare batteries.Alex Theakston, Marketing Co-ordinator,Source DistributionWhat An Atmos…Shoot a buzz track. Try and shoot a buzztrack, atmos, or room tone, in the same location as you shot the dialogue for the scene, as soonas possible after, or even whilst you are shooting, the sync shots for the scene. Buzztrack is like audio glue – it allows the post productionteam to glue together all sorts of location misdemeanours, and to ‘smooth over’ all sorts of otherwise jarring edits and transitions.Simon Bishop, Production Mixer/Recordist, Audio Media Feb 201034AUDIO MEDIA AUGUST 2011

on locationTECHNOLOGY FOCUSShare The LoveTake food. Not just to stop yourstomach rumbling but as a meansto bartering. It’s amazing how muchextra productivity you can get from arolling-road engineer by the simpleapplication of a Mars bar.Jerry Ibbotson, Media Mill and Audio MediaContributorBody PoppingFor wireless microphone placement on actors, rememberto keep the transmitter antennas away from directcontact with skin. Use large shrink tubing, plasticaquarium tubing, or a foam pad to insulate theantenna from skin. Mic placement can be tricky inorder to make the microphone invisible, and avoidwind noise and clothing rustle. Keep a well-stocked kitof surgical tape, wind abatement materials, sharpsmall scissors, and microphone mounting hardware.Don’t forget to practice and experiment with lav micplacement during your down time. With any wirelessmicrophone use, frequency coordination is key – havea plan A, B, and C ready to go.Karl Winkler, LectrosonicsCalrec, high-end broadcast console manufactuer, recently introduced itsHydra2 Organizer (H2O), a brand new management system for its Hydra2network router. The system allows the user to control the Hydra2 networkindependently from any console control surface. Users can set up routes andconfigure access rights to all desks on a given network, as well as label I/O boxes andports for ease of identification. It also offers the ability to arrange ports into foldersmaking them quicker and easier to locate.The new software is browser based, allowing network access from a laptop or PC,and is compatible with Windows, Linux, or OSX.H2O is especially advantageousfor Calrec’s clients who own large,multiple-studio complexes whichmay be rented to rival companiesat different times. Using accessrights it is now possible to renderstudios completely invisible tousers in other studios rented toclient A and vice versa. This gives the customer the flexibility to utilise their networkin a manner they could not previously using a single operating system.www.calrec.comTransformers 4There is nothing like a transformer for isolation, and getting rid of some nasty ground-loopbuzz. You can even transformer-isolate AES3 digital with the right transformer. Carry several,in whatever configurations and impedances are necessary. Buy quality, such as Jensens, withFaraday shields. Put them in boxes with ground-lift switches.David Mathew, Audio PrecisionMic AllMy technique outside is to putradio mics on everyone.Everyone who is likely to speak,even sometimes if they don’tspeak...I put radio mics on andtry and boom what I can.If you can get the boom in, great.If you can’t, use the radio, and doa blend of the two.Martin Beresford, Production Sound Mixer,SubmarineAudio Media, April 2011AUDIO MEDIA AUGUST 201135

theon locationon locationtheon locationtheAUDIO MEDIA AUGUST 201136Joined UpVariation is vital or the realism spell gets broken very quickly. That’s why we spent a lot of time experimenting withthe sound of the wind, creating a dynamically changing envelope that enables a mere 28 seconds of assets to cover 14hours gameplay. I defy anyone to hear the joins!Jethro Dunn, Audio Designer, CodemastersAudio Media, December 2009Where It A l BegWhere It A l BeganTASCAM has been pTASCAM has been part of the fieldrecording business for qurecording business for quite a numberof years. Having startedof years. Having started the revolution ofportable recordingportable recording 30 years agowith the Portastudio, TAwith the Portastudio, TASCAMhas had continuoushas had continuous presencein bring recording soluin bring recording solutions ata modest price. The TASCa modest price. The TASCAMDAP1 portable DAT recordDAP1 portable DAT recorderset a standard for highset a standard for high quality portablerecording with a rerecording with a reasonable price tag,opening field recording toopening field recording to everybody.With vast experience aWith vast experience and knowledgeof this industry, this aof this industry, this a lows TASCAMto bring to market manyto bring to market many devices thatcan give high quality resultscan give high quality results at a pricepoin to suit most pocketpoin to suit most pockets even in creditcrunch times!crunch times!Today’s O feringsToday’s O feringsFo lowing on from the DA-P1 successcame TASCAM’s High Definitioncame TASCAM’s High Definitioncame TASCAM’s High DefiPortable two track recorder, the HD-P2. This introduced up to 24-bit 192krecording on to Compact Flash media.The added benefit of going to CompactFlash media was non-linear transferto and from PC or Mac, higher samplingrates, and embedded time code.Since the HD-P2’s introduction overthree years ago, it has had many prousers and has gained a reputation forse ting a high standard in the lower/a fordable end of the field recordingmarket. Although the HD-P2 wasdesigned with video shoots and liveconcerts in mind, it wi l happilylive within a classroomhome studio, and has theof use for even the leaOnce again this used sostate media, and a lowfor high quality 24-bit 48recordings to be madethe onboard condenser microphonesor plugging in some separatThis sma l hand held recorfo recordings to becard (Secure Digital)MP3. This DR1 o fered not only basicrecording, but ahost o featuresthat would appealto musicians suchas overdubbing,on-board e fects,and variousplayback controls.The on-boardmicrophonescan be moved 90degrees, and leftrightswapped dependingrecorder is positioned.TASCAM didn’t stop at fomusicians as a whole, anone step further introducThis recorder o fers gfeatures such as a builguitar impedance inpand a rhythm loop play22 TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+Why Compromise On Quality?Whether its high quality recording at up to 1compressed recording of MP3, portability, mrecording, or syncing to code, TASCAM hain 2003 by Stanislav Rubintsik.dwided saleset andophones.The factory started tomanufacture microphone capsulesin late 1994. Its first capsules wereplaced in legendary vintage microphones:U47, M49, M50, C12, and the 414. In 1997, anew generation of capsule was born. Todaye perfect, original soundand an expressive design with the Violetline of microphones.Violet’s main philosophy is to o ferhandcrafted microphones with a uniquestyle and exce lent sound quality, usinginnovative solutions in microphonemanufacturing without losing the bestdetails of vintage sound.We believe that in the process ofmusic recording, the most importantthings are passion and inspiration, andnothing should get in the way of these.So in our ideology of microphones, wetrust in three simple points:It must sound goodIt must look niceIt must be as simple as possibleCapsuleThe heart of themicrophoneis its capsule – Violet’shand crafted highest qualityelectrostatic transducers providehigh output of the best qualityaudio signal, and can handleextremely high SPL a the sametime. Internal Class-Atransformer-less discreteelectronics quality isadequate, providing hardto measure noise anddistortion parameters.However, Violet’smicrophone housing designs areprimarily based on acoustic ideas.After a large number of experimentaljobs in its laboratory, in September2005 Violet announced its latest capsulediaphragm technology. We introduced thenew mixed gold-aluminum compositecoating material, layered diaphragmspu tering, and variable coating thickness,adding transparency, better soundapplication studio microproviding perfect audio recordingquality for an a fordable price.The microphone has a cardioidpolar pa tern, high output, verylow self-noise, distortion, and afu l audio spectrum of sound.The newly designed VD21 trueelectrostatic single diaphragmcapsule uses Violet’slates technologies,and is damped fromvibrations and resonances.Acoustica ly open longdouble mesh headprovides the highestsound transparence andnaturalness.The Wedge comes witha stand holder, but canbe mounted on di ferentoptional (VSM-WD, PSM,or GSM) studio shockmountsfor additional protection from externalsubsonic interference.The GarnetThe Garnet is a tube microphone with a largedual diaphragm capsule. The VD47 capsulein combination with tube and custom-madeVIOLET• Solid state or tubA discrete prea• An a tractive de• All mics are handcrafted and have 5-yearwa ranty.The WedgeThe WedgeThe WedgeAll over the world, TV companies areAll over the world, TV companies aregearing up for the move from Standargearing up for the move from StandarDefinition (SD) to High Definition (HD)Definition (SD) to High Definition (HD)broadcasting, for which 5.1 su round isbroadcasting, for which 5.1 su round ismain required audio standard. As a resumain required audio standard. As a resuthe number of broadcasters that requthe number of broadcasters that reququick and easy method of capturing audiquick and easy method of capturing audiin 5.1 whilst maintaining compatibility forin 5.1 whilst maintaining compatibility forstereo SD transmissions is increasing fast.stereo SD transmissions is increasing fast.Using SoundField technology there’sUsing SoundField technology there’sneed for costly multi-microphone arrneed for costly multi-microphone arrays,spaced-capsule ‘dummy heads’ or complspaced-capsule ‘dummy heads’ or complexrecording techniques – and unlike that fromrecording techniques – and unlike that fromspaced a rays, the multi-channel aspaced a rays, the multi-channel audiothat SoundField generates is complthat SoundField generates is completelyphase-coherent.phase-coherent.SoundField DigitalSoundField DigitalSince 2006, when its DSF-2 digitalSince 2006, when its DSF-2 digitalmicrophone systems were first releasedmicrophone systems were first releaseddesigned for: its a l-digital design o fers ahigh-quality, accurate signal path, and themicrophone can be used to generate stereoand su round audio for simultaneous SD andHD transmissions at up to 300 metres fromits associated processor. The processor,in turn, can be situated up to a kilometrefrom the associated OB vehicle, providinga reliable operating distance of up to 1.3kilometres from the microphone head.This o fers a further unique advantage inoutside broadcast situations where theremote vehicle is situated a long way fromthe action being filmed.The 1U-rack DSF-2 contro ler unit o ferslive decoding to stereo, M/S, and SoundFieldB-Format (which can be further decodedinto any existing or future multi-channelaudio format if required). The stereo signalmay be output directly from the DSF-2 inthe analogue or digital domain via rearpanelXLRs or AES/75Ω BNC connectorsrespectively, while the M/S and B-Formatsignals are output digita ly. From here, thedigital B-Format signals may be decoded to5.1 surround by SoundField’s DSF-3 DigitalSu round Processor, or by the company’sSurround Zone decoding software plug-in,in Germany, sate lite broadcaster Skysubsequently began using DSF-2 systemson the majority of their live HD sportsbroadcasts, including international golf,rugby, cricket, and darts, and in 2008 a DSF-2 was used during the BBC’s HD coverageof Wimbledon for the firs time. Now it hasbegun to see use outside the realms ofsport; 2009 has seen a DSF-2 being usedon ITV’s The X-Factor, and to capture thereactions of the live audience in 5.1 duringHa ry Hill’s BAFTA-winning TV Burp.SoundField PortableThe company’s most affordable products arealso their most portable. Like a l SoundFieldsystems, the ST350 generates SoundFieldB-Format and consists of a multi-capsulemicrophone and an associated processorunit. However, in this system, the mic isabout half the size and weight of otherSoundField mics, and the decoder/processorcan be powered from the mains or batteries.This makes the ST350 ideal for use inthe field: Sound Designer Wayne Pashley(pictured above right) recently made it hismic of choice whils trave ling around the farreaches of the outback capturing AustralThe SoundField DSF-2 in used DSF-2 in use capturing theambience on Cambience on Centre Court for a BBC HDbroadcast during the 2 08 Wiing the 2 08 Wimbledon TennisChampionshipsChampionshipsA l of the productof our knowledgethe most coherent sound and designbetween a l our modA the core of our san electronic design bconcepts – CPR and Aenables us to shmore than a black boCPRThe CPR systempass filters, each of whfrequency range inarea of Compensated Phase Response,generating a constant group delay.Thanks to the CPR system, the position osu round sounperfectly accuratewi l the PSI Audio su round system soundmuch more accurate, and therefore provia superior working tool, but it can alsointroduce significant cost and space savingswhen investing in a new monitoring system.AOIThe AOI system detects movement ofthe membrane and the moving coil, andprocesses them using counte reactionfiltering. The damping rate is continuouslyFu l PSI Audio monitors range. A 25-M, A25-M, A21-M, A17-M, A14-Mew monitoring system.e moving coil, andsing counte reactionrate is continuouslysing counte reactionrate is continuouslyK+H products are designed to be used inmusic, broadcast, and post productionstudios for tracking, mixing, and mastering.They can be mixed freely to make largemulti-channel systems. Klein + Hummelspecialise in three-way systems, but haverecently launched a range of subwoofers.Below we explain some of the thoughtsbehind our designs.The Goal: A curate,Absolutely Uncoloured SoundOur aim with the O 300 was to strive fornothing less than perfection in developingthe best compact active reference monitorpossible, with accurate, uncolouredsound, superb transient response,and idea ly shaped waveguides.The O 300 is a monitor that drawsupon a l of Klein + Hummel’s yearsof experience in monitor design (see“Progress built on tradition” box-out),and has been fine-tuned throughextensive computer simulations andcountless listening tests. The threewaydesign makes this loudspeakersystem extremely precise andrevealing of detail, thereby enablingthe mixing engineer to make criticaljudgments with supreme confidence.Exact Localisation And ExtraordinarySense Of SpaceA dense, low-resonancThe e liptical shape reduces the earlyreflections o f the console surface, whichwould otherwise interfere with the directsound from the loudspeaker. At the sametime, the e fective horizontal listening areais made wider, giving the recording engineergreater freedom of movement along theconsole. The use of LRIM has also madeit possible to align the acoustic centres ofthe two drivers exactly on one plane, therebypreventing time and phase coherencyproblems a the crossover frequencies.This allows the individual drivers to worktogether perfectly to produce a preciselydetailed soundstage.Superb Sonic QualitiesThe three magnetica ly shielded drivers useility across a lility across a lformats and industries. Bypassable 80Hzypassable 80Hzforth-order cro sovers o fer compatibilityer compatibilitywith consumer replay systems, and flexiblesystems, and flexibleacoustical controls (consisting of outputing of outputlevel, low cut, a parametric equaliser, andc equaliser, andan eight-position phasean eight-position phase control) a lowcontrol) a lowfor seamle s system integfor seamle s system integration. Built-inration. Built-involume control and a hardvolume control and a hardware remoteware remotecontrol allows for centralisecontrol allows for centralised systemd systemcontrol independent of thecontrol independent of the source, andsource, andthe electronics can bethe electronics can be remote located toremote located toreduce cabling. Fina ly, there is integratede is integratedelectronic limiter for amplifier, driverlifier, driverprotection, low heat di sipation amplifiers,O 3 0, Compact 3-way active monitorlive within a classroom, church, orhome studio, and has theof use for even the leas technica lyminded person.Early 2008 saw theintroduction of the DR-1portable hand held recoOnce again this used so+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+Why Compromise On Quality?Whether its high quality recording at up to 1compressed recording of MP3, portability, mrecording, or syncing to code, TASCAM harecording solution. With no compromiseprice and quality TASCAM has made a reputafor quality at an a fordable price.When it comes to proindustries, no-one canunderstanding of the tasksPD606 DVD/HD Location Recorder:Audio Aquisition That’s As Versatile AsYou Are.Designed from the ground up to excelin ‘real-world’ applications, whereveryou happen to be in the world.The PD606 8-track location recorderThe PD606 8-track location recordero fers spectacular audio quality, flexibleo fers spectacular audio quality, flexiblerecording to 12cm DVD-RAM, hard disk,recording to 12cm DVD-RAM, hard disk,or a combination of both, rock solidor a combination of both, rock solidor a combination of both, rock solidtimecode implementation, extendedtimecode implementation, extendedtimecode implementation, extended10+ + ++ + + FOSTEXFOSTEXFOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTE+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTE+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTE+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+Why Compromise On Quality?Whether its high quality recording at up to 1compressed recording of MP3, portability, mrecording, or syncing to code, TASCAM harecording solution. With no compromiseprice and quality TASCAM has made a reputafor quality at an a fordable price.PD606 On Location With James BondChris Munro recently used the PD606 on the newis Chris’s fifth Bond movie, having worked onBAFTA), Tomo row Never Dies, The World Is Not EnoughFostex researched the entire production process, acomments when designing the PD606. The maccomments when designing the PD606. The mac+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+comments when designing the PD606. The mac+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+greater recording time, and has been redesigned for sim+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+greater recording time, and has been redesigned for sim+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+greater recording time, and has been redesigned for sim+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+greater recording time, and has been redesigned for sim+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+“Despite wha the name suggests, the PD6+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+“Despite wha the name suggests, the PD6+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+“Despite wha the name suggests, the PD6+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+“Despite wha the name suggests, the PD6+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+Why Compromise On Quality?“Despite wha the name suggests, the PD6Why Compromise On Quality?e fectively an 8-track machine. Whilst it has sixWhy Compromise On Quality?e fectively an 8-track machine. Whilst it has sixWhy Compromise On Quality?Why Compromise On Quality?inputs, there are also two mix tracks availablWhy Compromise On Quality?In the same way tha the PD6 was design-based onWhy Compromise On Quality?In the same way tha the PD6 was design-based onWhy Compromise On Quality?the DV40, the PD606 is design-based onan 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 1an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 1of tracks can be recorded throughout a single dWhether its high quality recording at up to 1of tracks can be recorded throughout a single dWhether its high quality recording at up to 1compressed recording of MP3, portability, mof tracks can be recorded throughout a single dcompressed recording of MP3, portability, mand track configuration can be changed at will. Icompressed recording of MP3, portability, mand track configuration can be changed at will. Icompressed recording of MP3, portability, mrecording, or syncing to code, TASCAM haand track configuration can be changed at will. Irecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’trecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’trecording, or syncing to code, TASCAM haa real space and time bonus for editors.”recording, or syncing to code, TASCAM haa real space and time bonus for editors.”recording, or syncing to code, TASCAM harecording solution. With no compromisea real space and time bonus for editors.”recording solution. With no compromiseI was confident inrecording solution. With no compromiseI was confident inrecording solution. With no compromiseprice and quality TASCAM has made a reputaI was confident inprice and quality TASCAM has made a reputaso importan to have aprice and quality TASCAM has made a reputaso importan to have aprice and quality TASCAM has made a reputa+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+Why Compromise On Quality?Whether its high quality recording at up to 1compressed recording of MP3, portability, mrecording, or syncing to code, TASCAM harecording solution. With no compromiseprice and quality TASCAM has made a reputafor quality at an a fordable price.Professional Audio Recording For Film,Music, And Broadcasttroduced several newas Violet’s nextgeneration of universal-wideapplication studio microphone,recordingSOUNDFIELDSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround RecordingAll over the world, TV companies are+ + + SOUNDFIELDSOUNDFIELDSurround RecordingSurround RecordingFrom A Single MicrophoneFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround RecordingSurround RecordingFrom A Single MicrophoneSurround Recording+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+membrane, andinternal resonancesnology, namedall our largetechno-physical+ + + + techno-physical+ + + + techno-physical+ + + +Getting Techno-Physicalrophone– anhe orchestra or ansuch a view itcrophonetalgia,n leades li tle toapproach iseasoned andbasic knowledgeby chance, sounded pleasant on a previousby chance, sounded pleasant on a previousmajority of users of microphones have veryli tle engineering background and are farmore familiar with the world of art, thisshould not be surprising. They have no otherguidelines to fo low.Art and emotion do, without question,have a central position within music but,equally, the key to the successful recordingof it is a technical understanding of thedevices that need to be used. Trying tomuddle up both approaches in somehaphazard fashion is no help either.That leads to quaint notions, such as thattube (valve) microphones give ‘a warmsound’ because they become physicallywarm in use – or that large microphonesyield a bigger ‘sound image’ (whatever thatmeans) than sma ler designs. This latternotion undoubtedly stems from folklorethat has been fostered by those withvested interests in the promotion of largevestedinterests in the promotion of largediaphragmmicrophones. In purely physicaldiaphragm microphones. In purely physicaldiaphragm microphones. In purely physicalterms there is, of course, no requirementterms there is, of course, no requirementterms there is, of course, no requirementterms there is, of course, no requirementfor the diaphragm to be large in orderfor the diaphragm to be large in orderfor the diaphragm to be large in order to beto beable to respond to low frequencies.able to respond to low frequencies.able to respond to low frequencies.Making ComparisonsEvery innovation needs to be tested andEvery innovation needs to be tested andEvery innovation needs to be tested andEvery innovation needs to be tested andproven – which leads us to the awkwardproven – which leads us to the awkwardproven – which leads us to the awkwardproven – which leads us to the awkwardproblem that some of the stepsproblem that some of the stepsforward are very sma l ones. To hearforward are very sma l ones. To hearthem requires controlled listeningthem requires controlled listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+them requires controlled listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+them requires controlled listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+under good conditions and, aboveunder good conditions and, aboveunder good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+under good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET++ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+under good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+a l, with a proper reference; buta l, with a proper reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+a l, with a proper reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+a l too frequently a new producta l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+a l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+a l too frequently a new producta l too frequently a new productor design is assayed in splendidor design is assayed in splendidor design is assayed in splendidor design is assayed in splendidisolation. Expectation or ferventisolation. Expectation or ferventisolation. Expectation or ferventisolation. Expectation or ferventbelief that it must be betterbelief that it must be betterbelief that it must be betterbelief that it must be betterbelief that it must be betterbelief that it must be betterstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withina shor time highly coloureda shor time highly coloureda shor time highly coloureda shor time highly colouredopinions are circulating andopinions are circulating andopinions are circulating andopinions are circulating andopinions are circulating andopinions are circulating anda myth is built which is asa myth is built which is asa myth is built which is asa myth is built which is asa myth is built which is asa myth is built which is asbaseless as it is hard tobaseless as it is hard tobaseless as it is hard tobaseless as it is hard toeradicate.eradicate.There rea ly is noThere rea ly is noThere rea ly is noalternative to properlyalternative to properlyalternative to properlyalternative to properlycontro led listeningcontro led listeningtests if audio devicesare to be compared inare to be compared inan impartial way. ABmembrane, andan impartial way. ABmembrane, andan impartial way. ABan impartial way. ABtests are limited tomembrane, andtests are limited tomembrane, anddistinguishing the be ter of two options, butthey alone can reveal what di ferences thereare and if, indeed, they actua ly exist. And‘properly contro led’ should not be skimmedover lightly – for instance, adjusting levelsneeds to be carried out with great precisionsince, with signals of equally high quality,even an almost imperceptibly higher levelon one wi l skew judgements in favour of it.Such experimental pernicketiness has tobe refined even to the extent of intentionallyadding a small imbalance of levels but ona reciprocal basis where, say, microphoneshave di ferent frequency responses thata fect perceived loudness.Microphones for a Particular Use?Although it is extremely common to be toldthat such and such a microphone is goodfor, say, violins, this poses the question ofwhy it should be considered to be so.why it should be considered to be so.why it should be considered to be so.Should a microphone be chosen purely onShould a microphone be chosen purely onShould a microphone be chosen purely onShould a microphone be chosen purely onthe grounds of wha the sound source is?the grounds of wha the sound source is?We don’t, after a l, have more than one sWe don’t, after a l, have more than one setof ears to hear everything, and commonof ears to hear everything, and commonsense dictates that if the microphone issense dictates that if the microphone isan ideal one i transforms a sound into aan ideal one i transforms a sound into aperfectly corresponding electrical signal.That suggests tha the closer a microphoneThat suggests tha the closer a microphoneThat suggests tha the closer a microphoneis to the ideal, the more neutral it sounds,is to the ideal, the more neutral it sounds,and the more universally it can be used.and the more universally it can be used.and the more universally it can be used.There is certainly a wide variety of veryThere is certainly a wide variety of veryThere is certainly a wide variety of verydifferen top-quality microphones, but itdifferen top-quality microphones, but itdifferen top-quality microphones, but itwould be wiser to see these as physica lywould be wiser to see these as physica lywould be wiser to see these as physica lysuited to a particular application rathersuited to a particular application rathersuited to a particular application ratherthan a particular sound source.than a particular sound source.than a particular sound source.As far as the ‘perfect’ micAs far as the ‘perfect’ microphone goes,goes,omni-directional capacitor (comni-directional capacitor (comni-directional capacitor (comni-directional capacitor (condenser)designs approach the idealdesigns approach the idealdesigns approach the ideal ververy closely.Where you wan to fWhere you wan to fWhere you wan to favour sound fravour sound from asingle direction and excsingle direction and excsingle direction and exclude neighbourilude neighbouringnginstruments or unwanted souinstruments or unwanted souinstruments or unwanted sound, then ofcourse you need a directicourse you need a directicourse you need a directicourse you need a directicourse you need a directional micronal microphoneophonewhich wi l be a li tle furtherwhich wi l be a li tle furtherwhich wi l be a li tle furtherwhich wi l be a li tle further from perffrom perfection.ection.For a start, any directional micropFor a start, any directional micropFor a start, any directional micropFor a start, any directional micropFor a start, any directional microphone (shone (suchas a cardioid) wi l demoas a cardioid) wi l demoas a cardioid) wi l demoas a cardioid) wi l demonstrate the sonstrate the so-ca led-ca ledproximity e fect when uproximity e fect when uproximity e fect when used closesed close to a soundto a soundsource. Low frequencies wisource. Low frequencies wisource. Low frequencies wisource. Low frequencies wisource. Low frequencies wi l be al be accentuated.ccentuated.For a microphone that wi l coFor a microphone that wi l coFor a microphone that wi l commonly be usedonly be usedin this situation a compensain this situation a compensain this situation a compensating frequenting frequenting frequencyJörg Wuttke o fers his take on attitudes to microphone selection, testing, and placement.or the mind?range takes advantage, and we strive to deliverent sound and designbetween a l our models.A the core of our speaker performance isan electronic design based on two exclusivconcepts – CPR and AOI. This technoloenables us to show people that PSI Audio ismore than a black box.The CPR system consists of multiple a l-pass filters, each of which acts in a specificfrequency range in order to obtain a widearea of Compensated Phase Response,ant group delay.R system, the position ofthe reproduction of tThe speaker system represents thereference tool of every sound engineer.An accurate transient response particularlyhelps the sound engineer during the finetuning of the reverbs e fects, or during thedesign of a specific sound and its position inthe sound image.As a sound recording passes throughthe sound engineeof the reasons why speakstrongly recommend using speakers ofthe same type when creating a su roundsound system. The CPR system by PSIAudio features an extremely accurate andsuperior su round sound image and amuch improved working environment.One of the big advantages of the CPR systemis also that for the firs time a user can mixis also that for the firs time a user can mixis also that for the fidi feren types of PSA Audio speakers in asu round sound system, whilst maintainingperfectly accurate phase response. Not onlywi l the PSI Audio su round system sounde, and therefore providel, but it can also+ + + KLEIN + HUMMEL+ + + + KLEmusic, broadcast, andstudios for tracking,They can be mixed freemulti-channel systespecialise in threerecentlylauncBelow we explain sbehind our designs.The Goal: A curAbsolutely UncoOur aim with the O 30nothing less than perfecthe best compact activpossible, with accursound, superb tand idea ly shaped wThe O 300 is a moBass Manageris compatible with all standaris compatible with all standard consumerto the latest 7.1HD systems.Eight channelsof analogueor an optional8-channel,24-bit, 192kHzdigital inputcard ensuresflexibleinterconnectivity for modern studios.dern studios.Four-mode LFE-channel proce singroce singguarantees compatibility across a lility across a lformats and industries. BO 810, with 7.1 HighO 810, with 7.1 HighDefinition Ba s MaDefinition Ba s Manager+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PS+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSThe Swiss Precision Active Monitoring Series:More Than A Black Box!range takes advantage, and we strive to deliverpeaker performance isased on two exclusiveOI. This technologyudio isthe sound image is hiThis technology a lowsurround soundof PSI Audio spaccurate phasPractical Advantageand Impact on SterThe ear is very sensitive to group delaysor phase i regularities of sounds. Thehuman brain detects such i regularitieseasily and processes them into space relatedinformation such as positioning a soundsource. A l traditiona ly designed speakersystems su fer to a certain degree with suchi regularities. These i regularities are thereason why some speakers produce a widerand deepe room perception that determinesthe reproduction of the sound image.The speaker system represents thevery sound engineer.(recording, mixingin which various people,refore speaker systems,co rections may be appliedregularities thatactual recordingspeakers feature our uniqueCPR system that generates a CompensatedPhase Response, removing suchrating a stereo imageand projected room of extreme accuracy. PSIAudio speakers provide a more accurate andprecise reference tool to the sound engineer.to the sound engineer.to the sound engineerCPR Impact on Su round Sound ApplicationsTraditional speaker designs have di ferentphase responses, and therefore the phaseinaccuracy phenomenon is worse insu round sound applications where roominformation and positioning have an evenhigher priority and a more critical part ofthe sound engineering process. This is oneof the reasons why speaker manufacturersusing speakers ofcompared ur vision is to bein precision au+ + + KLEIN + HUMMEL+ + + + KLE+ + + KLEIN + HUMMEL+ + + + KLE+ + + KLEIN + HUMMEL+ + + + KLE+ + + KLEIN + HUMMEL+ + + + KLE7.1 High DefinitiThe 7.1 High Definitionis compatible with all standaris compatible with all standarformats frommono throughto the latest 7.116and deepe room16and deepe roomFOSTEXinformation and posFOSTEXinformation and poshigher priority and aFOSTEXhigher priority and aFOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + ++ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + +PM Series Mk IThe PM-Series Mk I o fer exceptional audior exceptional audioperformance matched toperformance matched to jaw-dropping goodjaw-dropping goodlooks at an a fordable priclooks at an a fordable priclooks at an a fordable price. Fostex strives toe. Fostex strives todesign and build studdesign and build studio monitoring systemsthat enable you to experthat enable you to experience your uniquesound in a l its dimensions. And throughtireless research and development, endlessmeasurements and real-world listeningtests, Fostex’s engineers have achievedthis in the form of the beautiful secondgeneration PM-Series.Capitalising on Fostex’s supr+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSCapitalising on Fostex’s supr+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PS+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSeme+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSknowledge of acoustics and sknowledge of acoustics and s+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSknowledge of acoustics and s+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSpeakerpeaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSpeaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSengineering, and now o ferinengineering, and now o ferin+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSengineering, and now o ferin+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSg a brighter,The Swiss Precision Active Monitoring Series:g a brighter,The Swiss Precision Active Monitoring Series:tighter sound, thesetighter sound, these+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PStighter sound, these+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSstudio monitors areThe Swiss Precision Active Monitoring Series:studio monitors areThe Swiss Precision Active Monitoring Series:designed inside out to proor phase i regularitdesigned inside out to proor phase i regularithuman brain detects sudesigned inside out to prohuman brain detects such i regularitiesdesigned inside out to proch i regularitiess them into space rdesigned inside out to pros them into space rvide the bests them into space rvide the bests them into space relatedvide the bestelatedmonitoring experience, with minihuman brain detects sumonitoring experience, with minihuman brain detects sueasily and processemonitoring experience, with minieasily and processes them into space rmonitoring experience, with minis them into space ras positioning a soundmonitoring experience, with minias positioning a soundly designed speakermonitoring experience, with minily designed speakermalas positioning a sound malas positioning a soundresonance, sparkling highseasily and processeresonance, sparkling highseasily and processeinformation suchresonance, sparkling highsinformation such as positioning a soundresonance, sparkling highsas positioning a soundly designed speakerresonance, sparkling highsly designed speakerand rich, deeply designed speakerand rich, deeply designed speakerertain degree with sand rich, deepertain degree with suchand rich, deepuchlows. And, with new ‘hinformation suchlows. And, with new ‘hinformation suchsource. A l traditionalows. And, with new ‘hsource. A l traditiona ly designed speakerlows. And, with new ‘hly designed speakerertain degree with slows. And, with new ‘hertain degree with sigh-gloss’ frontly designed speakerigh-gloss’ frontly designed speakerertain degree with sigh-gloss’ frontertain degree with suchigh-gloss’ frontuchi regularities are theigh-gloss’ fronti regularities are thebaffles, they look as stunsource. A l traditionabaffles, they look as stunsource. A l traditionasystems su fer to a cbaffles, they look as stunsystems su fer to a certain degree with sbaffles, they look as stunertain degree with si regularities are thebaffles, they look as stuni regularities are thening as they sound.i regularities are thening as they sound.i regularities are thepeakers produce a widening as they sound.peakers produce a widerning as they sound.r phase responses,ning as they soundṗhase responses,PM-2 Mk IPM-2 Mk ICreated for large roCreated for large roCreated for large rooms, the PM-2 hasoms, the PM-2 hasoms, the PM-2 hasoms, the PM-2 hasthe power (240 watts ofthe power (240 watts ofthe power (240 watts of bi-amped powerbi-amped powerbi-amped poweractua ly) and sophisticationactua ly) and sophisticationactua ly) and sophistication and, mostimportantly, the versatilimportantly, the versatility to handle theity to handle themost demanding recording applications.rding applications.rding applications.Equipped with a 200mm lEquipped with a 200mm low frequency unitow frequency unitand remaining natural and transpand remaining natural and transpand remaining natural and transparent rightacross the audio spectrum, even at hightrum, even at hightrum, even at highsound pressure level+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSsound pressure level+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSs, the PM-2 is great fors, the PM-2 is great fors, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSs, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PS+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSs, the PM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PStoday’s bass heavy musitoday’s bass heavy musi+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PStoday’s bass heavy musi+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSc.c.c.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSc.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PS+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSc.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSPM-1 Mk IPM-1 Mk I+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSPM-1 Mk I+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSPerfectly proportioned anThe Swiss Precision Active Monitoring Series:Perfectly proportioned anThe Swiss Precision Active Monitoring Series: d o fering the typeThe Swiss Precision Active Monitoring Series: d o fering the typeThe Swiss Precision Active Monitoring Series: d o fering the typeof clear-transparent sounThe Swiss Precision Active Monitoring Series:of clear-transparent sounThe Swiss Precision Active Monitoring Series: d that singlesThe Swiss Precision Active Monitoring Series: d that singlesThe Swiss Precision Active Monitoring Series: d that singlesout a great speaker, theThe Swiss Precision Active Monitoring Series:out a great speaker, theThe Swiss Precision Active Monitoring Series:PM-1 is capablePM-1 is capableThe Swiss Precision Active Monitoring Series:PM-1 is capableThe Swiss Precision Active Monitoring Series:of producing extremely highmely highSPLs accurately across theSPLs accurately across thefu l audio spectrum. With 120fu l audio spectrum. With 120wa ts of bi-amped power awa ts of bi-amped power anda bass response thur vision is to bea bass response thur vision is to beat’s fu l andat’s fu l anddynamic, and a crisp highdynamic,and a crisp highurvision is to bedynamic, and a crisp highurvision is to beend that sparkles with vitality,end that sparkles with vitality,the PM-1 delivers the typethe PM-1 delivers the type ofsonic quality that’s usua ly thes usua ly thedomain of monitorscosting thousands.(recording, mixingcosting thousands.(recording, mixingPM0.5 Mk Iin which various peoplePM0.5 Mk Iin which various peoplerefore speaker systemPM0.5 Mk Irefore speaker systemThe ideal choice for smarefore speaker systemThe ideal choice for smarefore speaker systemco rections may be apThe ideal choice for smaco rections may be appliedThe ideal choice for smapliedlerstudios requiring nearfieldco rections may be apstudios requiring nearfieldco rections may be apregularities thatstudios requiring nearfieldregularities thatmonitoring, the perfectlyregularities thatmonitoring, the perfectlyregularities thatactual recordingmonitoring, the perfectlyactual recording.monitoring, the perfectly.formed PM0.5 Mk I o fersactual recordingformed PM0.5 Mk I o fersactual recordingspeakers feature our uniformed PM0.5 Mk I o fersspeakers feature our uniqueformed PM0.5 Mk I o fersque70wa ts of bi-amped powerspeakers feature our uni70wa ts of bi-amped powerspeakers feature our uniates a Compensate70wa ts of bi-amped powerates a Compensated70wa ts of bi-amped powerdand produces greaates a Compensateand produces greaates a Compensateving suchand produces greaving sucht fu l rangeperformance with exceptionalving suchperformance with exceptionalving suchrating a stereo imagperformance with exceptionalrating a stereo imageperformance with exceptionaley. PSIperformance with exceptionaly. PSIneutrality even at high sounrating a stereo imagneutrality even at high sounrating a stereo imagof extreme accuracneutrality even at high sounof extreme accuracy. PSIneutrality even at high souny. PSIurate andneutrality even at high sounurate anddpressure levels.of extreme accuracpressure levels.of extreme accuracs provide a more accpressure levels.s provide a more accurate andpressure levels.urate andThe compact dimensions alsos provide a more accThe compact dimensions alsos provide a more accto the sound engineerThe compact dimensions alsoto the sound engineerenable accurate placemeprecise reference toolenable accurate placemeprecise reference tool to the sound engineerenable accurate placemeto the sound engineerationsenable accurate placemeationsntin confined or awkward spaceprecise reference toolin confined or awkward spaceprecise reference toolund Sound Applicin confined or awkward spaceund Sound Applics, withund Sound Applics, withund Sound Applicationss, withationsnts, withntthe dispersion from the two wCPR Impact on Su rothe dispersion from the two wCPR Impact on Su round Sound Applicthe dispersion from the two wund Sound Applicesigns have di ferethe dispersion from the two wesigns have di fereay portedesigns have di fereay portedesigns have di ferentay portedntaseay portedaseenclosure design tailoredCPR Impact on Su roenclosure design tailoredCPR Impact on Su roTraditional speaker denclosure design tailoredTraditional speaker designs have di fereenclosure design tailoredesigns have di fereand therefore the phenclosure design tailoredand therefore the phsuch that it wi land therefore the phsuch that it wi land therefore the phasesuch that it wi lasedeliver a superb sound alTraditional speaker ddeliver a superb sound alTraditional speaker dphase responses,deliver a superb sound alphase responses, and therefore the phdeliver a superb sound aland therefore the phenon is worse indeliver a superb sound alenon is worse inmost regardlessenon is worse inmost regardlessenon is worse inations where roommost regardlessations where roomof room acoustics.phase responses,of room acoustics.phase responses,inaccuracy phenomof room acoustics.inaccuracy phenomenon is worse inof room acoustics.enon is worse inPM0.4The ultra-compact PM0.4 noThe ultra-compact PM0.4 now completesthe lineup of the reputedthe lineup of the reputed PM-series rangingPM-series rangingfrom 4” to 8” woofer size. PM0.4 is natura lyze. PM0.4 is natura lyrecommended for desktop use but its superbaudio performance in compact physicalsize expands its applications to professionalconsole top studio monitoring, audioinsta lation, as we l as portableaudio monitoring.PM0.5-Sub Mk IDesigned idea ly for use witDesigned idea ly for use with the PM0.5Mk I, the 110wa t, 200mm driver PM0.5-Sub produces precise, loSub produces precise, low frequencyreproduction and an exce lentreproduction and an exce lent deep bassoutput. Easy to set-up (justoutput. Easy to set-up (just a single gaincontrol and phase recontrol and phase reverse switch), thecombination of a pair ofcombination of a pair of PM0.5s andPM0.5-Sub provides supePM0.5-Sub provides superb sonic qualityrb sonic quality+ + + KLEIN + HUMMEL+ + + + KLErb sonic quality+ + + KLEIN + HUMMEL+ + + + KLE+ + + KLEIN + HUMMEL+ + + + KLErb sonic quality+ + + KLEIN + HUMMEL+ + + + KLEat an a fordable price. Reat an a fordable price. Recommended forcommended foruse with PM0.4.NX SeriesWan to take you recording eWan to take you recording eWan to take you recording experience toxperience toa whole new level? The NX-Sea whole new level? The NX-Sea whole new level? The NX-Sea whole new level? The NX-Series Poweredries PoweredNearfield Monitors for ProNearfield Monitors for ProNearfield Monitors for ProNearfield Monitors for ProfessionalRecording EnvironmRecording EnvironmRecording Environments are like nothingents are like nothingents are like nothingyou’ve heard befyou’ve heard befyou’ve heard before. But don’ take our wordore. But don’ take our wordore. But don’ take our wordfor it. When choosing neafor it. When choosing neafor it. When choosing neafor it. When choosing nearfield monitorsrfield monitorsrfield monitorsrfield monitorsfor your studio you reafor your studio you reafor your studio you reafor your studio you rea ly ough to evaluately ough to evaluate7.1 High Definitily ough to evaluate7.1 High Definitily ough to evaluateas many di ferent speaas many di ferent speaas many di ferent speaas many di ferent speakers as you cankers as you canThe 7.1 High Definitionkers as you canThe 7.1 High Definitionkers as you canNX-5AThe Swiss Precision Active Monitoring Series:More Than A Black Box!the sound image is highly accurate.This technology a lows the design ofsurround sound systems with di feren typesof PSI Audio speakers that maintains anaccurate phase response.Practical Advantages of CPR,and Impact on Stereo ApplicationsThe ear is very sensitive to group delaysies of sounds. Thevarious processes (recording, mixingand mastering) in which various peoplelocations, and therefore speaker systemwi l be involved, co rections may be apdue solely to phase i regularities thatare not present on the actual recordingThe PSI Audio speakers feature our uniCPR system that generPhase Response, remoi regularities, generating a stereo imagand projected room of extreme accuracs provide a more acccompared to Swiss watch designers. Our vision is to bein precision audio, combining innovation, creativityChoosing NearfieldMonitors Should Be EasyPM Series Grare not present on thePM Series Grare not present on theThe PSI AudioPM Series GrThe PSI AudiooupThe PSI AudiooupThe PSI Audio speakers feature our unioup speakers feature our uniAfter a l, they only have one job to do. The job of monitoring.Not enhancing, not diminishing, not in any way alteringthe source material.Why Compromise On Quality?Why Compromise On Quality?e fectively an 8-track machine. Whilst it has sixWhy Compromise On Quality?inputs, there are also two mix tracks availablWhy Compromise On Quality?inputs, there are also two mix tracks availablWhy Compromise On Quality?In the same way tha the PD6 was design-based onOnce again this used sostate media, and a lowfor high quality 24-bit 48recordings to be made using eitherer microphonesor plugging in some separatThis sma l hand held recormade direc to SDcard (Secure Digital) in either WAV orfered not only basicthat would appealto musicians suchon-board e fects,playback controls.can be moved 90degrees, and leftrightswapped dependingrecorder is positioned.TASCAM didn’t stop at fomusicians as a whole, anone step further introducThis recorder o fers gfeatures such as a builguitar impedance inpand a rhythm loop playTASCAMEarly 2008 saw theintroduction of the DR-1portable hand held recoOnce again this used soOnce again this used sostate media, and a lowfor high quality 24-bit 48using eitherer microphonesor plugging in some separatThis sma l hand held recormade direc to SDin either WAV orfered not only basicright swapped depending on how therecorder is positioned.TASCAM didn’t stop at focusing onmusicians as a whole, and decided to goone step further introducing the GT-R1.This recorder o fers guitarist specificfeatures such as a built in guitar trainer,guitar impedance input, guitar e fects,and a rhythm loop player.o fering is theDR100, which isa pro handheldfi ting somewherebetween the DR1and the HDP2. Foursensitive onboardmicrophones o fera host of options,an onboardspeaker to preview you recordings, andmore importantly, the option for 2 XLRmic or line inputs a lowing for phantompowered microphones or balanced lineinputs to be connected. This wouldmake the DR100 ideal for anyone whodoesn’t need to synchronise to video,but wants to use any of the hundredsof microphones on the market., church, orsimplicitys technica lyEarly 2008 saw theintroduction of the DR-1portable hand held recoOnce again this used sofor quality at an a fordable price.Whether its high quality recording at up to 1compressed recording of MP3, portability, mrecording, or syncing to code, TASCAM harecording solution. With no compromiseprice and quality TASCAM has made a reputafor quality at an a fordable price.In the same way tha the PD6 was design-based onWhy Compromise On Quality?In the same way tha the PD6 was design-based onWhy Compromise On Quality?the DV40, the PD606 is design-based onWhether its high quality recording at up to 1the DV40, the PD606 is design-based onWhether its high quality recording at up to 1an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 1an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 1of tracks can be recorded throughout a single dcompressed recording of MP3, portability, mof tracks can be recorded throughout a single dcompressed recording of MP3, portability, mand track configuration can be changed at will. Icompressed recording of MP3, portability, mand track configuration can be changed at will. Icompressed recording of MP3, portability, mrecording, or syncing to code, TASCAM haand track configuration can be changed at will. Irecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’trecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’trecording, or syncing to code, TASCAM haa real space and time bonus for editors.”recording solution. With no compromisea real space and time bonus for editors.”recording solution. With no compromiseI was confident inrecording solution. With no compromiseI was confident inrecording solution. With no compromiseprice and quality TASCAM has made a reputaI was confident inprice and quality TASCAM has made a reputaso importan to have aprice and quality TASCAM has made a reputaso importan to have aprice and quality TASCAM has made a reputafor quality at an a fordable price.so importan to have afor quality at an a fordable price.for quality at an a fordable price.for quality at an a fordable price.Whether its high quality recording at up to 1compressed recording of MP3, portability, mrecording, or syncing to code, TASCAM harecording solution. With no compromiseprice and quality TASCAM has made a reputafor quality at an a fordable price.the DV40, the PD606 is design-based onWhether its high quality recording at up to 1the DV40, the PD606 is design-based onWhether its high quality recording at up to 1an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 1an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 1compressed recording of MP3, portability, mof tracks can be recorded throughout a single dcompressed recording of MP3, portability, mand track configuration can be changed at will. Irecording, or syncing to code, TASCAM haand track configuration can be changed at will. Irecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’trecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’trecording, or syncing to code, TASCAM harecording solution. With no compromiseonly two or four tracks are required, it doesn’trecording solution. With no compromisea real space and time bonus for editors.”recording solution. With no compromisea real space and time bonus for editors.”recording solution. With no compromiseI was confident inprice and quality TASCAM has made a reputaI was confident inprice and quality TASCAM has made a reputathe PD606, and kprice and quality TASCAM has made a reputathe PD606, and kprice and quality TASCAM has made a reputaso importan to have aprice and quality TASCAM has made a reputaso importan to have aprice and quality TASCAM has made a reputafor quality at an a fordable price.so importan to have afor quality at an a fordable price.machinefor quality at an a fordable price.machinefor quality at an a fordable price.for quality at an a fordable price.capture ofcapture ofanything fromo fering is theanything fromo fering is theDR100, which isanything fromDR100, which isanything froman impromptuDR100, which isan impromptuDR100, which isa pro handheldan impromptua pro handheldan impromptujam session toa pro handheldjam session toa pro handheldfi ting somewherejam session tofi ting somewherejam session toan unexpectedfi ting somewherean unexpectedfi ting somewherebetween the DR1an unexpectedbetween the DR1an unexpectedencounter withbetween the DR1encounter withbetween the DR1encounter witha politician,and the HDP2. Foura politician,and the HDP2. Foura politician,or even a nature soundscape – a l insensitive onboardoundscape – a l insensitive onboardoundscape – a l insuperb 24-bit/96kHz quality. In additiomicrophones o ferquality. In additiomicrophones o fera host of options,quality. In additioa host of options,quality. In additionmicrophones o fernmicrophones o ferto extra long batto extra long ba tery life, there’s alsa host of options,tery life, there’s alsa host of options,tery life, there’s alsoa host of options,oa host of options,a generous 2GB of internal memoryan onboardof internal memoryan onboard,plus anon how theplus anon how theSD cardspeaker to preview yourSD cardspeaker to preview yourslotspeaker to preview yourslotspeaker to preview yourfor ample stospeaker to preview yourfor ample stospeaker to preview yourragespeaker to preview yourragespeaker to preview you recordings, andragerecordings, andmore importantly, the opragemore importantly, the option for 2 XLRragetion for 2 XLRwith the potentialon how thewith the potentialon how the speaker to preview yourwith the potentialspeaker to preview yourmore importantly, the opwith the potentialmore importantly, the opto expand at anymore importantly, the opto expand at anymore importantly, the optime. The LS-10more importantly, the opLS-10more importantly, the opmic or line inputs a lowingLS-10mic or line inputs a lowingcmic or line inputs a lowingcmic or line inputs a lowingomes equipped withmic or line inputs a lowingomes equipped withmic or line inputs a lowingeverything you necusing oneverything you necusing ond decided to goeverything you ned decided to gomic or line inputs a lowingeverything you nemic or line inputs a lowingpowered microphoneseverything you nepowered microphonesed to create highpoweredmicrophonesed to create highpoweredmicrophonesquality sound prd decided to goquality sound prd decided to going the GT-R1.quality sound pring the GT-R1.powered microphonesquality sound prpowered microphonesinputs to be connected. Tquality sound prinputs to be connected. Tojects, from a largepowered microphonesojects, from a largepowered microphonesinputs to be connected. Tojects, from a largeinputs to be connected. Teasy to view 1.8-incing the GT-R1.easy to view 1.8-incing the GT-R1.uitarist specificeasy to view 1.8-incuitarist specificinputs to be connected. Teasy to view 1.8-incinputs to be connected. Tmake the DR100 idealeasy to view 1.8-incmake the DR100 idealh LCD panel, to higmake the DR100 idealh LCD panel, to higmake the DR100 ideal for anyone whoh LCD panel, to higfor anyone whodoesn’t need to synchronh LCD panel, to higdoesn’t need to synchron hfor anyone whohfor anyone whosensitive microphouitarist specificsensitive microphouitarist specifict in guitar trainer,sensitive microphot in guitar trainer, doesn’t need to synchronsensitive microphodoesn’t need to synchronnes, and built-indoesn’t need to synchronnes, and built-indoesn’t need to synchronstereo speakers tot in guitar trainer,stereo speakers tot in guitar trainer,ut, guitar e fects,stereo speakers tout, guitar e fects,doesn’t need to synchronstereo speakers todoesn’t need to synchronbut wants to use any of thstereo speakers tobut wants to use any of thplayback your filebut wants to use any of thplayback your filebut wants to use any of thsbut wants to use any of thsbut wants to use any of thanywhere, anytimut, guitar e fects,anywhere, anytimut, guitar e fects, but wants to use any of thanywhere, anytimbut wants to use any of thof microphones on theanywhere, anytim of microphones on thee.of microphones on thee.of microphones on theHigh-Quality Audio In Compact FormWhether you’re a musician hit bya sudden wave of inspiration, or af inspiration, or areporter caught inreporter caught in the midst of abreaking story – the LS-10 LinearPCM Recorder is the ideal tool forhigh-quality audio capture on thego. Boasting a high-sensitivity, noisereduction stereo microphone, samplingrates of up to 24-bit/96kHz and PCMrecording, this portable device deliversvery good sound quality. Users aregiven additional flexibility thanks toand lower noiseo fering is theand lower noiseo fering is theDR100, which isand lower noiseDR100, which is . A rigid microphon. A rigid microphonhousing constructehousing constructeDR100, which ishousing constructeDR100, which isa pro handheldhousing constructea pro handheld d of carvingprocessedaluminiuprocessed aluminiua pro handheldprocessed aluminiua pro handheldfi ting somewhereprocessed aluminiufi ting somewhere m e fectivelywithstands vibratfi ting somewherewithstands vibratfi ting somewherebetween the DR1withstands vibratbetween the DR1 ions while makingions while makingpossible high-prbetween the DR1possible high-prbetween the DR1and the HDP2. Fourpossible high-prand the HDP2. Four ecision alignment.ecision alignment.To derive the maximTo derive the maximand the HDP2. FourTo derive the maximand the HDP2. Foursensitive onboardTo derive the maximsensitive onboard um performancein terms of frequenin terms of frequensensitive onboardin terms of frequensensitive onboardmicrophones o ferin terms of frequenmicrophones o fer cy response anddirectivity, the micmicrophones o ferdirectivity, the micmicrophones o fera host of options,directivity, the mica host of options, rophone unit sizerophone unit sizeand the opening oa host of options,and the opening oa host of options,an onboardand the opening oan onboard f the case have beef the case have beencarefu ly designean onboardcarefu ly designean onboardrecordings, andcarefu ly designerecordings, and d. Recording capabd. Recording capabilityis also enhancerecordings, andis also enhancerecordings, andtion for 2 XLRis also enhancetion for 2 XLR d by ad by alayou that positiontion for 2 XLRlayou that positiontion for 2 XLRfor phantomlayou that positionfor phantom sthe microphones ufor phantomthe microphones ufor phantomor balanced linethe microphones uor balanced line nitsnitswith 90° outwardor balanced linewith 90° outwardor balanced linehis wouldwith 90° outwardhis wouldorientation. Thehis wouldorientation. Thehis wouldfor anyone whoorientation. Thefor anyone who designdesignmakes it possiblfor anyone whomakes it possiblfor anyone whoise to video,makes it possiblise to video, eto record wider andise to video,to record wider andise to video,e hundredsto record wider ande hundredsmore natural steree hundredsmore natural steree hundredsmarket.more natural steremarket. osound fields withomarket.sound fields withomarket.utwo rying about centreentrepositioning.The microphoneThe microphoneamp circuitry employsdiscrete chips forthe left and rightchannels to preventinterference with thesignal between channels, assuring theclearest possible signal transmissionwith improved signal-to-noise ratio.The analogue signal circuitry employsan independent power supply to reducethe interference form the power supplysubtle nuances ofwith switchable lwith switchable loptimum level by choptimum level by chmeter display on thmeter display on thPEAK indicator. AnPEAK indicator. Ancontrol function iscontrol function isStereo Speakers In A CoStereo Speakers In A CoThe LS-10LS-10 featuredurable body. Asdurable body. Asthethe LS-10speakers that a lospeakers that a lohigh quality sounhigh quality sounanywhere, anytimanywhere, anytimThe Reverb funcselec the reverbeselec the reverbefive modes (NORfive modes (NOR+ + +for quality at an a fordable price.+ + +for quality at an a fordable price.+ + +for quality at an a fordable price.+ + +for quality at an a fordable price.OLYMPUSOLYMPUSfor quality at an a fordable price.OLYMPUSfor quality at an a fordable price.Early 2008 saw theintroduction of the DR-1Once again this used sostate media, and a lowportable hand held recoOnce again this used sostate media, and a lowfor high quality 24-bit 48using eitherer microphoneser microphonesor plugging in some separatThis sma l hand held recormade direc to SDmade direc to SDin either WAV orfered not only basicwith switchable limiter to obtain theoptimum level by chmeter display on thPEAK indicator. An automatic levelcontrol function is also provided.Stereo Speakers In A Cofeaturedurable body. Aside from high-quaLS-10 incorpspeakers that a lohigh quality sounanywhere, anytimThe Reverb funcselec the reverbeViolet Design was fouin 2003 by Stanislav RubinThe company is a worldwidedistribution centre and salesrepresentative of Violet andFlamingo brand microphones.The

on locationBaby BoomersFor the banshees, I recorded babies of all sorts. Oftentimes I find that when you hear newborn creatures, they makesounds that are so unfamiliar; we rarely hear those sounds. Literally, we recorded baby swine that were days old.Christopher Boyes, Sound Designer, AvatarAudio Media, January 2010Shoot The Lines OffIf at all possible, and if the Director andactors are up for it, try and cover thelines off (lines spoken by actors who arenot in this particular shot) whenever youcan. These can be an invaluable sourceof natural sounding alternative ‘takes’of lines that the post production teammay be needing.Simon Bishop, Production Mixer/Recordist,Audio Media Feb 2010Boom, BoomOver the top, or up and under?Remember at all timesthat you don’t just have toput the boom mic in overthe top – there is a wholeworld of ‘recordability’underneath. It sounds quitedifferent, down there in theunderworld, but you couldboom the whole scene thatway and make all the shotssound similar.Simon BIshop, ProductionMixer/Recordist, Audio MediaFeb 2010RICHMONDFILMSERVICESTel. 020 8940 6077Fax. 020 8948 8326NOW aVaILabLEFOR HIRETaSCaM HS-P82Line DancingTake great care with dialogue overlaps. Sometimes, and in some situations,and some shots, it can be just fine for the actors to overlap their dialogue.Be aware though, that once you get into the single shots (just one actorinfilling the frame), it can be a post production nightmare if the actorsstill overlap. The truth is that they almost never overlap in the same place,meaning that the Editor has an awfully difficult task finding somewhere toget the scissors in. Discuss this with your Director, and form a strategy foreach scene/ shot.Simon BIshop, Production Mixer/Recordist, Audio Media Feb 2010WWW.RICHMONDFILMSERVICES.COMAUDIO MEDIA AUGUST 201137

on locationTECHNOLOGY FOCUSBoat RecordingI had a Schoeps MS pair on the bank, and the Production Sound Recordist(Chris Munro) was out on the jetty – the idea was that he’d get the water slap witha boom. Then we strapped a Sound Devices 442 on each boat with a DPA 4062in a condom on the rear of the boat, another two inside, one on the helm, andanother right in the bow. Chris gave us an SM58 and we stuck it on a magic armand put that over the engine. We had pretty much the same set-up on the RHIBas-well.Towards the end of the day, we had Dave [David Mackie, Assistant SoundEditor] in a safety boat, and we got the driver to do circles around him.Because he was creating a lot of waves he was able to bounce off his own waves,so we got the slaps and lands.Martin Cantwell, Sound Designer, Quantum Of Solace, Audio Media November 2008Be Equipment AgnosticIt’s great to have a favourite bit of equipment; something that you swear by instead ofswear at. But it’s also good to keep a totally open mind about what to use when outand about. Over the last couple of years I’ve recorded around 200 vehicles for differentracing and driving games. One thing I never imagined using out in the field was myAKG D3000 vocal microphone; the sort with the triangular section intended to be handheld or used in a music studio. But it can handle stupidly high SPL levels, is reallysturdy and has a crisp, sharp sound; perfect for placing near the exhaust pipe of a V8muscle car. Who’d a thought it eh? Likewise Rycote Undercovers – small sticky padsmeant for attaching personal mics under clothing – are great to tacking dpa 4061sinto the engine bays of cars or enormous trucks. Not their intended purpose, but theywork brilliantly and peel off afterwards. Also: Condoms can be useful at keep mics dry,though best of luck claiming them back on expenses.Jerry Ibbotson, Media Mill and Audio Media ContributorIn an industry whereknowledge is key and the righttool for the job often makesthe difference between an ordinaryproduction and a great production,one place many pros turn to is theservices of Richmond Film Services, specialists insound equipment hire for over 25 years.Richmond has over 2,000 items available for hireand maintains its own extensive workshop facility,which not only keeps the gear in top condition, butalso provides cable repair and construction services,and offers an equipment repair service to Richmondcustomers.Richmond Film Services now has 15 staff, coveringroles as diverse as office staff and dispatch crew, andthe comprehensive website provides an extensivebrowsable equipment list so you can peruse what'savailable at your leisure.The company also sells accessories, parts andequipment. A small quantity of its sale stock is listedin the online price list, but it can deal with any requestfor equipment, and frequently sources parts fromaround the world.The Richmond dispatch crew deliver equipmentdaily within the M25, but the company also deliversthroughout the UK via overnight courier.www.richmondfilmservices.co.ukTool SelectionPoles sound more natural, radio mics sound moresterile – mics on booms sound far more natural thanradio mics hidden on people’s clothes (very one dimensionalin that everybody sounds the same). If you cancover all the shots for a given scene using booms, thenyou can probably work faster, avoid clothes rustle, andget a much more natural result.Simon Bishop, Production Mixer/Recordist, Audio Media Feb 2010Catchin’ SyncIs there any sync sound in the shot? Look at the rehearsal, and work outwhat dialogue is actually sync sound – it may well be that there are sixactors in the shot, but many of them might be tiny (in the shot), or thecamera only sees the backs of their heads. Weigh up which are theimportant lines to ‘get’ in each shot, and concentrate your efforts ongetting them recorded well.Simon Bishop, Production Mixer/Recordist, Audio Media Feb 2010Turn Your Phone OffI was once asked to do some post production audio work on acorporate video when the camera person had clearly had theirmobile phone tucked into their pocket, still switched on.We probably all know the sound of a mobile/cell phonesending out those little pulses to tell the network where it isbut when you’ve heard them running all the way through anedit, you want to cry a little. Well, a lot, in fact. Going to silentmode isn’t enough. Turn it off.Jerry Ibbotson, Media Mill and Audio Media Contributor38AUDIO MEDIA AUGUST 2011

on locationGot Wind?Buy a windshield, even for yourpocket recorder. That’s one way toimprove any recording by severalhundred per cent.Jerry Ibbotson,Media Mill and Audio Media ContributorAn Alternate AngleShoot a sync sound wild track. There are somesituations where you can see the causes ofthe background noise/s, but they might notbe there for all of the shots in the scene (i.e.,not constant). An example might be filming aconversation across a petrol station forecourt.The shots on one actor (looking towards theroad) might include passing cars, whilst thereverse angle (towards the paystation) mightinclude no traffic. If you cut from one shot tothe other the background noise may well ‘jar’in one’s ears. A solution might well be to runan extra mic that records only the passing carnoises, clean of the dialogue. This track canbe used with the dialogue tracks, in order tocontinue the transitions over the edits fromone camera angle to the other. Post productionwill love this ‘get out of jail free’ card.Simon Bishop, Production Mixer/Recordist, AudioMedia Feb 2010SeparatesUsing a separate hard drive is the quickest way ofgetting the audio material into your workstation to remixit. Less time doing the mechanical transfer equalsmore time for the creative mixing process. It also meansthat the actual recording device doesn’t necessarilyneed to be removed from the location in order to accessthe audio files. This enables a sound designer/recordistto make daily evaluations, edits, and mixes of anycaptured location audio, saving valuable time duringpost production stages.JoeCoADR AssistMany of the directorsI work with insiston using originalsound. Of course,there are occasionswhen, for whateverreason, it is impossibleto get usabledialogue. In thesesituations I usuallytry to do somelocation looping bygetting Quicktimefiles from editorial touse with my portablePro Tools systemfor ADR. These canoften be useful, asthey can be recorded when the scene is still fresh in the actor’s mind and not at some pointmonths later, when they may be playing a different character or another project.”Chris Munro, Sound RecordistAudio Media, January 2010Buzz All-Din?Shoot a buzztrack first.Sometimes you just haveto carry on shooting thesync dialogue, whilst thereis an unwanted backgroundnoise occurring that isunstoppable. Take the hitand go with it – record abuzztrack of the offendingnoise, and give the postproduction team the opportunityto play the scenewith the background noisein. This may well be abetter option than to havesome shots done with thebackground noise in, andothers without.Simon BIshop, ProductionMixer/Recordist, Audio MediaFeb 2010The Legend Continues...Dress For ItAny fool can be uncomfortable; I think that’s a saying from theRoyal Marine Commandos. Or it might be the Brownies, I’m notsure. If you get cold and wet (or hot and sweaty) you’re more likelyto do something wrong. It’s too easy to think of every possiblemicrophone you might need but forget to pack something to keepyourself dry and warm. That said, if you’re heading somewherequiet and you know that you might have to move about, recordingwildlife sounds for example, don’t pull on your Berghaus-typeskiing jacket. That hi-tech waterproof material makes a terriblerustling sound, certainly loud enough to be picked up on mic.Wearing one means you can’t move a muscle without fear ofruining the recording. Try a fleece material instead as it’s acousticallymuch deader. Likewise avoid certain types of fancy-pantsgo-anywhere-all-weather-trouser.Or cords.Jerry Ibbotson, Media Mill and Audio Media ContributorD irk Brauner has been perfecting the art of microphones for over a decade. Hand craftedin Germany with a passion, it’s no wonder Brauner mics are coveted by the world’s mostfamous producers and studios. For artists that deserve the best...Brauner is the only choice.Brauner offers a range of FET and Valve mics to suit a wide variety of budgets, all with thelegendary sound that has made Brauner a name synonymous with quality.“Dirk’s microphones are open, natural and inspiring just like the man himself. “Peter Gabriel“ Never before did I come across a microphone of this caliber. The VMA is the best microphone I have ever worked with. “Elliot Scheiner : Steely Dan, Toto, Van Morrison, Fleetwood Mac, Sting, ...UK distribution:The Home ServiceT: 020 8943 4949E: sales@louisaustin.comtheartofmicrophones.com

on locationLet the Quiet Stuff Stay QuietWhen you’re out recording quiet audio, particularlyambient sounds, it’s easy to fall into the trap of cranking upthe levels. It becomes second nature to seek out the strongestsignal possible; to hit the right point on themeter. Sometimes end clients even insist of every sound, nomatter what, being at the same level. But what’s good for aloud voice or a thundering piece of machinery won’t be rightfor hushed footfalls in a library or the quiet chirps of birds inthe trees. Turn up the gain too high and you may end up withhiss from your pre-amps, particularly on more budget hardware,as well as audio you simply don’t need, placingthe listener actually up a tree with the birds.Use your ears (and a decent set of headphones) tohelp set the level, rather than relying on a meter.It’s unlikely the finished audio will ever be playedback above its “natural” level, so this should bewhere you record. The sound should be at anatural level.Jerry Ibbotson, Media Mill and Audio Media ContributorMake Time For Wild TracksWithout overstaying your welcome with theDirector and crew – try and get as manyWild Tracks, atmosses, and wild dialoguelines as you think might be needed tomake the scene cuttable. Make a list ofwhat you need, and let the first AssistantDirector know in advance as early as possibleas to what you might need, and whatthe order of importance is. It may well bethat they have no time for any WTs, but youcan but ask. Don’t take offence if you aregiven no WTs, remember that a regular TVdrama crew can cost anywhere upwards of£25 per MINUTE to keep on the road, so itis perfectly possible that your WT is ‘simplynot worth it’.Simon Bishop, Production Mixer/Recordist, AudioMedia Feb 2010Pretty PatternWhen recording (interviews, field recording, etc), it’s always important to considerthe optimal microphone pickup pattern. Cardioid patterns are the most effective atisolating the sound source and eliminating background noise. An omni-directionalpattern will capture all sound in a 360° field, which is great for many uses, but itcan also introduce unwanted background noise. Figure-of-eight patterns capturesound only on the left and right side, while rejecting sound from the front and rearof the microphone. This could be useful for a stereo image or for interviews (theinterviewer speaks into the left side, the guest speaks into the right side).Sean Karpowicz, Product Specialist, GCI-Technologies (Gemini, Cortex, iKey)Get Your Kit TogetherYes, this sounds obvious but it’s easy to assume that yourkey equipment is in the bag/case/pocket simply becausethat’s where it always lives. But life’s not always sopredictable.I remember going to record a rally car several yearsago, only to find an audio team from a rival company,based in Sweden, were also there. It turned out thatthey’d flown in from Stockholm but had managed toleave their microphone windshield behind. Here they werein jolly old England on a pretty blustery day with nothingto cover their mic. Chances are their sound guy sworeit had been in the kit bag the night before.Their producer probably did a fair bit of swearingtoo, when they arrived back in Sweden with atotally useless recording.It’s far better to be a bit retentive and check yourbag three times before you jump in the car, than arriveon location and find you’ve left all your mic leads onthe desk.Jerry Ibbotson, Media Mill and Audio Media ContributorSmall Can Be BeautifulIn the past few years there’s beensomething of a revolution in the worldof recording devices.I’m not so much talking about the top-endlocation recorders, though there are somestunning new machines coming out all thetime. I mean the type that can slip intoyour jacket pocket and be taken out andabout on the off-chance that you mightfind something worth recording.Three years ago, when I was testing theMarantz 620, a recorder the size of a fagpacket, I decided to take it with me on atrain journey. As it happened, amagnificent steam train pulled up on aneighbouring platform at York.The Hogwarts Express no less (I kid younot). The Marantz may not have been myfirst choice to record something like thisbut it did a brilliant job, including gettingsome lovely “toots” of the whistle, thanks toa bit of sign language aimed at the obligingdriver. Many of these devices can handle94K 24Bit recordings and are capable ofridiculously good quality. And there aretimes when a recording on a hand-held isbetter than no recording at all.Jerry Ibbotson, Media Mill and Audio MediaContributorTECHNOLOGY FOCUSSound-Link is a UK-based distributor and dealer that specialises exclusively inmicrophones for acquisition, professional quality microphone preamplifiers,room & speaker calibration, monitor controllers, and reference-standard monitorloudspeakers.Soundlink believes that whatever creative technology you use for recording and mixing,you need to be sure that the acoustic sources you acquire are not compromised, andthat you can listen accurately to your work toensure that you always deliver final mixes freefrom the fingerprint of your listening space.Its eclectic selection of what it believesto be the world's finest professional audioproducts includes:• Microtech Gefell microphones (formerly Neumann Gefell), with a full range of LMand SM microphones. The legendary Neumann M7 capsule is as popular today as everin the range of tube microphones.• Musikelectronic Geithain Active Reference Monitor Loudspeakers, which havethe unique cardioid bass emission characteristics that minimise the excitation ofroom modes, and use concentric point source drivers with superb time-alignmentcharacteristics.• Grace Design microphone preamplifiers, monitor controllers and precisionmicrophone mounts, from Boulder, Colorado.• Trinnov Audio, world leading professional room and loudspeaker correctiontechnology, with optional modules for stereo, surround and Loudness metering forbroadcast pre- and post-production to meet the ITU 1770 & 1771 requirements.www.sound-link.co.ukDon’t Play Back in SituThis may not always be possible of course, but it’s a goodtip I was given when I first started in radio back inthe Jurassic period. If you’re recording dialogue or speechwith background noise, playing back your recording inthat exact spot won’t give you a proper idea of how clearyour voice is. Even with a decent set of headphones, the“live” background noise will work its way into your earsas you’re listening to your recording. The result is thatyou might think you’ve got a great interview or lineof dialogue when in fact you haven’t. Yes, logically itshould be the other way round but I’ve had cases where,after getting back to base, it turns out the voice ishardly audible above the environmental sound.Find somewhere quieter, even if it’s just another roomor a cupboard, and listen to it there. Better to re-doyour recording with the mic a bit closer or in adifferent spot, than end up with something unusable.Jerry Ibbotson, Media Mill and Audio Media Contributor40AUDIO MEDIA AUGUST 2011

31 STCONFERENCEOctober 20-23, 2011EXHIBITSOctober 21-23, 2011Jacob K. Javits Convention CenterNew York, NYAES CONVENTIONwww.aes.org

on stage, on airIt’s everything live – from the stage to FOH,and onto the airwaves. This high pressureenvironment requires some resourceful thinking.There’s A Place For ItCarefully consider personal mic position. Where you put the mic in relationto the mouth can make a significant difference to the sound. Too close tothe mouth and you’ll suffer from exaggerated dynamics, an unnaturalsound, and the risk of capsule overload. Too far from the mouth and you’llpick up more room than voice, making gain before feedback a potentialissue. Also, make sure you have a plan in place to make sure it stays there.Often the slightest change in mic position is enough to change the tone ofa vocal substantially. Although surgical staples are not endorsed by Equity,a liberal quantity of tape, elastic, and wig grips can help to ensure themic stays firmly anchored.Gareth Owen, Theatrical Sound Designer, Audio Media Feb 2010Transmitter PlacementIf you plan on using a beltpack transmitter, placementon the body is important. Generally, clip itto the belt over a rear pocket for men or ontothe rear waist of a skirt for women; then coverit with a jacket. Make certain the antenna is notin contact with the presenter’s skin, as this maynegatively impact RF (radio frequency) transmission.Next, the receiver audio level should be setproperly for whatever is following it – usually anaudio mixer.Karl Winkler, LectrosonicsCue One ReadySet up your system first – make sure that the sound atthe mixing desk is representative of the sound in the restof the room. There is no point busting your gut to get thevocals sounding right at the console, only to discover thatthey sound rubbish everywhere else.Gareth Owen, Theatrical Sound Designer, Audio Media Feb 2010Light As AirOver at the drums (on the GreenDay tour), a Telefunken M216 canbe found overhead, placed on alighting stand put into service tohold mics instead. That’s not theonly makeshift miking arrangement,however; all the mic cymbalclamps were made out of partsfound at truck stops. “It’s for thetruckers’ aerial antennas thatclip onto their rearview mirrors,”Lemoine explained. “It’s the samethread pattern as the microphoneclip, so I got a bunch of them in atruck stop and it works perfectly.Don Veca, Audio Director, Dead SpaceKevin Lemoine,FOH Engineer for Green DayAudio Media, December 2009Theatre Voice:What’s The Use Of Wond’rin’?Have a clear goal. What are the parameters ofthe show? Are you aiming for vocals that soundnatural and un-amplified? Does the Directorwant a close mic’d ‘on the TV’ sound? Is theMusical Supervisor an old rock and roller wholikes punch and proximity? Knowing these thingsbefore you start a six-hour sound check can saveyou a whole load of grief in the long run.Gareth Owen, Theatrical Sound Designer,Audio Media Feb 2010Be PreparedMake sure all backup wireless transmitters areset to the correct channel before the show to ensurequick guitar and transmitter changeovers.Don Boomer – Wireless Sales Engineer, Line 642AUDIO MEDIA AUGUST 2011

on air, on stageOne, Singular Transducer…One of the great skills of mixing a musical is the ability to line-by-line mix.This is where the sound operator follows the script and pushes the mic faders upand down in relation to what the cast are supposed to be saying at any giventime. This theoretically means that during a dialogue scene there is only ever onemicrophone on at any given time. Dramatic improvements in your vocal sound arepossible here as you end up with only one omni-directional microphone picking upthe sound of the room, PA, monitors, and stage, rather than forty.Gareth Owen, Theatrical Sound Designer, Audio Media Feb 2010Gain Vs. TrimWhen using a digital console andwanting some of that warm colouration,turn up the analogue gain, and back offthe digital trim to retain a useable gainstructure through the console.Richard Ferriday, Brand Development Manager,Midas and Klark TeknikThe... Right...De.... LayCalculating delays in air iseasy… The speed of sound isaround 343m/s, which is convenientlyclose to 333m/s, sosound travels roughly 1,000mevery 3s, or 1m every 3ms.Simon Woollard, ProductSpecialist, Test & Measurement,Prism SoundGive Voice A ChanceTECHNOLOGY FOCUSSennheiser’s 2000series of wirelessmicrophones andin-ear monitor systemsis a firm favourite fortheatre applications.The new Channel 38compatible 2000 seriesGBw range varianttunes between 606 and678MHz inclusive.At the heart of the 2000 series is a true diversity receiver,available as a 19-inch rack mount unit with single channel (EM2000) or twin channel (EM 2050) design. With multiple UHFfrequency ranges, each with a switching bandwidth of up to 75MHz, the range offers a high level of flexibility.The system saves time during set-up by automaticallysynchronizing frequencies via an infrared interface. An integratedantenna loop-through enables systems of up to 16 channels to beset up without an external splitter.www.sennheiser.co.ukAM Be GoneI was in Mexico city and had abig problem with local AM radiostation interference, and the onlyplace the interference could get inwas the stage patch. It was evenpresent on vocal mic inputs.The local PRG PA guys showed mea trick I had never seen before.If you put an extra mic lead, stillcoiled up, at the source end of theoriginally run lead, the interferencedisappears. I thought this was acool thing for everybody to know.I’m sure most of you have beenthere with this problem or will be.Big Mick Hughes, c/o Midas and Klark TeknikIf you are short of time doing a soundcheck or settingup the PA – for Pete’s sake don’t start with the drumkit (AKA ‘Shed-building’). Get the centre/main vocalmic up and EQ it for monitors and FOH till it’s loudand clear. No one’s going to thank you for a stunningdrum sound while the artist’s voice/lyricsremain buried!Leon Phillips, Product Manager, Allen + HeathFitting PersonalsSpending a few extra minutes properly fitting the microphoneeliminates problems during the presentation. Position the lavalieremicrophone on the chest 8-10 inches from the mouth. Secure thecable inside the shirt or jacket with tape to minimise cable noise.Always point unidirectional lavalieres directly at the mouth –thoughtfully designed clips should make this easy for you on anywardrobe. Position the earset mic roughly 0.25 inches behind thecorner of the mouth when the speaker smiles. Any closer may resultin breath pops. Use a collar clip to route the cable into the shirt whileleaving some slack to facilitate head turning.Omer Inan, Countryman AssociatesSub CombosDave Rat developed two new subwoofer combinations(for the Blink-182 reunion tour) with Scott Sugden,L-Acoustics’ technical support person. The imposingVortex arrangement, used in arenas, stands almost likea tiny Stonehenge, with four stacks of three SB28s setup in a square, complete with floor frame and truckingstraps around them to keep the stacks from blowingapart. Working best away from walls, each stack blastsinto the side of the next stack, except the outermost onewhich faces the audience; by using time offsets rangingfrom three to 7.5 milliseconds, Rat found the configurationcan provide increased LF coverage to arena sidesanywhere up to 270 degrees, while getting cancellationon stage.Back In A Blink, Audio Media, January 2010What’s My Motivation?Use your ears, not your ego. Does a vocalactually need particular EQ or dynamics?Or are you just putting them inbecause there are people watching overyour shoulder who think you should be?Keep EQ as shallow and as narrow aspossible. If you find several narrow cutsvery close together, try replacing withjust one cut wider Q. Don’t be swayedby pretty visuals on digital consoles –use your ears to EQ and don’t worryabout what it looks like on the screen.Gareth Owen, Theatrical Sound Designer,Audio Media Feb 2010Group HugIf you have the kit available, bounce theperformer vocals through different groupEQs. Try to have a different group EQ forgirls, boys, handhelds, etc. You will findthat many of the offending frequenciesin a vocal sound are common across alltwenty girls. These can be notched out inthe group, leaving channel EQ for dealingwith specific individual problems.Also consider that the frequency youare hearing could be common across thesystem and you just didn’t notice itduring band sound check. The system EQshould be your port of call here.Gareth Owen, Theatrical Sound Designer,Audio Media Feb 2010AUDIO MEDIA AUGUST 201143

IREMOTE DIAGNOSTIC SUPPORTI / O PAT C H I N G & D E S K C O N F I G U R AT I O Non theair, on stageDominant StringsJerry’s guitar is so massive – melodically,it’s the whole band besides thevocals. Will’s tone, which is capturedby a Palmer PDA-09 and a Heil PR 30,is a little more of a rock and roll tone,while Jerry’s tone errs more on theside of a metal tone. Will is straight upthe middle when he plays, but Jerryis really wide stereo, because in 50 or60 percent of the songs, it’s just oneguitar. Jerry has four guitar lines, twoPalmer PGA-05 lines and two Heil PR30 lines, and those combine to makeone guitar sound. That one guitar soundgets panned to one side, and that samecombined guitar sound gets panned toone sound and delayed. It’s an age-oldtrick, but it sounds huge.Tom Abraham, FOH Engineer, Alice in ChainsAudio Media, February 2010Wireless WisdomWireless microphones have more and more becomethe responsibility of the monitor engineer. It isimportant to understand antenna placement – line ofsight to the talent is best, which usually means gettingthe antennas up above head height. Understandcable losses – you ideally want unity gain betweenantennas and receivers. Only use an RF amp if youhave more than 4dB of loss through your cable –any gain stage can add noise and potential intermodproblems. Frequency coordination is critical forflawless performance. There are software packagesavailable from free to about US$600 that help agreat deal in accomplishing this goal. Have a plan A,B, and C, and be ready to adjust to any changes ata moment’s notice.Karl Winkler, LectrosonicsCompress To ImpressRather than just being useful for ‘level housekeeping’,compression has much more musical use than it is oftencredited for.Ben Hammond, FOH engineer, The Blackout. C/O Audio-TechnicaKeep It RealMake sure you are EQ’ing theright thing. Before sound check,make sure any channel or groupdynamics processors are switchedoff, particularly any dynamicEQ or compression. Once you havea vocal sound that works tonally,then you can add compressionand dynamic EQ to move itfrom good to great.Gareth Owen, Theatrical Sound Designer,Audio Media Feb 2010Theatrical AuditionsGet the sound right at source.There are lots of different types ofminiature microphones. If you havethe resources, try different mics ondifferent cast members to see if theysound better with any particularmake or model. The mics themselvescome with different lengths of capsto adjust the high-end presence. Experimentwith these before jumpingfor the EQ.Gareth Owen, Theatrical Sound Designer,Audio Media Feb 2010Balanced ViewIf your cable runs are only a few metres long,unbalanced versus balanced audio doesn’t makea lot of difference, providing you’re careful toavoid earth loops, which well designed equipmentwill help you achieve.JoeCoWireless GainProper gain structure is just as important to a wireless microphone setup asit is for any other element of the sound system. Start with the transmitter andset the gain so there is adequate modulation level (the audio meter showsgood movement).Karl Winkler, LectrosonicsAPOLLO, FROM CALREC.FORM AND FUNCTION, SEAMLESSLY MATCHED.LOW POWER CONSUMPTIONCLEAR AND EFFICIENT METERING. TFTS. FULLY CONFIGURABLE. SEAMLESS THIRD-PARTY METERING. COLOR CHANGING POTS TO DISPLAY FUNCTION. INTEGRAL 8192X8192 HYDRA2 ROUTERPutting Sound in the PictureRESPONSIVESLEEK MODERN ELEGANTMAINS, GROUPS, AUXES, TRACKS, INPUTS, APFL, METER SELECTORS, CRLS, MIX-MINUS. LOW HEAT GENERATION. COMPACT DSP. ASSIGNABLE OR IN-LINE CONTROLLEXIBLE CO N SOLEEG NSPILL CONTROLHYDRA2OFFLINE CONSOLE SET UPO DERN. RESPONSIVE, SCALABLECONTRO LA L L I / O N E T W O R K E D O V E R H Y D R A 2 V I A A R A N G E O F H Y D R A 2 I / O B O X E SToday’s broadcasters need more and more audio channels at ever-higherresolutions, more power to handle this increased channel count and moreergonomic control surfaces to manipulate them.Naturally, Calrec has the answer.With the same levels of reliability for which Calrec are world-renowned anda remarkably intuitive control surface which still manages to add enormousflexibility, Apollo is nothing short of revolutionary. Able to operate at multiplesample rates, Calrec’s Bluefin2 DSP engine equips Apollo with more than1000 channels for 5.1 Surround production and its internal 8192 ² Hydra2router turns the console into a powerful networking tool.The world’s most successful broadcasters rely on Calrec consoles.Apollo is the first of Calrec’s new generation.LOW HEAT GENERATION. COMPACT DSP. ASSIGNABLE OR IN-LINE CONTROL.SINGLE 5.1 CHANNELS WITH ELEGANT SPILL CONTROLPOWERFUL SCALEAB LELOW POWER CONSUMPTIONINTUITIVE CONTROLcalrec.comCOLOR CODED CONROL CELLSAPOLLO

on air, on stageBig SqueezeRather than just being useful for ‘level housekeeping’,compression has much more musical use than it isoften credited for.Everything starts with carefully chosen microphonesand placement of course – and obviously the rightsource sound is of paramount importance. Don’tstand at front of house endlessly hacking at the EQ;with the right mics, a well-tuned PA, and a goodstage set-up you should be able to dial in your gains,push the faders, and be 90% of the way there.Compressors’ attack and release controls hold the keyto the BIG drum sounds we’re all now accustomed tohearing. Using these controls to shape the sound cancreate an illusion of power in your mix, rather thanhaving to over-EQ and push things hard resulting ina loss of headroom.The tools we have at front of house are sweeteners,not a back line tech’s ‘get out of jail free card’.Ben Hammond, FOH Engineer, The Blackout,c/o Audio-TechnicaDial 0800 PAEverything starts with carefullychosen microphones and placementof course – and obviously the rightsource sound is of paramount importance.Don’t stand at front of houseendlessly hacking at the EQ; withthe right mics, a well-tuned PA,and a good stage set-up you shouldbe able to dial in your gains, pushthe faders, and be 90% of the waythere.Ben Hammond, FOH engineer,The Blackout. C/O Audio-TechnicaVocal TrickFor vocals I alwaysuse a Manley VoxBox.Not only does it havea great pre-amp,compressor, and EQ,but what makes itso stand out is itsfrequency-dependentcompressor. For livesound this is a hugeadvantage. You cancompress only the 2-3k regions in the vocal through thePA, so when you mix loud, instead of the compressorbecoming more aggressive, the more you compress, thesofter it gets – and your voice is still where you want itto be in the mix.Patrick Demoustier, FOH EngineerAudio Media, May 2010iLive ExtraiLive Mixing System: If you are called on to providebroadcast mic splits and don’t have additionalactive/passive stage-box outputs, you can addin a second or third MixRack fitted with

on air, on stageBoom In The RoomThe cast microphones areDPA booms hidden in thehair. We’re using them sowe don’t have to use tape.Something a bit different.They’re rigid, and wedon’t have to put tapeon that keeps coming off.Because of the rigidmicrophones, we can everso slightly bend capsules offhair and they stay like that.Russell Godwin, Sound Operator,Hairspray UK National TourAudio Media, June 2010Dress RehearsalIn theatre, avoid hats like the plague.The costume designer is your best friend. Orif they aren’t, they really need to be. Hatson actors’ heads, particularly hats with largebrims, are the quickest and easiest way todestroy any chance of a good vocal sound.As mics are often hidden in the hair, thebrim of a hat creates a cave type sound overthe top of the mic. You can EQ your way outof this but its never pretty. If you have todeal with hats, try to get the mic as far outfrom under the brim as possible.Gareth Owen, Theatrical Sound Designer,Audio Media Feb 2010Personal Mic ChoiceEXCELLENCEIN THE FIELDFM-4 : FM-3 : FM-1Portable Location Mixers & PreampRobust, high specification, professionally engineered portable mixers,(and new FM-1 mic preamp), specifically designed for location film &TV production, electronic field production and ENG applications.An investment in a quality mic pays handsomelyin terms of performance and productdurability. Flat frequency response deliversthe most control and the least feedback, particularlywith the automated mixing systemsdeployed in today’s presentation venues.For lavaliers, field-adjustable high frequencyresponse helps ensure a high level of speechintelligibility. For earsets, look for one that’ssmall, lightweight, resistant to perspiration,and comfortable so as not to be distractingduring use.An omni-directional microphone tends to bemore forgiving in terms of placement, offersflatter frequency response, and is generallyeasier to use. However, a unidirectionalmic (hypercardioid/cardioid) provides moreisolation, allowing placement farther fromthe source. For a unidirectional lavaliere, gowith a hypercardioid, and carefully check itsoff-axis performance to avoid degraded tonalquality when the head turns.Omer Inan, Countryman AssociatesADDA BitWhen using external analogue inserts on theinput channels of a digital mixer, set the console’sdelay management system to apply the additionallatency of a second AD-DA conversion to allof the other input channels – this keeps all theaudio perfectly in phase.Richard Ferriday, Brand Development Manager, Midasand Klark TeknikFM-1Portable Mic Pre-Ampfor ENG ApplicationsA high quality mic preampwith powerful microphonegain limiter. Compact, ruggedand simple to use.FM-4: 4 Channel Mixer with EQFM-3: 3 Channel Mixer3-2-35 Musashino, Akishima, Tokyo, Japan 196-0021 Email: info_sales@fostex.jp www.fostex.comMeet The CastKnow what the cast of a show sounds like beforeyou mic them, because everyone’s voice is different.They have different accents, different inflections,different tones, different timbres, especiallywhen they are acting. Before leaping in with theEQ, make sure you know how each individualmember of the cast sounds naturally. Talk to thembeforehand – any inane old subject will do – buttake note of oddities in their voices. It can saveyou a whole load of grief in the long run.Gareth Owen, Theatrical Sound Designer,Audio Media Feb 201046AUDIO MEDIA AUGUST 2011

on air, on stageCamera ComsWhen integrating a partyline intercom with a camera’sintercom, the best solution is, without exception, to accessthe intercom circuit as a four-wire circuit and then useone of the 2-to-4 wire interfaces to convert to the twowirepartyline, much like Clear-Com’s EF-701M (singlechannel) or the IF4W4 unit (four individual channels).When ordering a new camera, plan ahead and select acamera with a four-wire intercom connection.Most higher-end cameras provide this as standard oroffer it as an option. On lower cost cameras, a four-wireconnection is frequently not available. If a four-wire connectionto the camera intercom is not available, the nextbest choice is to interface to the headset connection onthe camera’s CCU/DCU.Judy Cheng, Director of Marketing, Clear-Com (an HME Company)BassI don’t want to put too much bottom end in the PA when I tune it, simplybecause I never want to be pulling bottom end off a kick drum if I can help it.I always want to be boosting its lows about 6dB rather than cutting low frequenciesout. To make sure of this, I always balance my PAs to ensure there’snot too much sub content. That way, if the bass is too subby, it doesn’t automaticallythen follow that the PA is too subby. If it did, I’d have to start rippingbass out of the system, and the results are nowhere near as musical.Bruce Johnston, Live Sound Engineer, Audio Media October 08SuperThree TimesIf it’s important, triple-check.Double-checking is never enough.David Mathew, Audio PrecisionAlways wear a long black cape when mixingat festivals. It keeps you dry, and, If you’renot using a Midas digital console, you canthrow it over the console and yourself, andso still see the screens.Richard Ferriday, Brand Development Manager,Midas and Klark TeknikCall 01792 702 701 to arrange a trialwww.rolandsystemsgroup.co.ukTHE NEWM-480 V-MIXERFROM ROLANDIntroducing a 60-channel console built around a world-classmixing engine. The M-480 combines power and flexibilitywith a simple, intuitive user interface. And for anyone in thehire or rentals business, you’ll get a better return as it’s a lotmore affordable than you’d imagine.SELECTED SySTEM SpECIfICATIonS> InpUT: 48 channels + 6 stereo returns> BUS: L/C/R, 16 AUX buses, 8 matrix buses> Channel input delay: 60 Channels> full 4-band pEQ / 48 Gates, 48 compressors and limiters on outputs> output delay: 27 (all output buses)> Effects and GEQ: six stereo effects, twelve GEQ processors> CASCADE: connect two or more M-480 consolesRoland’s coRe etheRnet-based technology enablingthe Rapid, efficient tRansfeR of pRistine digital audios-4000 seriesDigital snakes-1608stage Units-08088x8 i/o Units-4000MreaC Merge Units-MaDi reaC BriDges-4000D sPlitterM-48Personal MonitorAUDIO MEDIA AUGUST 2011 47Roland OrangePANTONE Color: PANTONE 151BlackW

on air, on stageTECHNOLOGY FOCUSLive products from Roland use REAC (Roland EthernetAudio Communication) for low latency, high qualitydigital audio transfer. REAC offers many advantages,including multi-channel transfer with high quality audio,transferring 24-bit uncompressed multi channel audio withvery low latency. REAC avoids typical analogue transferproblems such as signal quality degradation, hums andbuzzes, and offersdesigners andintegrators morefreedom for cableplacement as REACtransfer occurs overCat5e cable and is immune to externally induced noise.The system uses pre-amps on stage to boost the input signalright next to the source, then converts it into a lossless, 24-bitdigital signal that can be transferred without degradation,eliminating the need for direct boxes. By connecting a PC tothe REAC split port on the back of the M-400 V-Mixer usinga Cat5e cable users can take inputs and buses from and to thestage in their original digital format for up to 40 channelsof recording.www.roland.co.ukLavalier Or Earset?Lavalier mics affix easily onto one’s tie, shirt, or lapel, and many presentersare used to the process of fitting them. Unfortunately, a lavalier on thechest is far from the mouth and stays still when the head turns, oftenresulting in inadequate and inconsistent gain. For a presenter likely to beturning frequently (as in gesturing to a screen image), the lavaliere maynot be ideal.By contrast, earset mics sit right at the mouth, providing the highestgain-before-feedback. Though fitting on the ear takes more care than onthe chest, positioning remains constant relative to the mouth—this enforcesconsistent level, even when the head turns. As high-quality earsets are small,unobtrusive, and can be purchased in colors that blend to skin tone, they areessentially invisible.Omer Inan, Countryman AssociatesVirtual Sound-CheckThe recent explosion in popularity of MADI in live, broadcast, and studioapplications can be attributed to a variety of practical, feature based and financialreasons. But a new technique that has grown from the format’s bounty of versatilityis the “Virtual Sound-Check”.By recording a band’s first gig of the tour withevery mic/line going down to individual tracks(up to 64 with MADI), you can then send therecorded channels back through your PA atthe next sound-check and tweak EQ, FX etc.for as long as needed without the band beingthere. Paul Ramsay (FOH The Who, Skunk Anansie)was the first to introduce this to me andhe uses an RME MADIFace (or two MADI PCICards with The Who), a Mac Powerbook, andDiGiCo console. This also allows you to recordgigs for archiving and commercial purposes.Dave West, Synthax Audio UKDown To EarthSome people have died,sometimes live on stage, becausesome idiot decided itwould be a good idea to liftan earth to get rid of amains hum loop. Disconnectthe screen on the offendingaudio lead instead!Andrew Graeme, The Byre RecordingStudio and Audio MediaContributorPOP ConcertWhen using a Midas digital console for mixing monitors, name the POPulation groupsas the musicians. That way, you can have each musician’s primary channels only onetouch away.Richard Ferriday, Brand Development Manager, Midas and Klark TeknikA Gang Of EQLiving ApartAvoid mounting transmitters andreceivers in the same rack.Even though your IEM transmitter ison a different frequency than yourwireless mic receiver, it may interferewith it because of its proximity.The frequency of a wireless mic shouldbe thought of as the ‘tip’ of a pyramid.If a transmitter’s antennas are tooclose it will bleed into an unintentionalreceiver. Solution: use remote antennasand keep them separated.Don Boomer – Wireless Sales Engineer,Line 6Drum AttackCompressors’ attack and release controls hold thekey to the BIG drum sounds we’re all now accustomedto hearing. Using these controls to shapethe sound can create an illusion of power in yourmix, rather than having to over-EQ and push thingshard resulting in a loss of headroom.Ben Hammond, FOH engineer, The Blackout. C/O Audio-TechnicaIn a festival situation or where microphones are beingmoved around a lot, gang the graphic equalisersacross the front line stage mixes (using the digitalconsole). This way, any problematic frequencies aredealt with simultaneously in one fire-fighting action!Leon Phillips, Product Manager, Allen + HeathUse, Don’t AbuseThe tools we have at front of house are sweeteners,not a back line tech’s ‘get out of jail free’ card.Ben Hammond, FOH engineer, The Blackout. C/O Audio-TechnicaMulti-Track GiggingFace The FrontThe main PA (on the Pyramid Stage at Glastonbury) was made up of two 16-deep hangsof Synco by Martin Audio each side of the stage, augmented by 35 Synco WS318Xtriple eighteen-inch sub-bass cabinets, with one rear-facing cabinet placed out of phaseand precisely delayed between every pair of forward facing cabinets. This new cardioidsub-bass array design effectively cancels-out rearwards bass spill, sparing the stage andbackstage from unwanted sub-bass while improving directionality.Working The Festival Field, Audio Media, September 2009A stereo live mix can often sound disappointingoutside the venue and potentially limits your optionsfor making any necessary improvements.Capturing a multi-track of the performance, with theinstruments and voices on individual tracks, givesyou much greater flexibility when it comes to theproduction stages, allowing the audio to be mixedfor maximum impact without losing that live feel.Recording the multi-track audio in a universal formatsuch as Broadcast WAV has further advantagesduring the file import and mixing stages, as thefiles are time stamped and will automatically cueup, ensuring perfect synchronisation of tracks onceimported into a DAW.JoeCo48AUDIO MEDIA AUGUST 2011

Bigger picture | Brighter ideasThe world’s number oneshowcase for entertainmentand installation technology• 300 exhibitors• 500 new products• Four days of freeeducation & learningThere’s no better place tobe this September!Book online now and save50% off the ticket pricewww.plasashow.com

itthedepartmentLet’s get micro. Computer tips, DAW guidance,and digital dodos are all to be found in theIT Department…Nippy In NuendoRemember how you did all your editing on yourMFX3 with a jog wheel and how fast that was?Nowadays it’s mostly hot-key smashing and mousewiggling, but if you prefer to try out an alternativesolution, combine Nuendo with a dedicatedhardware controller, like the ones from Avid/Euphonix, WK Audio, or Smart AV. With thesecontrollers you can set up so called “wheel modes”,which give you the ability to move (horizontallyand vertically), trim (head & tail), and fade(in & out) an audio event. You can also zoom,select tracks, or adjust the clip volume. Set up somekey commands for searching and importing filesfrom the Nuendo MediaBay and you get yourworkflow back, completely without the restrictionsthose old systems had.Sebastian Rodens, Sales Engineer, SteinbergSimplify Your AutomationAfter a conform (either automaticor manual) consider thinning automationto reduce the number ofbreakpoints to repair. Virtual Katy’smethod of copy and paste conformingmeans that breakpoints add upquickly and this allows them to besmoothed out, which will speed upyour ‘fix’ process.Ceri Thomas, Independent Sound Editor,c/o Virtual KatyRoute To SuccessUse portforward.com to helptroubleshoot router/firewallproblems – almost every routeris listed here with a guide. Ifyour target application is notlisted use the ‘default’ guideso determine how to go aboutport-forwarding your particularrouter. See the manualor guide for your software toknow what port and type ofport needs to be configured.Source ElementsA Fuller ConformUse clip name rather than video bin for conform analysis:As of version 3, VK Premium now allows analysis ofclip name data. Once cleaned up using Regular Expressionsthis provides a very effective way of shot trackingacross multiple versions of a reel. If a shot is replacedwith VFX, even if that’s for lightening the picture,many conform programs lose track of it and won’tconform the existing material even though no sync haschanged. This process stops that from happening andwill give you a fuller conform.Ceri Thomas, Independent Sound Editor, c/o Virtual KatyImport-ant Nuendo TrickWhat to do if you want to bring in some more files andsynchronise them with the existing sound effects? Lookup the track with the existing sound SFX, and createa new audio track at the same location (Project > AddTrack > Audio). Import the files you want to align tothe existing SFX, and select the sound file you want tosynchronise to. Now hover with your mouse over the newfile and hold “Command” on Mac OS X and “CTRL”on Windows. The mouse changes to the alignment tool,indicating how the file will be aligned. Position themouse pointer to the head or the tail of the audio fileto align to this event boundary. Press “SHIFT” withthe modifier to align to the tail and “ALT” to makea copy. Set a snap point in the file to align to the snappoint, unselect all events to align to the cursor.Sebastian Rodens, Sales Engineer, SteinbergSource SyncWhen doing sync-related tasks such asusing Remote Transport Sync with Source-Connect, if you seem to have timing issuescreate a new session. This fixes most timingissues. You should also watch your sessionstart times. We recommend creating newsessions with a session start time of zero,song start time at bar one, note one, andavoid tempo maps where possible. If youneed to use non-standard sample-rates,tempo maps or VSO sure these settings areexactly the same on the computer you aresyncing with. Ideally create a session on oneside with the settings you need and send itto the other computer so you match.Source Elements50AUDIO MEDIA AUGUST 2011

it thedepartmentiLok License CheckWhen launching iLok-protected software or plug-insand you see the Buy or Quit screen, check that the correctversion has been installed (see the iLok window andcompare to the license name you have in your iLok.comaccount), that your valid license has been downloaded toyour iLok and that the latest iLok drivers are installed.Source ElementsInstalling With iLok (1)If your Mac installer fails with a warning about‘InterLok component’, go back and start the installeragain until you can reach the Customise screen anduncheck ‘install iLok extensions’. Then go ahead anddownload and install the driver extensions from iLok.com. You may need to do this because the softwareinstaller does not contain the most recent iLok drivers,or an existing issue has meant the software installercannot complete. Using the iLok driver installerdirectly will resolve most related issues.Source ElementsFAQ: PropellorIf your installer fails with “Files could not be written in the Application Support folder”, you may need to back-up yourPropellerheads Software folder in Library/Application Support, run the installer, and move any files back again insidethe folders. This may happen because the ReWire components are written with Admin permissions.Source ElementsTECHNOLOGY FOCUSPrism Sound’s dScope Series III is a powerfuldigital audio analysis platform that couplesa Windows application with an externalaudio interface processor for equipment-undertestconnections. It is highly programmable,making it useful for production test automationand for specialised custom audio analysis. It canalso be automated from a wide range of thirdparty software using ActiveX controlsThe dScope Series III is available in severalconfigurations, including two analogue-onlyversions aimed at engineers and productionline managers who are primarily concernedwith audio analysis in the analogue domain.These variants give customers access to all thepower and flexibility of the dScope Series IIIaudio analyzer platform, at a much lower cost.www.prismsound.comA Sure LockNehalem and newer Mac Pro machines often do not locktheir digital output to the clock they are receiving ontheir digital input e.g., when going out of the opticalport to your audio hardware. Use a third party audiocard/device instead of going directly via optical.Any USB or Firewire interface with digital I/O willwork well as a replacement.Source ElementsHeal A CopyAuto Heal a duped guide track:after a Virtual Katy auto-conform, tryduping one of the guide tracks thatyou have conformed and healingacross all edits. This will give a quickoverview of the ‘real’ changes thatneed to be made. Note that autohealing across edit tracks can haveunexpected effects that are tough totrack down.Ceri Thomas, Independent Sound Editor,c/o Virtual KatyBudget For Back-UpAll hard drives fail eventually, so youcannot spend too much money on areliable (and automated) back-upsolution. I finally coughed up for SynologyDiskStation at home and breathed asigh of relief when it completed its firstdrive image…Alex Theakston, Marketing Co-ordinator, SourceDistributionInstalling With iLok (2)If you use Windows and you buy an new iLok, make sureyou run the ‘found new hardware’ wizard to see the iLok.Otherwise you may find that Windows cannot recognisethis new dongle and your software will not launch.Make sure you restart (Windows) or logout (Mac OSX)after installing the iLok software for first time. The iLokdrivers need to be initialised and this will only happenafter a reboot or logout.Source ElementsAll-ControlSynergy is a multi-platformapplication that allows a singlekeyboard and mouse to be sharedacross multiple computers on thesame network. It is fairly difficultto configure the open sourcesoftware, as it requires a self-madetext-based configuration file andcommand-line execution. Howeverthere are free GUI equivalentsavailable, such as ‘SynergyKM’ forMac OS X, and ‘QuickSynergy’for Windows and Linux.Simon Haycock, HHBIT PhilosophyInformation doesn’t existunless copies are kept inthree different locations.Richard Wentk, Archiving And DataStorage, Audio Media February 2008AUDIO MEDIA AUGUST 2011 51

it thedepartmentThe Early BirdWhen resuming use of ISDN,Source-Connect or any remoteaudio connection after some time,always check your settings at leasta day before your connection.Your network settings or audiorouting may have changed sinceyou last used the connection andit will save you a lot of stress todouble-check as early as possible.Source ElementsHow To Tame A Bass NoteWhile many may think of the SonnoxSuprEsser as a de-esser, it’s got a fewother tricks up its sleeve. One of themis the ability to easily tame pesky bassnotes that stick out in a mix.Think about it; certain bass noteshave extra energy at particular frequencies.The SuprEsser, being a full-band dynamicEQ, will ‘suppress’ only that notewhen it plays and then immediatelyrelease it. The rest of the mix will notbe affected.On the graphic interface, begin bydragging the small yellow Central FilterDrag Handle to the frequency rangeof the note – visible on the graphicinterface. Then adjust the left and righthandles around that frequency as narrowor wide as you desire. Next, pulldown the Threshold Level Fader to setthe desired amount of reduction in thatband. Result – a smooth bass line.Your Friend, The ConsoleIf your Mac installer fails and youare not sure why, open the Consoleapplication in Applications/Utilities,and select ‘Show log list’ at thetop left. Scroll down to the ‘install.log’ under ‘private/var/log’ and youshould see some messages there thatwill help indicate what the problemis. This is really useful information tosend the manufacturer if you cannotresolve this issue yourself.Source ElementsTwo Become OneThere are two episodes of a show that theeditors wish to combine into one telefeature,reduce the length, and add new material.1. The picture editor digitises the completedshows as two clips.iLok.comWhen using iLok.com on Windows to install or modify your iLok licenses,make sure you use a browser that clearly prompts to enable the active-xcomponent. Currently Internet Explorer is the easiest to use on Windows.Firefox 4 is not supported at the time of writing.Source Elements2. He edits the new show, adding new material from the original andusing existing material from the re-digitised version.3. He then outputs EDLs representing the video tracks.4. The sound editor imports the EDLs into VK Premium Collection 3.0.5. He then uses the “send edl to change plan bin” command or button.6. He combines the two shows into one master session in Pro Tools or Nuendo7. He clicks the Conform button.The two shows are combined into one, and where there are holes, there is newmaterial. I used this in an actual situation where they thought it would take twodays to fix. Within an hour of starting we were smoothing out and integratingnew material into a new final mix. It saved both time and money.John McKay, Independent Sound Editor, c/o Virtual KatyThe Right ConnectionWhen using remote network connection tools such as Source-Connect or ISDN and you can’t hear anything, firstcheck the connection indicator to see if you are getting anetwork connection. For example, in Source-Connect if your‘Receive’ light is blinking it’s an audio routing problem.Source ElementsXY ControlIf you don’t own any bespoke controllers look at your current array of effectsunits, keyboards, drum machines, etc. The control surface of many of thesedevices are capable of sending MIDI data, and you won’t have to spend additionalmoney or take up precious studio space.Products with X/Y pads are great for controllingFX, and those capable of transmittingtouch enable you to not only vary two parametersbut also enable/disable the FX when thepad is touched. In a world of touch-controlleddevices, this is becoming a very natural wayof working.Ian Bradshaw, Korg UKEnlightened SpottingVideo Guide Track:When using an auto-conformprogram like VirtualKaty VK Premium, alwaysconform the previouspicture to allow for easyspot checking of shots.When doing this alsobe sure to take the videotrack ‘offline’ before conformingas this will speedup your conform.Ceri Thomas,Independent Sound Editor,c/o Virtual KatyIs Your Demo Down?If your software isn’t functioning properly when you have downloadeda trial, don’t hesitate to contact the manufacturer (usuallyby e-mail). It is in their interest to have their products work for youand will help you troubleshoot any issues.Source ElementsFuture ProofThe following should help make sure your projects can be useful in the future...• Consolidate and render all stems and tracks to single files as the ‘bare metal’ version of a project, which has the best chance of being read inthe future.• Use open cross-platform file formats like BWAVE.• Define metadata and naming requirements for all projects in your facility. Make sure they’re adhered to.• Copy and archive to LTO tape, ideally with at least one extra safety copy kept offsite.• Keep a watch on developments in future asset management technology – automated systems will make your content more valuable inthe future.Richard Wentk, Archiving And Data Storage, Audio Media February 200852AUDIO MEDIA AUGUST 2011

RAI AmsterdamConference 8-13 September : Exhibition 9-13 SeptemberThe IBCConferenceThe IBC Conference brings togetherindustry experts who present, debateand learn about content related technical,business and creative issues.Founded in 1967, the conference is wellrespected for its peer reviewed technicalpapers and conference streams guided byindustry experts.Whether it be content for broadcast, internetor mobile devices, today more than ever,the industry relies on successful interactionbetween technology, ideas, skills andbusiness. Recognising this changing worldof content, the IBC Conference presents abroad range of hot topic sessions acrossits six day, four stream, 60 session, 300speaker event.Be inspired at the IBC Conference. Hearthe industry’s leading speakers, stayinformed on the issues that matter to yourbusiness and maximise your networkingopportunities.For more information please visit:www.ibc.org/conferenceWe look forward to meeting you in Amsterdam at IBC2011for what is set to be another exciting event.IBC2011 Keynote speakers include:• Joanna Shields, vice president &managing director EMEA, Facebook• Sheikh Waleed Al-Ibrahim, networkchairman and ceo, MBC• Hiroshi Yoshioka, corporateexecutive officer and executive deputypresident, Sony Corporation• Neelie Kroes, vice president responsiblefor the Digital Agenda, EuropeanCommission• William H Roedy, former chairman andchief executive, MTV International• John Smith, chief executive, BBCWorldwide• Mainardo de Nardis, ceo, OMDWorldwideScan for moreinformationwww.ibc.orgIBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UKT +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E info@ibc.orgRegister now atwww.ibc.org/register

workbenchthePower PlayWant to get technical? Never happier than whenyou’ve got a soldering iron in your hands?The Workbench is for you...Slew Who Knew?Check to see if the power cord isplugged in. I know, it’s too basic:but I have solved major issueswith major engineers in majorstudios simply by looking behindthe machine to see aboutthe power.David Mathew, Audio PrecisionWhen you are testing or measuringClass-D amplifiers, you should use apassive switching amplifier measurementfilter between the amplifieroutput and the measurement instrumentto avoid slew rate limiting inthe instrument input.David Mathew, Audio PrecisionVoltages In DecibelsGolden rule: For voltages every 6dB increase doublesthe Vrms value, every 6dB decrease halves it.Remember that 0dBV is 1Vrms. Remember also that0dBu is close to 0.75Vrms (Trivia: this is the voltagerequired to dissipate 1mW into 600ohms and so fromrearranging P = V^2 / R we get V = sqrt(600 * 0.001)= 0.7746…. )So, as a close approximation…0bBV = 1Vrms+6dBV = 2Vrms+12dBV = 4Vrms+18dBV = 8Vrms0bBu = 0.75Vrms+6dBu = 1.5Vrms+12dBu = 3Vrms+18dBu = 6VrmsMark James, Hardware Design Engineer,Prism Media ProductsTrouble HalvedWhen troubleshooting a system, first divide itin half to find the fault. Then divide that half inhalf, and repeat, chasing the fault.David Mathew, Audio PrecisionDon’t. Just Don’tDanger! High voltages! Always remove all yourjewellery, rings and all, before you work on hotcircuits. And always keep one hand behind yourback – this prevents you from making anaccidental flesh circuit across your beating heart.David Mathew, Audio PrecisionNoise-Free FFTJitter MythologyIt is a common myth that using a super-low jitter external master clock will improvethe performance of your ADC/DAC. A well-engineered converter will perform as wellwith an external clock as with its low jitter internal clock. If it performs any differentlyat all when the clock source is changed, the converter is not behaving well, and,contrary to what most people believe, will almost certainly measure worse with theexternal clock (you will see/measure introduced intermodulation distortion productsas the PLL fails to reject the incoming jitter).Simon Woollard, Sales & Applications Engineer, Prism SoundYou can’t ‘see the noise floor’ in an FFTmeasurement; in other words, you can’tread noise directly from an FFT trace.Every data point needs to be added together(integrated) with post-processingtools to give you the total noise overthe audible band. The noise amplitudeof each FFT data point will vary as theFFT size increases or decreases, andthe data points represent smaller orlarger frequency ranges respectively.Be warned!Simon Woollard, Sales & Applications Engineer,Prism Sound54AUDIO MEDIA AUGUST 2011

workbenchtheTECHNOLOGY FOCUSTHD + EarsA THD+N measurement and a FrequencyResponse measurement will tell you almost allyou need to know, quickly. Listening will tellyou more, even faster.David Mathew, Audio PrecisionThe APx series is a high performance generation of audio analyzer from Audio Precision.Unlike other analyzers, APx has HDMI connectivity for Blu-ray and Dolby / DTS compliancetesting, and is capable of 1MHz FFTs at 24-bit resolution.The series includes the APx Bluetooth option, a solution for testing Bluetooth audio. A built-inBluetooth module talks directly to the analyzer, bypassing the need for PC based software, hardware orSRCs. All Bluetooth controls are integrated into the analyzer software. In addition to standard commandslike pairing or opening a connection, users can switch between profiles and roles, specify a custom deviceclass, connect with a preferred sample rate or codec, or force open a SCO without ringing.www.ap.comFuzz Box‘Distortion’, ‘Total Harmonic Distortion’, and‘Total Harmonic Distortion + Noise’ are oftenused synonymously, so be careful when interpretingdata sheets. Distortion could mean IMDand/or THD components. THD and THD+N aredifferent to one another, as THD+N includesnoise, whereas THD excludes noise.Manufacturers please take note!Simon Woollard, Sales & Applications Engineer, Prism SoundEasy On YourselfDo the really easy tests or fixes first, even if theydon’t make sense. Sometimes you’ll get lucky, at verylittle cost of time.David Mathew, Audio PrecisionInnies And OutiesOn an XLR connector remember that youwouldn’t want to touch a mic input as thiscould destroy your loudspeakers! That iswhy outputs are on male/plug connectors,and inputs are on female/sockets.Mark James, Prism SoundPro & LowConverting between units of % and dB in measurementslike THD+N etc is quite straightforward; afactor of 10 in percentage terms is equal to 20dB. So:0dB = 100%-20dB = 10%-40dB = 1%-60dB = 0.1%, etcSimon Woollard, Sales & Applications Engineer,Prism SoundTo get from dBV to dBu you just add 2.2, so for thestudio/consumer level lineup…-10dBV = -7.8dBu+1.8dBV = +4dBuSo the difference between the two line-ups is approximately12dB, whichever scale you look at!Mark James, Prism SoundJitter HitterMajor TomDon’t forget to make a solidground connection betweenyour device under test and yourmeasurement instrument.David Mathew, Audio PrecisionJitter is not an audible parameter, and it onlybecomes problematic when it reaches a DACor an ADC and the converter fails to removethe jitter prior to conversion; the result isintermodulation distortion. Extremely highlevels of jitter can also cause data errors atdigital receivers. Passing an AES3 signaldown a cable CAUSES data jitter, so evena ‘perfect’ digital signal will be jittery by thetime it reaches a receiver. Measuring jitter isuseful for tracking down interface problems,but vanishingly low jitter is not the holy grailin all aspects of digital audio system design,as it is impossible to eliminate in AES3interfaces. Jitter is therefore an extremelyimportant consideration in converterdesign though!Simon Woollard, Sales & Applications Engineer,Prism SoundSuspect SpecsIt is very difficult to determine whetherdevice A will sound better than device Bon the basis of the manufacturer’s datasheet alone. Lower noise, distortion,crosstalk, and frequency response irregularities,etc, are obviously better, but thechances are that, for example, a few dBof difference in THD+N at 1kHz will NOTbe the dominant factor in terms of whichdevice sounds better. There are manydimensions, and many more parameters,that manufacturers take into accountat the design phase, but datasheetsare usually very brief compared to themeasurements made in the lab, and aregenerally not terribly useful for makingcomparisons between devices (not leastas they are often measured under differentconditions).Simon Woollard, Sales & Applications Engineer,Prism SoundTesting, TestingRemembering the pinout for XLR cables/connectors is as easy as 1, 2, 3:1: X – Ground2: L – Live (+)3: R – Return (-)Really easy, and pretty obvious if you alreadyknow it, but until I realised this I was alwaysfumbling around for spec sheets when makingup cables.Simon Woollard, Product Specialist,Test & Measurement, Prism SoundAUDIO MEDIA AUGUST 201155

Est. 2000win!Each month, sE Electronics and Audio Mediaare giving away an sE 4400a microphoneto one lucky subscriber. All you need is asubscription to Audio Media magazine (digitalor print) – if you don't have one, completethis form or subscribe online at www.audiomedia.com. All new subscriptions willautomatically be entered into that month’sprize draw, and the winner drawn at randomfrom our complete subscriber list, contactedby e-mail and announced in the followingmonth’s magazine.”I've found the 4400a to be a hugely versatile mic –it's great for acoustic instruments, and I especiallylike it on drums and percussion. Its hyper-cardioidpattern is extremely useful on toms and snare as itcontrol cymbal spillage really well and delivers greatpunch and tone”Gil Norton: Foo Fighters, Pixies, Gomez, Feeder,Counting Crows, Maximo Park• 4 polar patterns • 10 and 20dB pad• 60/120 bass cut • Multi-function shock mount (patent pending)T&Cs1. Only one entry allowed per subscription/subscriber.2. Entry to the draw is only through subscription.www.seelectronics.comSound EngineeringSubscription Form To qualify for your free subscription you must complete all the questions below:1 JOB FUNCTION (please circle)A Managing Director/owner/corporate ManagementB Studio/facility ManagerCProducer/directorD Chief EngineerE Independent/freelance EngineerF Engineer/technicianG Sound Design/editor/mixerH Operations/production ManagerI ConsultantJ Sales/marketing/adminK Artist/musicianL Studio DesignerM Trainee Audio/Video ProfessionalN Other2 TYPE OF BUSINESS (please circle)A Commercial Recording StudioG Radio StationM Rental/hireSManufacturerB Project/private StudioC Audio/video/film Post ProductionD Audio/video/film ProductionE Broadcast ProductionH Live Sound ProductionI Contractor/installationJ Venue/auditoriumK Remote Truck/location RecordingN Acoustics/facility DesignO Multi-media/internet Web CreationP Record Production CompanyQ Corporate/government/telecommT Education/training FacilityU Media/industry AssociationV OtherFTv StationLMastering/replication/duplicationR Dealer/distributor/retailerXGames Audio3 FIELD OF WORK (please circle)A Audio Only B Visual Only C Audio and Visual4 PURCHASING AUTHORITY(please circle)A Authorise B Specify/recommend C End user only/none5 PURCHASE INTENTIONS 2011–12 (circle all that apply)A MicrophonesC DAW technologyE Monitors/ Headphones/ AmpsG Pro Video TechnologyB Processors/Plug-insD RecordersF Live Sound ReinforcementH ConsolesNAME .....................................................................JOB TITLE. .................................................................COMPANY .................................................................ADDRESS ..................................................................I M P O R T A N T :Sign here if you wish to receive AUDIO MEDIATOWN / CITY. ..............................................................COUNTY / STATE ...........................................................COUNTRY .................................................................POST CODE / ZIP. ..........................................................TEL. ...............................FAX ....................................E-MAIL ............................@ .....................................Signed........................................... Date.....................This application is not valid unless every section is completed and itis signed and dated. If you do not qualify to receive AUDIO MEDIAwithout charge, it is available by subscription at:£43 UK, £60 Europe, £65 Rest of World.Once you have completed this form please return to IMAS Publishing (UK) Ltd. You may fax back to us on:+44 (0)1480 461550, mail it to us at Audio Media, Imas Publishing (UK) Ltd, Subscription Dept., 1st Floor, 1 Cabot House, Compass Point Business Park, St Ives, Cambs PE27 5JLUnited Kingdom, or visit www.audiomedia.com/subscribe.html and fill out a subscription form for Audio Media.Incomplete forms will not be processed. This information is used for IMAS subscription purposes only.The Publisher offers free subscriptions on a limited basis to those who meet publisher's definition of qualifications and reserves the right to not serve or discontinue free subscriptions at any time.56AUDIO MEDIA AUGUST 2011

AUDIO MEDIA CLASSIFIEDAngela Brown on +44 (0)1480 461555E-mail: a.brown@audiomedia.coms e r v i c e ss t u d i o a c o u s t i c sa i r c o n d i t i o n i n gAIR CONDITIONING &VENTILATION TOSOUND STUDIOS ISOUR SPECIALITYWe provide design only or design andinstallation for many well known clients.Whether it be for displacement, freecooling, V.A.V., V.R.V., split, unitary orcentralised call Mike Hardy ofAmbthair Services Ltd on01403 250306 or Fax 01403 211269Solid State LogicS O U N D | | V I S I O NWEB: www.ambthair.comEmail: cool@ambthair.coms e r v i c e sAUDIO MEDIA AUGUST 2011 57

AUDIO MEDIA AUGUST 2011Speed of sound in air (c)at 20°C = 343m/s0dB SPL (Threshold ofhearing) = 2 x 10-5PaPower (dB): 10log 10 (P out /P in )Voltage (dB): 20log 10 (V out /V in )Wavelength (λ)and Frequency (f)c = fλf = c/λλ = c/fFrequency/Wavelength20Hz 17.15m40Hz 8.575m60Hz 5.717m100Hz 3.43m200Hz 1.715m440HZ 0.78m500Hz 0.686m1kHz 0.343m2kHz 0.172m3kHz 0.114m5kHz 0.069m10kHz 0.034m15kHz 0.023m20kHz 0.017mDistance/Delay (20°C)20m 0.058s30m 0.087s40m 0.117s50m 0.146s60m 0.175s70m 0.204s80m 0.233s90m 0.262s100m 0.292s120m 0.350s140m 0.408s160m 0.466s180m 0.525s200m 0.583sResistor Colour Coden Black 0n Brown 1n Red 2n Orange 3n Yellow 4n Green 5n Blue 6n Violet 7n Grey 8n White 9Conversions1 metre = 3.281 feet1 metre = 1.094 yards1 centimetre = 0.394 inches1 Kilometre = 0.621 miles1 foot = 0.305 metres1 yard = 0.914 metres1 inch = 2.54 centimetres1 mile = 1.609 kilometres58Where It A l BeganTASCAM has been part orecording business for quof years. Having starteportable recording 30 yeawith the Portastudio,has had continuous presin bring recording soa modest price. The T+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Where It A l BeganTASCAM has been part of the fieldrecording business for quite a numberof years. Having started the revolution ofportable recording 30 years agowith the Portastudio, TASCAMhas had continuous presencein bring recording solutions ata modest price. The TASCAMa modest price. The TASCAMa modest price. The TDAP1 portable DAT recorderuality portablelive within a classroomhome studio, and hasof use for even the leastOnce again this used sostate media, and a lowefor high quality 24-bit 48krecordings to be made uthe onboard condenser mi+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Why Compromise On Quality?Whether its high quality recording at up to 19compressed recording of MP3, portability,recording, or syncing to code, TASCAM halive within a classroom, church, orhome studio, and has the simplicityof use for even the leas technica lyminded person.Early 2008 saw theintroduction of the DR-1portable hand held recordOnce again this used so+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Why Compromise On Quality?Whether its high quality recording at up to 19compressed recording of MP3, portability,recording, or syncing to code, TASCAM harecording solution. With no compromise betweeprice and quality TASCAM has made a reputatiofor quality at an a fordable price.Designed from the ground up to excelin ‘real-world’ applications, whereveryou happen to be in the world.The PD606 8-track location recorderThe PD606 8-track location recorderThe PD606 8-track location recordero fers spectacular audio quality, flexibleo fers spectacular audio quality, flexibleo fers spectacular audio quality, flexiblerecording to 12cm DVD-RAM, hard disk,recording to 12cm DVD-RAM, hard disk,recording to 12cm DVD-RAM, hard disk,or a combination of both, rock solidor a combination of both, rock solidtimecode implementation, extendedtimecode implementation, extendedBut impressive features areonly part of the script. Fostex’sonly part of the script. Fostex’sunriva led pedigree in designing andunriva led pedigree in designing andunriva led pedigree in designing andmanufacturing world class locationmanufacturing world class locationmanufacturing world class locationrecorders for over 16 years, and ourrecorders for over 16 years, and ourrecorders for over 16 years, and ourrecorders for over 16 years, and ourunique understanding of the broadcast,unique understanding of the broadcast,unique understanding of the broadcast,unique understanding of the broadcast,film, TV, and audio acquisitionfilm, TV, and audio acquisitionfilm, TV, and audio acquisitionfilm, TV, and audio acquisitionenvironments means tha the PD606environments means tha the PD606environments means tha the PD606flexible 8-track simultaneous recordingvia AES/EBU (six channels when usingthe analogue XLR inputs), fu l 8-channelthe analogue XLR inputs), fu l 8-channelanalogue outputs, and the ability toanalogue outputs, and the ability todigita ly store monitor mix se tings.FR2-LE CF-Based Field RecorderHere is a compact audio recorder10+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Why Compromise On Quality?Whether its high quality recording at up to 19compressed recording of MP3, portability,recording, or syncing to code, TASCAM harecording solution. With no compromise betweeprice and quality TASCAM has made a reputatiofor quality at an a fordable price.PD606 On Location With James BondChris Munro recently used the PD606 on the new James Bond film. Quantum of SolaceQuantum of SolaceQuantum of Solace+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Quantum of Solace+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +is Chris’s fifth Bond movie, having worked on Casino RoyaleCasino Royale+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Casino Royale+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +(for which he was awarded a(for which he was awarded a(for which he was awarded a(for which he was awarded a(for which he was awarded a+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +(for which he was awarded a+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +(for which he was awarded a+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +(for which he was awarded a+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +(for which he was awarded a+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +BAFTA), Tomo row Never Dies, The World Is Not EnoughTomo row Never Dies, The World Is Not Enough+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Tomo row Never Dies, The World Is Not Enough+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +and+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Die Another Day.+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Die Another Day.+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Die Another Day.+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Fostex researched the entire production process, andFostex researched the entire production process, andFostex researched the entire production process, and+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Fostex researched the entire production process, and+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Fostex researched the entire production process, and+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +gathered extensive usergathered extensive usercomments when designing the PD606. The machcomments when designing the PD606. The machcomments when designing the PD606. The mach+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +comments when designing the PD606. The mach+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +comments when designing the PD606. The mach+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +ine now takes full size DVD discs forine now takes full size DVD discs forWhy Compromise On Quality?ine now takes full size DVD discs forWhy Compromise On Quality?greater recording time, and has been redesigned for+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +greater recording time, and has been redesigned for+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +greater recording time, and has been redesigned for+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Why Compromise On Quality?greater recording time, and has been redesigned forWhy Compromise On Quality?simpler operation. Chris explained,simpler operation. Chris explained,Why Compromise On Quality?simpler operation. Chris explained,Why Compromise On Quality?“Despite wha the name suggests, the PD606 is+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +“Despite wha the name suggests, the PD606 is+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +“Despite wha the name suggests, the PD606 is+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Why Compromise On Quality?“Despite wha the name suggests, the PD606 isWhy Compromise On Quality?e fectively an 8-track machine. Whilst it has sixWhy Compromise On Quality?e fectively an 8-track machine. Whilst it has sixWhy Compromise On Quality?Why Compromise On Quality?inputs, there are also two mix tracks available.Why Compromise On Quality?In the same way that the PD6 was design-based onWhy Compromise On Quality?In the same way that the PD6 was design-based onWhy Compromise On Quality?the DV40, the PD606 is design-based on the DV824,an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 19an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 19of tracks can be recorded throughout a singleWhether its high quality recording at up to 19of tracks can be recorded throughout a singleWhether its high quality recording at up to 19compressed recording of MP3, portability,of tracks can be recorded throughout a singlecompressed recording of MP3, portability,and track configuration can be changed at will. Ifcompressed recording of MP3, portability,and track configuration can be changed at will. Ifcompressed recording of MP3, portability,recording, or syncing to code, TASCAM haand track configuration can be changed at will. Ifrecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’t fill the orecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’t fill the orecording, or syncing to code, TASCAM haa real space and time bonus for editors.”recording, or syncing to code, TASCAM haa real space and time bonus for editors.”recording, or syncing to code, TASCAM harecording solution. With no compromise betweea real space and time bonus for editors.”recording solution. With no compromise betweeI was confident in the PD606,recording solution. With no compromise betweeI was confident in the PD606,recording solution. With no compromise betweeprice and quality TASCAM has made a reputatioI was confident in the PD606,price and quality TASCAM has made a reputatioso importan to have a machprice and quality TASCAM has made a reputatioso importan to have a machprice and quality TASCAM has made a reputatio+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ ++ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + TASCAM+ + + + + + + TASCAM+ +Why Compromise On Quality?Whether its high quality recording at up to 19compressed recording of MP3, portability,recording, or syncing to code, TASCAM harecording solution. With no compromise betweeprice and quality TASCAM has made a reputatiofor quality at an a fordable price.Why Compromise On Quality?A nice look gives yougrab inspiration a the time of recording.Simplicity grants the microphone a long lifeand durability. After having recorded, youwi l never be surprisedby inco rect settings, asthere wi l be a chance tochange them.And most importantly,and reflections. New tech‘Golden Drops’, is usedcapsule microphones from 2008.PRODUCTSIn 2008-2009, Violet introduced several newmicrophones and accessories.SOUNDFIELDSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround RecordingA nice look gives youtime of recording.icrophone a long life and reflections. New tech‘Golden Drops’, is usedfrom 2008.+ + ++ + + SOUNDFIELDSOUNDFIELDSurround RecordingSurround RecordingFrom A Single MicrophoneFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround RecordingSurround RecordingFrom A Single MicrophoneSurround Recording+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOL+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –A nice look gives you the possibility totime of recording.icrophone a long lifecommunication with the membrane, andreduction of parasitic internal resonancesand reflections. New technology, named‘Golden Drops’, is used in a l our largefrom 2008.time to:Get back to what matters – get into Violet Microphones.that is predictable and can be tailored withsome precision to what is required.Physics Versus EmotionDespite what many would regard as thebenefits of the techno-physical approach,a great deal of the literature and adviceon the use of microphones is based onapparently non-technical considerations.Often a microphone wi l be listed as bestOften a microphone wi l be listed as bestsuited for vocals simply because it has,suited for vocals simply because it has,by chance, sounded pleasant on a previousby chance, sounded pleasant on a previousby chance, sounded pleasant on a previousoccasion or looks similar in shape to oneoccasion or looks similar in shape to onethat was used in that way.that was used in that way.tube (valve) microphones give ‘a warmsound’ because they become physica lywarm in use – or that large microphonesyield a bigger ‘sound image’ (whatever thatmeans) than smaller designs. This latternotion undoubtedly stems from folklorethat has been fostered by those withvested interests in the promotion of largevestedinterests in the promotion of largediaphragmmicrophones. In purely physicdiaphragm microphones. In purely physicdiaphragm microphones. In purely physicalalterms there is, of course, no requirementterms there is, of course, no requirementterms there is, of course, no requirementterms there is, of course, no requirementterms there is, of course, no requirementfor the diaphragm to be large in order to befor the diaphragm to be large in order to befor the diaphragm to be large in order to befor the diaphragm to be large in order to befor the diaphragm to be large in order to beable to respond to low frequencies.able to respond to low frequencies.able to respond to low frequencies.Making ComparisonsEvery innovation needs to be tested andEvery innovation needs to be tested andEvery innovation needs to be tested andEvery innovation needs to be tested andproven – which leads us to the awkwardproven – which leads us to the awkwardproven – which leads us to the awkwardproven – which leads us to the awkwardproblem that some of the stepsproblem that some of the stepsforward are very small ones. To hearforward are very small ones. To hearthem requires controlled listeningthem requires controlled listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLthem requires controlled listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOL+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLthem requires controlled listening+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLunder good conditions and, aboveunder good conditions and, aboveunder good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLunder good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOL+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLunder good conditions and, above+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLall, with a prope reference; butall, with a prope reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLall, with a prope reference; but+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLa l too frequently a new producta l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLa l too frequently a new product+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLa l too frequently a new producta l too frequently a new productor design is assayed in splendidor design is assayed in splendidor design is assayed in splendidor design is assayed in splendidisolation. Expectation or ferventisolation. Expectation or ferventisolation. Expectation or ferventisolation. Expectation or ferventbelief that it must be be terbelief that it must be be terbelief that it must be be terbelief that it must be be terbelief that it must be be terbelief that it must be be terstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withinstrains judgement, and withina shor time highly coloureda shor time highly coloureda shor time highly coloureda shor time highly colouredopinions are circulating andopinions are circulating andopinions are circulating andopinions are circulating andopinions are circulating andopinions are circulating anda myth is built which is asa myth is built which is asa myth is built which is asa myth is built which is asa myth is built which is asa myth is built which is asbaseless as it is hard tobaseless as it is hard tobaseless as it is hard tobaseless as it is hard toeradicate.eradicate.There rea ly is noThere rea ly is noThere rea ly is noalternative to properlyalternative to properlyalternative to properlyalternative to properlycontro led listeningcontro led listeningcontro led listeningcontro led listeningtests if audio devicestests if audio devicestests if audio devicestests if audio devicestests if audio devicesare to be compared inare to be compared inare to be compared inare to be compared inan impartial way. ABthe membrane, andan impartial way. ABthe membrane, andan impartial way. ABan impartial way. ABan impartial way. ABan impartial way. ABtests are limited tothe membrane, andtests are limited tothe membrane, andtests are limited totests are limited toa reciprocal basis where, say, microphoneshave di ferent frequency responses thata fect perceived loudness.Microphones for a Particular Use?Although it is extremely common to be toldthat such and such a microphone is goodfor, say, violins, this poses the question ofwhy it should be considered to be so.why it should be considered to be so.why it should be considered to be so.Should a microphone be chosen purely onShould a microphone be chosen purely onShould a microphone be chosen purely onShould a microphone be chosen purely onthe grounds of wha the sound source is?the grounds of wha the sound source is?We don’t, after a l, have more than one setWe don’t, after a l, have more than one setof ears to hear everything, and commonof ears to hear everything, and commonsense dictates that if the microphone issense dictates that if the microphone isan ideal one i transforms a sound into aan ideal one i transforms a sound into aperfectly co responding electrical signal.That suggests that the closer a microphoneThat suggests that the closer a microphoneThat suggests that the closer a microphoneis to the ideal, the more neutral it sounds,is to the ideal, the more neutral it sounds,and the more universa ly it can be used.and the more universa ly it can be used.and the more universa ly it can be used.There is certainly a wide variety of veryThere is certainly a wide variety of veryThere is certainly a wide variety of verydi feren top-quality microphones, but itdi feren top-quality microphones, but itdi feren top-quality microphones, but itwould be wiser to see these as physicallywould be wiser to see these as physicallywould be wiser to see these as physicallysuited to a particular application rathersuited to a particular application rathersuited to a particular application ratherthan a particular sound source.than a particular sound source.than a particular sound source.As far as the ‘perfect’ micAs far as the ‘perfect’ microphone goes,es,omni-directional capacitor (omni-directional capacitor (omni-directional capacitor (omni-directional capacitor (condenser)designs approach the idealdesigns approach the idealdesigns approach the ideal veryvery closely.Where you wan to favour souWhere you wan to favour souWhere you wan to favour souWhere you wan to favour sound from asingle direction and excsingle direction and excsingle direction and exclude neighblude neighbouringouringinstruments or unwanted souinstruments or unwanted souinstruments or unwanted souinstruments or unwanted sound, then ofcourse you need a directiocourse you need a directiocourse you need a directiocourse you need a directiocourse you need a directional micrnal microphoneophonewhich wi l be a li tle furthwhich wi l be a li tle furthwhich wi l be a li tle furthwhich wi l be a li tle further from perfecer from perfection.tion.For a start, any directional mFor a start, any directional mFor a start, any directional mFor a start, any directional mFor a start, any directional microphone (suchne (suchas a cardioid) wi l demonsas a cardioid) wi l demonsas a cardioid) wi l demonsas a cardioid) wi l demonstrate thtrate the so-ca lede so-ca ledproximity e fect when useproximity e fect when useproximity e fect when used close to ad close to a soundsoundsource. Low frequencies wi l be asource. Low frequencies wi l be asource. Low frequencies wi l be asource. Low frequencies wi l be asource. Low frequencies wi l be asource. Low frequencies wi l be accentuated.ccentuated.For a microphone that wi l cFor a microphone that wi l commonlyommonly be usedbe usedin this situation a compensin this situation a compensin this situation a compensating freqating frequencyuencygetting techno-physicalreduction of parasiticgetting techno-physicalreduction of parasiticand reflections. New techgetting techno-physicaland reflections. New technology, namedgetting techno-physicalnology, namedin a l our largegetting techno-physicalin a l our large+ + + KLEIN + HUMMEL+ + + + K+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI++ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+The Swiss Precision Active Monitoring Series:More Than A Black Box!the sound image ording, mixingich various people,fore speaker systems,o rections may be appliedase i regularities thatthe actual recording.rs feature our uniquenerates a Compensatedcompared ur vision is to berecision au+ + + KLEIN + HUMMEL+ + + + K+ + + KLEIN + HUMMEL+ + + + K+ + + KLEIN + HUMMEL+ + + + KFOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + +PM Series MkIIThe PM-Series Mk I offer exceptioThe PM-Series Mk I offer exceptional audional audioperformance matched to jawperformancematched to jaw-dropping gooddropping goodlooks at an a fordable pricelooks at an a fordable pricelooks at an a fordable price. Fostex strives to. Fostex strives todesign and build studidesign and build studio monitoring systemsthat enable you to experienthat enable you to experience your uniquesound in a l its dimensions. And throughtireless research and development, endlessmeasurements and real-world listeningtests, Fostex’s engineers have achievedthis in the form of the beautiful secondgeneration PM-Series.Capitalising on Fostex’s+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+Capitalising on Fostex’s+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI++ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+supreme+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+knowledge of acoustics aknowledge of acoustics a+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+knowledge of acoustics a+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+nd speakernd speaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+nd speaker+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+engineering, and now offeengineering, and now offe+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+engineering, and now offe+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ring a brighter,The Swiss Precision Active Monitoring Series:ring a brighter,The Swiss Precision Active Monitoring Series:tighter sound, these studitighter sound, these studi+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+tighter sound, these studi+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+The Swiss Precision Active Monitoring Series:tighter sound, these studiThe Swiss Precision Active Monitoring Series:o monitors areThe Swiss Precision Active Monitoring Series:o monitors areThe Swiss Precision Active Monitoring Series:PM-2 Mk IPM-2 Mk ICreated for large rooms,Created for large rooms,Created for large rooms, the PM-2 hasthe PM-2 hasthe power (240 wa ts of bi-amthe power (240 wa ts of bi-amthe power (240 wa ts of bi-amthe power (240 wa ts of bi-amthe power (240 wa ts of bi-amped poweractua ly) and sophisticatiactua ly) and sophistication and, moston and, moston and, mostimportantly, the versatility to haimportantly, the versatility to haimportantly, the versatility to haimportantly, the versatility to handle themost demanding recordingmost demanding recording applications.applications.applications.Equipped with a 200mmEquipped with a 200mm low frequency unitlow frequency unitlow frequency unitand remaining natural and transparent rightand transparent rightand transparent rightand transparent rightacross the audio spectrum, eacross the audio spectrum, even at highven at highven at highsound pressure levels, the Psound pressure levels, the P+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+sound pressure levels, the P+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI++ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+sound pressure levels, the P+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+M-2 is great forM-2 is great forM-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+M-2 is great for+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+today’s bass heavy music.today’s bass heavy music.today’s bass heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+today’s bass heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI++ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+today’s bass heavy music.+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+PM-1 MkIIPM-1 MkII+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+PM-1 MkII+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+Perfectly proportioned anThe Swiss Precision Active Monitoring Series:Perfectly proportioned anThe Swiss Precision Active Monitoring Series: d o fering the typeThe Swiss Precision Active Monitoring Series: d o fering the typeThe Swiss Precision Active Monitoring Series: d o fering the typeof clear-transparent sound thThe Swiss Precision Active Monitoring Series:of clear-transparent sound thThe Swiss Precision Active Monitoring Series:at singlesat singlesout a great speaker, theThe Swiss Precision Active Monitoring Series:out a great speaker, theThe Swiss Precision Active Monitoring Series: PM-1 is capablePM-1 is capableThe Swiss Precision Active Monitoring Series: PM-1 is capableThe Swiss Precision Active Monitoring Series:of producing extremely highof producing extremely highSPLs accurately across thSPLs accurately across thefu l audio spectrum. Withfu l audio spectrum. With 120wa ts of bi-amped powerwa ts of bi-amped power anda bass response that’s fu l ana bass response that’s fu l anur vision is to bea bass response that’s fu l anur vision is to beddynamic, and a crisp highdynamic,and a crisp highurvision is to bedynamic, and a crisp highurvision is to beend that sparkles with vitaliend that sparkles with vitality,the PM-1 delivers the typethe PM-1 delivers the type ofsonic quality that’s usually they thedomain of monitorscosting thousands.ording, mixingcosting thousands.ording, mixingPM0.5 Mk Iich various people,PM0.5 Mk Iich various people,fore speaker systems,PM0.5 Mk Ifore speaker systems,The ideal choice for sma lefore speaker systems,The ideal choice for sma lefore speaker systems,o rections may be appThe ideal choice for sma leo rections may be appliedThe ideal choice for sma leliedrstudios requiring nearfieldo rections may be appstudios requiring nearfieldo rections may be appase i regularities thatstudios requiring nearfieldase i regularities thatmonitoring, the perfectase i regularities thatmonitoring, the perfectase i regularities thatthe actual recording.monitoring, the perfectthe actual recording.rs feature our uniquemonitoring, the perfectrs feature our uniquelyformed PM0.5 Mk I o fersthe actual recording.formed PM0.5 Mk I o fersthe actual recording.rs feature our uniqueformed PM0.5 Mk I o fersrs feature our unique70wa ts of bi-amped powerrs feature our unique70wa ts of bi-amped powerrs feature our uniquenerates a Compensa70wa ts of bi-amped powernerates a Compensated70wa ts of bi-amped powertedand produces great fu l rangePM0.4The ultra-compact PM0The ultra-compact PM0.4 now completesthe lineup of the reputed PMthe lineup of the reputed PM-series ranging-series rangingfrom 4” to 8” woofer size. PM0.4 is natura ly0.4 is natura lyrecommended for desktop use but its superbaudio performance in compact physicalsize expands its applications to professionalconsole top studio monitoring, audioinsta lation, as well as portableaudio monitoring.PM0.5-Sub Mk IDesigned idea ly for use withDesigned idea ly for use with the PM0.5Mk I, the 110watt, 200mmMk I, the 110watt, 200mm driver PM0.5-Sub produces precise, loSub produces precise, low frequencyreproduction and an exce lentreproduction and an exce lent deep bassoutput. Easy to set-up (just a sioutput. Easy to set-up (just a single gaincontrol and phase revecontrol and phase reverse switch), thecombination of a pair of PM0combination of a pair of PM0.5s andPM0.5-Sub provides superb sonPM0.5-Sub provides superb sonic qualityic quality+ + + KLEIN + HUMMEL+ + + + Kic quality+ + + KLEIN + HUMMEL+ + + + Kat an a fordable price.at an a fordable price. Recommended forRecommended foruse with PM0.4.NX-5AThe Swiss Precision Active Monitoring Series:More Than A Black Box!the sound image is highly accurate.This technology a lows the design oftems with di feren typess that maintains anvarious processes (recording, mixingand mastering) in which various people,locations, and therefore speaker systems,wi l be involved, co rections may be appdue solely to phase i regularities thatare not present on the actual recording.The PSI Audio speakers feature our uniquecompared to Swiss watch designers. Our vision is to berecision audio, combining innovation, creativityChoosing NearfieldMonitors Should Be EasyPM Series GroupAfter a l, they only have one job to do. The job of monitoring.Not enhancing, not diminishing, not in any way alteringthe source material.Here is a compact audio recorderdesigned from the ground-up to meetWhy Compromise On Quality?Why Compromise On Quality?“Despite wha the name suggests, the PD606 isWhy Compromise On Quality?e fectively an 8-track machine. Whilst it has sixWhy Compromise On Quality?e fectively an 8-track machine. Whilst it has sixWhy Compromise On Quality?inputs, there are also two mix tracks available.Why Compromise On Quality?inputs, there are also two mix tracks available.Why Compromise On Quality?In the same way that the PD6 was design-based onWhy Compromise On Quality?for quality at an a fordable price.Here is a compact audio recorderdesigned from the ground-up to meetdesigned from the ground-up to meetand exceed the needs of professionalssecond ‘pre-record’ bu fer, meaningthere should never be a missed take orthere should never be a missed take orlost soundbite.Whether its high quality recording at up to 192k,compressed recording of MP3, portability,recording, or syncing to code, TASCAM harecording solution. With no compromise betweeprice and quality TASCAM has made a reputatiofor quality at an a fordable price.inputs, there are also two mix tracks available.In the same way that the PD6 was design-based onWhy Compromise On Quality?In the same way that the PD6 was design-based onWhy Compromise On Quality?Whether its high quality recording at up to 19In the same way that the PD6 was design-based onWhether its high quality recording at up to 192k,In the same way that the PD6 was design-based on2k,the DV40, the PD606 is design-based on the DV824,Whether its high quality recording at up to 19the DV40, the PD606 is design-based on the DV824,Whether its high quality recording at up to 19an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 19an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 19of tracks can be recorded throughout a singlecompressed recording of MP3, portability,of tracks can be recorded throughout a singlecompressed recording of MP3, portability,and track configuration can be changed at will. Ifcompressed recording of MP3, portability,and track configuration can be changed at will. Ifcompressed recording of MP3, portability,recording, or syncing to code, TASCAM haand track configuration can be changed at will. Ifrecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’t fill the orecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’t fill the orecording, or syncing to code, TASCAM haa real space and time bonus for editors.”recording solution. With no compromise betweea real space and time bonus for editors.”recording solution. With no compromise betweeI was confident in the PD606,recording solution. With no compromise betweeI was confident in the PD606,recording solution. With no compromise betweeprice and quality TASCAM has made a reputatioI was confident in the PD606,price and quality TASCAM has made a reputatioso importan to have a machprice and quality TASCAM has made a reputatioso importan to have a machprice and quality TASCAM has made a reputatio.”for quality at an a fordable price.and exceed the needs of professionalsin the field. It records to CompactFlashin BWF at 24-bit 96kHz quality, isequipped with two professionalphantom powered XLR microphones,and is packed with useful features likea one take = one file recording systemwhich eliminates overwrites, and a twosecond ‘pre-record’ bu fer, meaningWhether its high quality recording at up to 192k,compressed recording of MP3, portability, musicrecording, or syncing to code, TASCAM has a fieldrecording solution. With no compromise betweenprice and quality TASCAM has made a reputationIn the same way that the PD6 was design-based onWhether its high quality recording at up to 19In the same way that the PD6 was design-based onWhether its high quality recording at up to 192k,In the same way that the PD6 was design-based on2k,the DV40, the PD606 is design-based on the DV824,Whether its high quality recording at up to 19the DV40, the PD606 is design-based on the DV824,Whether its high quality recording at up to 19compressed recording of MP3, portability,the DV40, the PD606 is design-based on the DV824,compressed recording of MP3, portability, musicthe DV40, the PD606 is design-based on the DV824,musican 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 19an 8-track machine. What’s more, varying numbersWhether its high quality recording at up to 19compressed recording of MP3, portability,an 8-track machine. What’s more, varying numberscompressed recording of MP3, portability, musican 8-track machine. What’s more, varying numbersmusics a fieldan 8-track machine. What’s more, varying numberss a fieldof tracks can be recorded throughout a singlecompressed recording of MP3, portability,of tracks can be recorded throughout a singlecompressed recording of MP3, portability,recording, or syncing to code, TASCAM haof tracks can be recorded throughout a singlerecording, or syncing to code, TASCAM has a fieldof tracks can be recorded throughout a single s a fielddisc,s a fielddisc,s a fieldand track configuration can be changed at will. Ifrecording, or syncing to code, TASCAM haand track configuration can be changed at will. Ifrecording, or syncing to code, TASCAM harecording solution. With no compromise betweeand track configuration can be changed at will. Ifrecording solution. With no compromise betweeonly two or four tracks are required, it doesn’t fill the orecording, or syncing to code, TASCAM haonly two or four tracks are required, it doesn’t fill the orecording, or syncing to code, TASCAM harecording solution. With no compromise betweeonly two or four tracks are required, it doesn’t fill the orecording solution. With no compromise betweeprice and quality TASCAM has made a reputatioonly two or four tracks are required, it doesn’t fill the oprice and quality TASCAM has made a reputatiothers with blank space, which isprice and quality TASCAM has made a reputatiothers with blank space, which isthers with blank space, which isprice and quality TASCAM has made a reputationthers with blank space, which isna real space and time bonus for editors.”recording solution. With no compromise betweea real space and time bonus for editors.”recording solution. With no compromise betweeprice and quality TASCAM has made a reputatioa real space and time bonus for editors.”price and quality TASCAM has made a reputatios a fieldndesigned from the ground-up to meetdesigned from the ground-up to meetand exceed the needs of professionalsand exceed the needs of professionalsin the field. It records to CompactFlashin the field. It records to CompactFlashin BWF at 24-bit 96kHz quality, isequipped with two professionalphantom powered XLR microphones,and is packed with useful features likeand is packed with useful features likea one take = one file recording systemwhich eliminates overwrites, and a twowhich eliminates overwrites, and a twoand MP3MP3, the WAV format isalso on hand toalso on hand to satisfy the demands ofeven the most disceven the most discerning audiophiles.the original sound athe original sound athe original sound aresulting in a superesulting in a supeThe integrity of thThe integrity of thmaintained by comaintained by cothe system cont+ + +for quality at an a fordable price.+ + +for quality at an a fordable price.+ + +for quality at an a fordable price.+ + +for quality at an a fordable price.+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ bu fer, meaning+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ bu fer, meaningthere should never be a missed take or+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMthere should never be a missed take or+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ bu fer, meaning+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ bu fer, meaningthere should never be a missed take or+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMthere should never be a missed take or+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM.”+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYM+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMwhich eliminates overwrites, and a two+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMwhich eliminates overwrites, and a twowhich eliminates overwrites, and a two+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMwhich eliminates overwrites, and a twosecond ‘pre-record’ bu fer, meaning+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMsecond ‘pre-record’ bu fer, meaningPUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +PUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +The Olympus LS-10:The Olympus LS-10:High-End Sound Recording On DemandHigh-End Sound Recording On DemandHigh-End Sound Recording On DemandHigh-End Sound Recording On DemandHigh-End Sound Recording On DemandSeize the moment in sound with the emSeize the moment in sound with the empowering ability to recordpowering ability to recordhigh-end audio anywhere at anytimhigh-end audio anywhere at anytime. The Olympus LS-10 Linear PCMe. The Olympus LS-10 Linear PCMRecorder captures superior audio a thRecorder captures superior audio a the touch of a button – with ane touch of a button – with anexceptional design that fits comfortaexceptional design that fits comfortaexceptional design that fits comfortaexceptional design that fits comfortably in the palm of your hand.bly in the palm of your hand.the original sound athe original sound are not a fected,re not a fected,resulting in a superior S/N ratio.The integrity of the signal is alsomaintained by completing separatinrol (digital) circuitrypowering ability to recorde. The Olympus LS-10 Linear PCMe touch of a button – with anbly in the palm of your hand.re not a fected,re not a fected,rior S/N ratio.e signal is alsompleting separatinrol (digital) circuitrye. The Olympus LS-10 Linear PCMe touch of a button – with anre not a fected,re not a fected,rior S/N ratio.e signal is alsompleting separatinrol (digital) circuitry+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –s Made in Latviato picture today’sg industry withouttions and expressiveVioletnes areFor a while only price mattered, but now, it isGet back to quality, get back to reliability,Get back to what matters – get into Violet Microphin Latviato picture today’sg industry withouttions and expressiveA nice look gives yougrab inspiration a theSimplicity grants the mand durability. After hThe benefits of VioletDesign microphones are:+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –A nice look gives youFor a while only price mattered, but now, it isGet back to quality, get back to reliability,Get back to what matters – get into Violet Microph+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –A nice look gives youFor a while only price mattered, but now, it is time to:Get back to quality, get back to reliability,Get back to what matters – get into Violet Microphthat is predictablesome precisionPhysics Versus EmotionDespite what many would regard as thebenefits of the techno-physical approach,a great deal of the literature and adviceon the use of microphones is based onapparently non-technical considerations.Often a microphone wi l be listed as bestOften a microphone wi l be listed as bestsuited for vocals simply because it has,by chance, sounded pleasant on a previousby chance, sounded pleasant on a previousoccasion or looks similar in shape to oneoccasion or looks similar in shape to onethat was used in that way.that was used in that way.Given tha theGiven tha the6Get back to what matters – get into Violet Microph6Get back to what matters – get into Violet MicrophViolet Design – Microphones MadeIt is almost impossible to picture today’spro audio and recording industry withouttechnological innovations and expressivedesigns introduced by Violetnes areGet back to quality, get back to reliability,get back to design…Get back to what matters – get into Violet Microphpro audio and recordintechnological innovarol (digital) circuitrypro audio and recordintechnological innovare not a fected,re not a fected,rior S/N ratio.e signal is alsompleting separatinrol (digital) circuitryFunction GuideFunction Guidempleting separatinFunction Guidempleting separatingFunction GuidegPUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +PUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + ++ + ++ + + VIOLETVIOLET + + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLViolet Microphones –Ears For Your SoundViolet Microphones –Ears For Your SoundViolet Microphones –For a while only price mattered, but now, it isPUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +PUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +High-End Sound Recording On DemandViolet Design – MIt is almost impossiblepro audio and recordinFor a while only price mattered, but now, it isGet back to quality, get back to reliability,get back to designGet back to what matters – get into Violet MicrophViolet Design – MIt is almost impossiblepro audio and recordinGet back to quality, get back to reliability,get back to designGet back to what matters – get into Violet MicrophGet back to quality, get back to reliability,get back to designe. The Olympus LS-10 Linear PCMViolet Design – MIt is almost impossiblepro audio and recordinget back to designGet back to what matters – get into Violet Microphe. The Olympus LS-10 Linear PCMHere we detail the professional fourchannel models plus the ultracompact and ultra-cool R-09HR…EDIROL R-4The R-4 is the first of EDIROL’sprofessional four-channel fieldrecorders. The ability to record up tofour channels simultaneofour channels simultaneously givesyou flexibility in any recoryou flexibility in any recording situation.Selecting four channelsSelecting four channels rather than twogives users the ability to cagives users the ability to capture moreambient sounds at a conambient sounds at a concert as we l asthe main performance, othe main performance, or it a lowsthem to place mics on mthem to place mics on multipleparticipants during, say, aparticipants during, say, a recordingfor a video soundtrack.for a video soundtrack.The R-4 has a wide rangeThe R-4 has a wide rangeThe R-4 has a wide range of otherfeatures including on bofeatures including on bofeatures including on bofeatures including on board waveformediting, superior sound quediting, superior sound quediting, superior sound quediting, superior sound quality, andEven a themaximum 24-bit/96kHz, you sti l get anincredible 17 hours of recording time.Other features on the R-4 includean on-board limiter to ensure clip freerecordings and a Pre Record functionso help avoid missing vital, timesensitiverecordings – if you think youhave missed that sound bite, fear not,because the R-4 wi l have it captured!There are comprehensive EQ sections,a noise gate, de-esser and compressor,plus connections for a wide variety ofmedia including XLR/phone combojacks. Fina ly USB 2.0 support means onboard audio can be backed up to Flashkeys, memory cards, or onto the driveof a connected PC or Mac.The R-4’s compact size, lightweight, rugged design and price ofjust GB£878.88 have won it homes inmany prestigious companies includingthe BBC, and it is being used in a widevariety of industries and locationsaround the world.The EDIROL R-4 ProThe R-4 Pro is the next level ofprofessional field recording.Again it o fers up to four channels ofsimultaneous recording, but adds anexpanded feature-set and more storagecapacity compared to the R-4. The R-4Pro accepts SMPTE timePro accepts SMPTE time code so it caneasily be sync’d to videoeasily be sync’d to video equipment asequipment asequipment asequipment asthe slave device. It’s a grthe slave device. It’s a grthe slave device. It’s a grthe slave device. It’s a grthe slave device. It’s a great function foreat function foreat function forvideo production as upvideo production as upvideo production as up to four channelsto four channelsnding outtime code to slave devices.The R-4 Pro comes withThe R-4 Pro comes withThe R-4 Pro comes with an 80GBdrive insta led which is edrive insta led which is edrive insta led which is enough for morethan 100 hours of audiothan 100 hours of audiothan 100 hours of audio at 16-bit/48kHz,and we l over 30 hoursand we l over 30 hoursand we l over 30 hours a the unit’smaximum resolution. Themaximum resolution. Themaximum resolution. The R-4 Pro isequipped with a 4-pin Xequipped with a 4-pin Xequipped with a 4-pin XLR DC inputto enable use of Antontoenable use of Antontoenable use of Antontoenable use of Anton-Bauer styleVIOLETBauer styleVIOLETexternal ba tery powerexternal ba tery powerexternal ba tery powerexternal ba tery power and also has XLRand also has XLRVIOLETand also has XLRVIOLETstyle AES/EBU digital inpustyle AES/EBU digital inpustyle AES/EBU digital inpustyle AES/EBU digital inpu+ + +style AES/EBU digital inpu+ + ++ + +style AES/EBU digital inpu+ + + VIOLETstyle AES/EBU digital inpuVIOLETVIOLETstyle AES/EBU digital inpuVIOLETt and output.t and output.VIOLETt and output.VIOLETLike the EDIROL R-4, thLike the EDIROL R-4, thLike the EDIROL R-4, th+ + +Like the EDIROL R-4, th+ + ++ + +Like the EDIROL R-4, th+ + +e Pro featureswave editing, recording rewave editing, recording rewave editing, recording resolutionViolet Microphones –solutionViolet Microphones –selection, pre-bu fe recoselection, pre-bu fe recoselection, pre-bu fe recording, e fectsViolet Microphones –rding, e fectsViolet Microphones –and a limiter, and is alsoand a limiter, and is alsoand a limiter, and is also USB 2.0compatible so you can trcompatible so you can trcompatible so you can transfer andback up files to a compuback up files to a compuback up files to a computer.For video production, theFor video production, theFor video production, the originalR-4 is sti l easily the mR-4 is sti l easily the most a fordableost a fordableand e fective choice for theand e fective choice for theand e fective choice for the existing SDexisting SDexisting SDcamera base and the growcamera base and the growcamera base and the growing numbering numbering numbering numberof HDV cameras that areof HDV cameras that areof HDV cameras that areof HDV cameras that are not equippednot equippedwith time code. It is sti lwith time code. It is sti lwith time code. It is sti lwith time code. It is sti l the only fourtheonly fourtheonly fourtheonly fourchannelsolution equippechannel solution equipped with LANCd with LANCPUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +PUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + +The EDIROL R-4 o fers four-The EDIROL R-4 o fers four-The EDIROL R-4 o fers fourchannelflexibility and high qualitychannel flexibility and high qualitychannel flexibility and high qualityfield recording at a great price.field recording at a great price.field recording at a great price.field recording at a great price.field recording at a great price.The R-4 Pro is a fu ly featured field recorderThe R-4 Pro is a fu ly featured field recorderThe R-4 Pro is a fu ly featured field recordersuited for the video industry and recordingsuited for the video industry and recordingsuited for the video industry and recordinganywhere in the world, even on Everest!anywhere in the world, even on Everest!anywhere in the world, even on Everest!anywhere in the world, even on Everest!8 EDIROL+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI++ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+The Swiss Precision Active Monitoring Series:The Swiss Precision Active Monitoring Series:More Than A Black Box!More Than A Black Box!The philosophy of PSThe philosophy of PSI Audio can begloba ly recognised as+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+The Swiss Precision Active Monitoring Series:More Than A Black Box!I Audio can begloba ly recognised as pioneers in p+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+The Swiss Precision Active Monitoring Series:More Than A Black Box!I Audio can be comparedpioneers in precision au+ + ++ + + FOSTEXFOSTEXPM Series MkIIThe PM-Series Mk I offer exceptioThe Swiss Precision Active Monitoring Series:SOUNDFIELDSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround Recording+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUtems can produce/S and surroundfrom a single mic? With ir surround-ready mictechnology, it’s easy to see why SoundField systemsare the products of choice for many HD broadcastersworking in surround .SOUNDFIELDSurround RecordingFrom A Single MicrophoneSurround RecordingFrom A Single MicrophoneSurround Recording+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUFrom A Single Microphonetems can produce/S and surroundir surround-ready michy SoundField systemsThe Swiss Precision Active Monitoring Series:More Than A Black Box!+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + ++ + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+The Swiss Precision Active Monitoring Series:More Than A Black Box!+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOU+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+ + + + PSI+How Everything StartedThe founder of Horch, Gibbs Platen is very familiar withthe world of audio. His recording studio Zuckerfabrikwas famous for American Ja z and Rock productions,and acoustic bands such as Colosseum, WolfgangDauner, John Scofield, Alphonse Mouzon, The UnitedJa z + Rock Ensemble, etc. He also freelanced for TVand broadcast productions.During this time, Platen became familiar with aDuring this time, Platen became familiar with aDuring this time, Platen became familiar with awide variety of microphones, but his a l time favouritewide variety of microphones, but his a l time favouritewide variety of microphones, but his a l time favouritefor vocal recordings was the Neumann M49 tubefor vocal recordings was the Neumann M49 tubemicrophone. However, Platen felt that of thesemicrophone. However, Platen felt that of theseold microphones had lost some of their expectedold microphones had lost some of their expectedexcellence by this time. Here, Horch Audio’sexcellence by this time. Here, Horch Audio’sstory begins.The MicrophonesIn the early nineties, Gibbs Platen and two friendsIn the early nineties, Gibbs Platen and two friendsIn the early nineties, Gibbs Platen and two friendsIn the early nineties, Gibbs Platen and two friendsfounded Horch Audio with the ambition to build afounded Horch Audio with the ambition to build afounded Horch Audio with the ambition to build amicrophone in the same vein as the M49, but improved.microphone in the same vein as the M49, but improved.microphone in the same vein as the M49, but improved.microphone in the same vein as the M49, but improved.That’s where the Horch RM2 came to life. In theThat’s where the Horch RM2 came to life. In theThat’s where the Horch RM2 came to life. In theThat’s where the Horch RM2 came to life. In thebeginning, the RM2 was built using original partsbeginning, the RM2 was built using original partsbeginning, the RM2 was built using original partsbeginning, the RM2 was built using original partsbeginning, the RM2 was built using original partsfrom Neumann. As a finishing touch, Platen placedfrom Neumann. As a finishing touch, Platen placedfrom Neumann. As a finishing touch, Platen placeda 0.5-carat bri liant diamond into the front of thea 0.5-carat bri liant diamond into the front of thea 0.5-carat bri liant diamond into the front of thea 0.5-carat bri liant diamond into the front of thea 0.5-carat bri liant diamond into the front of theRM2, which was illuminated from the inside. LaterRM2, which was illuminated from the inside. LaterRM2, which was illuminated from the inside. LaterRM2, which was illuminated from the inside. LaterRM2, which was illuminated from the inside. LaterRM2, which was illuminated from the inside. Lateron, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theon, Horch modified the RM2 into the RM2J, with theintention to move the sound more in direction of theintention to move the sound more in direction of theintention to move the sound more in direction of theintention to move the sound more in direction of theintention to move the sound more in direction of theintention to move the sound more in direction of theU47. The triode was replaced by a pentode, and aU47. The triode was replaced by a pentode, and aU47. The triode was replaced by a pentode, and aU47. The triode was replaced by a pentode, and aU47. The triode was replaced by a pentode, and aU47. The triode was replaced by a pentode, and anew developed capsule and transformer were built in.new developed capsule and transformer were built in.new developed capsule and transformer were built in.new developed capsule and transformer were built in.new developed capsule and transformer were built in.new developed capsule and transformer were built in.new developed capsule and transformer were built in.new developed capsule and transformer were built in.The RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofThe RM3 was released, harking back to the sound ofthe old ELA M251 and especially designed for femalethe old ELA M251 and especially designed for femalethe old ELA M251 and especially designed for femalethe old ELA M251 and especially designed for femalethe old ELA M251 and especially designed for femalethe old ELA M251 and especially designed for femalethe old ELA M251 and especially designed for femalethe old ELA M251 and especially designed for femalevocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47vocals and instruments. The RM4, reca ling the U47sound, launched in 2007/2008. It displayed a whole newsound, launched in 2007/2008. It displayed a whole newsound, launched in 2007/2008. It displayed a whole newsound, launched in 2007/2008. It displayed a whole newsound, launched in 2007/2008. It displayed a whole newsound, launched in 2007/2008. It displayed a whole newsound, launched in 2007/2008. It displayed a whole newsound, launched in 2007/2008. It displayed a whole newconcept – adjustable compression, and saturation ofconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compression, and saturation ofconcept – adjustable compression, and saturation ofconcept – adjustable compression, and saturation ofconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUconcept – adjustable compression, and saturation of+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUthe microphone.+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUthe microphone.+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUNDFIELD+ + + + SOUHorch’s VisionHorch’s VisionThe idea behind Horch’s vision is to build microphonesThe idea behind Horch’s vision is to build microphonesThe idea behind Horch’s vision is to build microphonesThe idea behind Horch’s vision is to build microphonesThe idea behind Horch’s vision is to build microphonesThe idea behind Horch’s vision is to build microphonesThe idea behind Horch’s vision is to build microphoneswith outstanding quality for a new listening experience.with outstanding quality for a new listening experience.with outstanding quality for a new listening experience.with outstanding quality for a new listening experience.with outstanding quality for a new listening experience.with outstanding quality for a new listening experience.That is why everything in a Horch microphone isThat is why everything in a Horch microphone isThat is why everything in a Horch microphone isThat is why everything in a Horch microphone isThat is why everything in a Horch microphone isThat is why everything in a Horch microphone ishandmade in Germany. A lot of e fort is spent onhandmade in Germany. A lot of e fort is spent onhandmade in Germany. A lot of e fort is spent onhandmade in Germany. A lot of e fort is spent onhandmade in Germany. A lot of e fort is spent onhandmade in Germany. A lot of e fort is spent onhandmade in Germany. A lot of e fort is spent on+ + +handmade in Germany. A lot of e fort is spent on+ + + PSIhandmade in Germany. A lot of e fort is spent on PSIresearch and listening, mechanical fine-tuning, andresearch and listening, mechanical fine-tuning, andresearch and listening, mechanical fine-tuning, andresearch and listening, mechanical fine-tuning, andresearch and listening, mechanical fine-tuning, and+ + +research and listening, mechanical fine-tuning, and+ + ++ + +research and listening, mechanical fine-tuning, and+ + ++ + +research and listening, mechanical fine-tuning, and+ + ++ + +research and listening, mechanical fine-tuning, and+ + +research and listening, mechanical fine-tuning, andresearch and listening, mechanical fine-tuning, andresearch and listening, mechanical fine-tuning, andresearch and listening, mechanical fine-tuning, and+ + +research and listening, mechanical fine-tuning, and+ + ++ + +research and listening, mechanical fine-tuning, and+ + +keeping in contact with customers and artists.keeping in contact with cus

Now there is every reasonPlasa 2011Earls Court, London11 th - 14 th SeptemberStand 1-F19Register your interest atwww.midasconsoles.com/am/twoQR codeuse your smartphone to scanwww.midasconsoles.com